Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Jagmohan Sursagar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5049 Post No. : 16962

Today’s song is from an obscure film called Aisa Kyun-1947.

The film was made by Shri Raj Pictures, Calcutta. It was directed by A K Chatterjee and the music was by Anupam Ghatak. The cast of the film was Iftikhar, Radharani, Urmila, Pinky, Faiz, Tandon etc. Most people are not aware of the fact that besides New Theatres studio in Calcutta, there were many other film making studios in Calcutta. Hindi films were also made in Burma at that time by the indo-Burma productions.

Some of the studios based in Calcutta were East india film co., Madon Theatres, Aurora film corporation, Shree Bharat films, Laxmi pictures, Chitramandir, RBS Productions, Dev Datta films, Indra movietone, Kali films, Kamla Movietone, Moti mahal Theatres, Murli Pictures, New Popular Pictures, Quality Pictures, Radha film co., Sonoray Pictures, Star film co., Sunrise film co.and Tollywood studios. (source-Indian Cinematographers’ yearbook-1938) This is an old list of when many Hindi films were made in Calcutta. Of late, there must be a lot of changes now.

In olden days, there were 3 major film centres-Bombvay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.

The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.

This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.

Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.

I have not seen this film, so I have no idea about its story etc. For the film’s Heroine-RadhaRani Calcuttewali, this was her last Hindi film that she acted or sang in. She continued her work in Bangla films, I suppose. This Radha Rani was one of the “Same Name Confusion ” pair, as there was another Radha Rani-Bombaywali. The music director Anupam Ghatak also died in 1947 only.

The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born on 4-12-1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as asst. to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937

First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shape Mukti to the experimental Gane mor kon indradhanu in Agni Pareeksha.

His Hindi film career started with ‘Tarzan ki Beti-38 and Bhole Bhale-39. He gave music to only 17 Hindi films, composing 153 songs.These included Ladies Only,Service Ltd.,Sadhana,Uski tamanna (all 1939), Civil marriage (1940), Sri Ramanuj-43 etc. In Lahore he did Champa -45,Badnami-46 and Shalimar -46 before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48 and Shamsheer-1953. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer-53, which was released only in 1953,after he died on 5-2-1947 itself.

Today’s song is sung by Jaganmoy Mitra aka Jagmohan Sursagar. So much is already written about him on our Blog by me and others, therefore I will not repeat his Bio-data. However I reproduce here an article published in Bangla Paper ” Anandabazar Patrika,Calcutta ” after his death.
Jaganmoy Mitra passes away

(Translated from Anadabazar Patrika, September 5, 2003)

Jaganmoy Mitra, the legendary singer of “chithi” is very far from us now. (PDG: The opening lines of the song “chithi”(1952), MD: Sailesh Dattagupta, are “tumi aaj koto doore” which means “you are so far today”). He expired yesterday night after suffering a cardiac arrest in his house at Juhu, Mumbai. He was 85. He is survived by three sons and two daughters. Although he stayed away from Bengal for the greater part of his life, he admired Bengali music and culture till his last day.

“aami duranto baishaakhi jhad” (PDG: which means ‘I am a restless summer tempest, you are a fiery flame’, MD: Kamal Dasgupta, 1947) and “shaaon raate yadi” – romantic numbers like these have entertained numerous music lovers over more than five decades.

Besides Bengali, his popularity in Hindi music was also unsurpassable at one time. He was known to the rest of India as ‘Jagmohan’. Gandhiji was an admirer of his music. He has recorded over 400 songs in a career spanning over five decades. Besides Bengali romantic numbers he has also sung Rabindrasangeet,
Nazrulgeeti, and simultaneously in Hindi, Gujrati and Marathi.

His first record for HMV was the Nazrulgeeti “shaaon raate yadi” in 1938. This song propelled him to immediate popularity. He has recorded 100 plus Hindi songs. He scored music for the Hindi film “Sarhad”. (PDG: That should be Sardar(1955)).

He has received numerous awards and felicitations including Padmashri and Sursagar. But he always valued the admiration of his listeners above any awards. His music had taken him to the United States, Great Britain and East Africa. His autobiography is titled “shaaon raate yadi smarane aase more” ( which means ‘If you remember me on a rainy night’).

The song,which follows, is sung so beautifully that one is lost with the soft and melodious voice of Jagmohan. This was his speciality and for this style I simply adore him.


Song-Thhukra de jo nazron se (Aisa Kyun)(1947) Singer-Jagmohan Sursagar, Lyrics-Unknown, MD-Anupam Ghatak

Lyrics

Thhukra de jo nazron se
dil ka mere nazraana
apna na samajh usko
begaana hai begaana
Thhukra de jo nazron se

guzri huyi baaton ko o
o o o o o o o
dohraane se
kya aa aa haasil il
guzri huyi baaten to
afsaana hai afsaana
guzri huyi baaten to
afsaana hai afsaana
Thhukra de jo nazron se

main aen ae ae
thhak gaya samjha kar
apne dil e naadaan ko o o
deewaane ko kya kahiye
deewaana hai deewaana
deewaane ko kya kahiye
deewaana hai deewaana
Thhukra de jo nazron se


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4737 Post No. : 16459 Movie Count :

4471

Today’s song is from an unknown film-Lottery-1949. The title of the film is very apt to remind us how success in the film line is often nothing but winning a lottery in your name ! What led to the success of a film was one thing that no one could fathom so far. In my opinion excellent acting, solid story, superb music and a balanced combination of comedy and other emotions are generally behind the success of a film. When one analyses hit films, then at least 2 or 3 factors as I mentioned earlier would be found in them.

1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to listen to. The sale of records set new records in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his films.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though C Ramchandra is my favourite composer, it was Naushad all the way during the period from 1947 to 1949, and he was was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than that of C Ramchandra. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, C Ramchandra had only 4 Hits in his 18 films.

The year 1949 had absolute heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in the Hindi film industry.

The Film Lottery-49 had none of these factors. I do not know the film’s story. The film was made in Calcutta by Bengal National studios, owned by S.D.Narang- the producer. The Director was one G. Singh who had earlier directed one more film – Barsat ki ek raat-1948. Similarly the Music Director- Harbaksh Singh had only 3 films to his credit. Film Ek Aurat-48, Lottery-49 and Nai Bhabhi-50. All films were made in Calcutta only and by S.D.Narang’s banner. After Narang shifted his base to Bombay, possibly, his team was left behind only.

The cast of the film was Kaushalya, Sunder, Ameena khatun, K.Nanda, Cuckoo etc. There were two lyricists – B.M.Sharma (6 songs) and Charandas (3 songs). Not many of the younger generation readers would know that the comedian Sunder, who they saw in several films of 50 to 70 period, was in fact a Hero and a singer in his hey days !

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature. In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The Heroine of the film – Kaushalya too is not very well known. She was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

Today’s song is sung by Kaushalya and Jagmohan Sursagar. With this song film Lottery-49 makes its Debut in this Blog. This rare song was provided by Abhay Jain ji (USA) and was uploaded kindly for me, by our own Sadanand Kamath ji. I thank both.


Song- Morey dil ki nagariya mein aaya hai chor raaja (Lottery)(1949) Singers- Kaushalya, Jagmohan Sursagar, Lyricist- Charandas, MD- Harbaksh Singh
Both

Lyrics

Morey dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho raaja
jaldi policewaa bulaaye le
gori mukhda dikhaao
aji ghoonghat hataao zara
nainon se naina milaay le
ho gori
nainon se naina milaay le

mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
o tohe Bambai le jaaun
bori bandar dikhaaun
jahaan raat din engine ki chhat chhat hoye hai
jahaan raat din engine ki chhat chhat hoye hai

mori bainyya na pakad
mohe jaana apne ghar
kaise boloon main
laaj mohe aaye hai
haaye Raam
nainon se naina milaay le
more dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le
ho o
ho o
nadiya kinaare gori
mori atariyaa
bhari(?) pahariya mein aana na bhoolnaa

ho o
ho o
aaungi raaja
na bhoolooongi vaada(?)
aasha ki dori se jhooloongi jhoolna
aana chupke se raani
more dil ki kahaani
koi aake na dil ko churaay le

o raaja
jaldi policewaa bulaaye le
more dil ki
nagariya mein aaya hai

chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4728 Post No. : 16447

A man is always happy when he is in his comfort zone. I too feel at home and comfortable when I am dealing with films of the Vintage Era, i.e. 30’s to 50’s. There comes a feeling of togetherness, familiarity and ease of communication. I am sure the same must be the case of those who write on films of the recent past, i.e. of the period 70’s to the present. Change the position and one feels awkward, uncomfortable and not so well. This is not a statement about any period, but I am trying to paint a picture, how people are happy in the surroundings which are known,familiar and about which one has the knowledge. By the way, I have written many posts on films from the 70s to as late as 2018 also.

Maybe this is due to the age difference, but I am certainly not one who detests whatever is new – may it be a Cinema, a song or social environment. Change is mandatory, inevitable, unavoidable and a reality. Wisdom is in accepting what is changed and then in finding points of similarity and likeability in the new changes. Changes are effected to conform to present needs, visions and compatibility towards outside influences beyond our control.

Changes are the precursors of Evolution. From Fish to Humans is a result of changes which took place in thousands of years. One who says changes are bad, is saying that remaining as Monkeys was better ! However, changing or accepting the changes does not put a stamp on the uselessness of the older things. It only means that those things were good in those times and conditions.

Take the simple example of NFS (Non Film Songs) v/s Film songs. NFS were popular from the 30’s to the 50’s. After that NFS disappeared perceptibly and today only Film songs are there. Why did this happen ? If you listen to most of the NFS, they were slow,soft, melodious, soulful but they made you illusioned. That was when the world was trying slowly to come out of the effects of World Wars. Several countries were becoming independent. The world started brimming with enthusiasm,hopes and visions of a brighter future. Lilting tunes and newer musical instruments helped upping the positive vibes, so necessary to build up a new World. Film songs filled this need and slowly the slow, soft and soulful NFS disappeared. Just compare the film songs of the 40’s, 50’s and today’s film songs. See the difference. Today we feel old music was better, but that is because of Nostalgia – memories attached to those songs, films and people. It was good for those days. Today this is good.

When one talks of NFS, can one forget Jagmohan ? Those were the days when NFS by Jagmohan, Juthika Roy, Pankaj Mullik, Hemant Kumar, Talat Mehmood and many more private singers shook the music world and their records sold by thousands. Although Jagmohan Sursagar ( 6-9-1918 to 4-9-2003) sang 33 songs in 19 Hindi films, he gave music to only 1 Hindi film in his career. Film Sardar-55 was produced and directed by Gyan Mukherji (30-9-1909 to 13-11-1956). He directed only 7 full films and 2 half films. Film Madhu-59 and Sitaron se aage-58 were done half when he died suddenly. Madhu-59 was completed by S.Mukherji and Sitaron se aage-58 was completed by Satyen Bose. Gyaqn Mukherji directed films only in which Ashok Kumar was Hero( same way, his brother Shankar Mukherji directed films of only Dev Anand-except Jhumroo-61 of Kishore kumar)

There were 9 songs in the film originally, however one song by Lata was removed from the film later. Songs were written by Udhav Kumar(5), Kaif Irfani(3) and Vrajendra Gaud(1). When you listen to these songs, you can’t believe Jagmohan could give such variety in film music. One song, sung by himself, was based on Fox Trot music-a novelty in films of that period. I feel sorry that Jagmohan was not used by the Hindi film industry as a MD for more films. We surely missed some good music because of that.

The cast of the film was Ashok Kumar, Bina Rai, Nigar Sultana, Jagdish Sethi, Rama Shukul (probably his last film), Tiwari and many others.Nigar Sultana was one of the busiest artistes in the 50’s. Out of her total 52 films, she worked in 32 films from 1950 to 1960. She was also famous for her affairs with several film artistes. The famous writer journalist ‘ Manto’ has written quite a juicy account of it in his book.

Nigar Sultana (21 June 1932 – 21 April 2000) . She appeared in Aag (1948), Patanga (1949), Sheesh Mahal (1950), Mirza Ghalib (1954), Yahudi (1958), Do Kaliyaan (1968), etc. but she is most notably remembered for playing the role of “Bahar begum” in the historical epic film Mughal-e-Azam (1960). She was the wife of filmmaker K. Asif. She died in May 2000, in Mumbai, India.

Nigar Sultana was born on 21 June 1932 in Hyderabad, India. She was the youngest daughter of a family of five. She had two brothers and two sisters. She spent her childhood in Hyderabad where her father held the rank of a Major in the Nizam’s State Army. She went to school for a while and later studied at home. She took part in a school drama on one occasion and ever after was keen on acting. After her father’s retirement, the family faced financial difficulties and Nigar was married off to a Driver. After she became pregnant the couple took divorce.

The first film Nigar ever saw was Hum Tum Aur Woh (1938). She was so utterly thrilled by it that when Jagdish Sethi, a friend of her father’s, offered her the lead in a film he was making with Mohan Bhavnani, she took it on the spot.

She entered the films with the 1946 film Rangbhoomi. She also did a small role in the film 1857. Then came Bela-47 as a Heroine opposite Jairaj. Raj Kapoor’s Aag (1948) was her first big break to Bollywood. She played the character role of “Nirmala”, which was equally appreciated by critics and audience. After that, she played character roles in a number of films.

Her big picture was Shikayat (1948), made in Poona; and after that many more in which she played leading roles. She played the role of the court dancer Bahar, who envies Prince Salim’s (Dilip Kumar) love for Anarkali (Madhubala) in the film Mughal-e-Azam (1960). The songs Teri mehfil mein and jab raat ho aisi matwali were picturised on her.Her other films included Dara (1953) and Khyber.

Patanga (1949), Dil Ki Basti (1949), Sheesh Mahal (1950), Khel (1950), Daman (1951), Anand Bhavan (1953), Mirza Ghalib (1954), Tankhah (1956), Durgesh Nandini (1956) and Yahudi (1958) are among her noted movies. She was most active during the 1950s and appeared in only a lesser number of movies later. Jumbish: A Movement – The Movie in 1986 was her last Bollywood film. The famous song of Patanga-49 ” Mere piya gaye Rangoon” was filmed on her. She looked very attractive in that song. The song is still popular.

When she was working for Ranjit Films, she posed for a provocative photo. On the publication of that photo, Ranjit removed her from their films. Later many other heroines did such Photo sessions, but the First daring was by Nigar Sultana.

Nigar Sultana was linked with Pakistani actor Darpan Kumar. She had actually married him, when he was called to Bombay by kardar for his films. In the mid 50s when she was in financial difficulties Darpan and she were divorced. On 13 June 1959, Nigar Sultana held a press conference specifically to deny reports that she was married to the Pakistani actor. Later, Nigar Sultana married K. Asif, producer-director of Mughal-e-Azam (1960). When finally she divorced K.Asif, he gave her 200 rupees per month as compensation.

Nigar had close friendship with actor Shyam, Kamal Amrohi, Najam Naqvi, Rehman, Zuhur Raja, and D N Madhok also.

Nigar Sultana was the mother of actress Heena Kausar. Heena Kausar appeared in secondary roles in a large number of films during the 1970s and early 1980s.

Two actresses of the 1950s, Chitra (born Afsar-un-nisa) and Paras (born Yusuf-un-nisa) were Nigar Sultana’s nieces.

She had also been married to S. M. Yusuf when he lived in India, with whom she had one child. The child became actress Heena Kausar. Nigar acted in 52 films in her 26 years’ career.

She died on 23 April 2000 in Mumbai, India. ( Thanks to wiki, book Inhe na Bhulana by Harish Raghuwanshi ji, HFGK, muVyz and my notes, for this information.)

Let us now listen to today’s excellent song from the film Sardar-55. As I had said in a few articles back, many such ‘Gems’ from the 50’s must still be uncovered. Jagmohan used 5 singers for 9 songs. Today’s song is by Asha Bhosle. In that period, she always got songs for Cabarets, Mujaras, dances and for side heroines. From this struggling position, she fought her way up to an enviable position, reaching Guiness Records. Hats off to her grit and hard work.


Song-Aayee jhoom ke deewaani liye pyaar ki nishaani (Sardaar)(1955) Singer- Asha Bhonsle, Lyricist-Udhav Kumar, MD- Jagmohan Sursagar (Jaganmoy Mitra)

Lyrics(Provided by Prakashchandra)

aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
machal kahin mat jaana
tujhe apni kasam
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

tujhko hansaane tadpaane
hazaaron anjaane tere ghar aaye
banke deewaane parwaane
bejaane pehchaane yahaan mandraaye
gar jeena hai to dhokhe se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

koi agar lalchaaye
tujhe bahlaaye
bane dildaara
karde jigar dikhlaaye
kasam bhi khaye
wahi haaye mara
in ghaaton se aur baaton se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

ye hai zamaane waale
bade matwaale
sabhi saudaayi
padna na inke paale
na karna hawaale
nazar harjaai
koi aankhen bichha khaanse na zara
dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4485 Post No. : 16001

Today’s song is from the film Bhaichara aka Fraternity aka Brotherhood-1943. It was produced by Unity Productions, Calcutta and was directed by a veteran of Silent films- G.K.Mehta.

Gopal Krishna or G.K.Mehta was born on 18-7-1899 and he joined the film industry in 1920. He slogged in the film companies doing odd jobs and finally started directing films from 1928 onwards. By 1931, the Talkie had started and Mehta, after 15 silent films to his credit, directed his first Talkie film-” Chirag E Husn”-1935. Then came Ghazi Diler-36, Toofani khazana-37, Prem samadhi-38, Master Man-38, Juwari-39 and his last film was Bhaichara-1943. He directed Leela Chitnis in film Master man-38, Jairaj and Nirmala in Juwari-39Bharat Bhushan in his second film in Bhaichara-43. Like many other silent film stalwarts like R S Chaudhuri (8-6-1903 to 22-8-1972) with 15 silent and 14 Talkie films, G K Mehta also disappeared without a trace.

This social film had music by Himangshu Dutt – a name not heard by most people in Hindi, but in Bangla films he was a highly respected music composer. Songs composed by him in the early 40s were sung not only by singers of that generation, but also by the younger generations. Due to his early death and a busy schedule in Bangla cinema and Non film music, he was not able to benefit the Hindi audience of the rest of India. He was so popular and respected that he was awarded the first ever award of ” Sur Sagar ” by the people of Dhaka. After him,only singer Jaganmoy Mitra aka Jagmohan was the only person who was awarded the title of “Sursagar “. Jagmohan sang for Dutt’s Bangla films regularly. After Dutt was gone in 1944, Jagmohan sang his Non film songs also. As per HFGK, Himangshu Dutt gave music for only 2 Hindi films – Bhakt Kabir and Bhaichara-43. For both films, Jagmohan sang 2 songs each.

The cast of the film was Bharat Bhushan, Veena Kumari, isabela, Beena Pal,Sunetra, Ansari,Hadi,Himmat Rai etc etc. One name in the cast is VEENA KUMARI. Now this is a name causing ” Same Name Confusion.” In my book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half year I have discussed 14 more such new artistes and including today’s case, there will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.

One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem, Zohra or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, one Khursheed Akhtar changed her name to Shyama and the other changed her name to Anuradha, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.

The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try to give explanations to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.

Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films, with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her get into films.

Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, Pratigya, Bhaichara,Masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good at singing. When you hear her songs, you will agree with me.

Now let us see what proves they were 2 different persons. Firstly, Veena kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for films Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in the Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.

Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on the Internet as well as on this Blog. So much for the Same Name Confusion in this case.

The hero of the film Bhaichara was Bharat Bhooshan, who was a good looking hero, but acting wise, he was similar to his other clones like Anil Dhawan, Karan Dewan and Pradeep kumar. All of them were good looking but very weak in acting. These Heroes got many films, good heroines and popular songs to sing on screen, as long as their luck favoured them. Once their luck-quota exhausted, they fell on bad days and suffered a bad end too. It is said that Bharat Bhooshan, in his bad days, had to work as a Watchman in a film studio.

Bharat Bhushan (14 June 1920 – 27 January 1992) was an Indian actor in Hindi language films, script writer and producer, who is best remembered for playing Baiju Bawra in the 1952 film of the same name .He was born in Meerut, and brought up in Aligarh, Uttar Pradesh. Bharat Bhushan was born on 14 June 1920 in a Vaishya (Baniya) family at Meerut, Uttar Pradesh.
His father, Raibahadur Motilal, was the government pleader of Meerut. His mother died when he was two years old. His elder brother was film producer Ramesh Chandra, who owned the Ideal Studio at Lucknow. The brothers left for Aligarh to stay with their grandfather after their mother’s death. He did his studies and earned a graduate degree from Dharam Samaj College, Aligarh. After this he took to acting against his father’s wishes. He first went to Calcutta to join cinema and later established himself in Bombay.

He married into a prominent family in Meerut, Zamindar Raibahadur Budha Prakash’s daughter Sarla. They had two daughters, Anuradha and Aparajitha. Anuradha had polio-associated complications. His other daughter Apararith played the role of Mandodari in the famous TV show Ramanand Sagar’s famous serial Ramayan. In an interview, Aparajita had said that after the sudden demise of her husband, she turned to acting. Aparajita has done more than 50 films in her career. Bhushan’s wife Sarla died of labour complications after delivering their second child in the early 1960s, soon after the release of film Barsaat Ki Raat. In 1967, he married actress Ratna, his co-star in the same film.

Bhushan owned bungalows in Bandra, Bombay and other areas. He was an avid reader and boasted of his collection of books, which he had to sell off like his cars and bungalows in bad times, after he turned co-producer on the ploddings of his brother. Only a few of his films were successes and unfortunately, the rest flopped. He died after he escaped his financial crisis, on 27 January 1992.

He made his debut with the Kidar Sharma hit Chitralekha (1941). However, he struggled for over a decade to make a mark in Hindi movies till Baiju Bawra (1952), which gave him instant stardom and legendary status along with Mohammad Rafi, Meena Kumari and Naushad Ali. Though a very talented actor and a prominent star of the 1950s and 1960s in Hindi language films, he often took on roles of tragic musicians in the movies. Films in which he starred as lead actor include Basant Bahar.

“He portrays historical and mythological characters the best in Hindi movies,” states contemporary actor-producer Chandrashekar. He wrote scripts and stories for Barsat Ki Raat, Nayi Umar Ki Nayi Fasal, Basant Bahar, Dooj Ka Chand, etc. He was the producer of Dooj Ka Chand. His brother R. Chandra made many films such as Bebus, Minar, and Basant Bahar.

He was the recipient of the second Filmfare best actor award for the film Shri Chaitanya Mahaprabhu in 1954. Most of the great songs of major singers of that period such as Rafi, Manna Dey, Talat, and Mukesh were pictured on him. He was the first chocolate-faced good-looking star of Hindi films. He was one of the few actors who had a good sense of music, so most music-based movies were made with him in lead roles in the 1950s and 1960s.

He acted in Hindi language movies until the 1990s.he acted in 211 Hindi films,in all. His last film was Maachis-1996. He is still loved and revered by the Indians for the great movies and great songs that he gave in spite of personal tragedies and stiff competition from his contemporaries. He is considered to be one of the greatest stars and legends of Hindi cinema. (Thanks to wikipedia for some information.)

Let us now listen to the sweet voice of the great Jagmohan in this second song of this film on the Blog….


Song- Vaada na mera toote (Bhaaichaara)(1943) Singer- Jagmohan Sursagar, Lyricist- Not known, MD- Himangshu Dutt Sursagar

Lyrics

Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

main khoon se seenchoonga
khoon se seechoonga
?? phool ye khil jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

hasti ko mita dena aa
jeene ka saleeka hai ae
hasti ko mita dena
jeene ka saleeka hai
ubhrega wahi daana
ubhrega wahi daana
mitti mein jo mil jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

phoolon ke pujaari hain
kaanton se nahin darte ae
phoolon ke pujaari hain
kaanton se nahin darte ae
?? jaan rahe tan mein
jaan rahe tan mein
?? jaan nikal jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye
Vaada na mera toote ae


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4311 Post No. : 15589 Movie Count :

4291

In the Indian film industry, it is very difficult for a producer and director to balance their ideals with money making in a film. Very few film producers have become successful in producing films combining the social purpose with commercial consideration. Prabhat Films and its director, V Shantaram was one of the earliest examples who produced and directed socially purposeful films like ‘Duniya Na Maane’ (1937), ‘Aadmi’ (1939), ‘Padosi’ (1941) etc. Fazli Brothers – Hasnain and Sibtain successfully produced and directed Muslim reformist social films like ‘Qaidi (1940), ‘Maasoom’ (1941), ‘Fashion’ (1943) etc. One of the risks of producing reformist social films is that of the backlash such films may face from the fanatics in religious groups. Hence, the commercially minded producers, by and large, avoided producing such ‘reformist’ films.

There was one more set of now forgotten producer/directors who were ready to jump into the bandwagon of producing the socially purposeful film taking the Hindu-Muslim unity as the theme. They were Rameshwar Sharma and Lahori Ram Parashar who set up their film banner, Unity Productions. The theme of their maiden film ‘Bhakt Kabir’ (1942), was Hindu-Muslim unity. That means that the film could be prone to attack from the religious fanatics from both Hindu and Muslim. But the film had a smooth release and it become a box office success. Almost all the provincial Governments at time made the film entertainment tax-free.

‘Bhakt Kabir’ (1942) was released at a time when the British rulers with their stooges were successfully deploying their ‘divide and rule’ policy. The success of the film emboldened the Unity Production to produce one more film on Hindu-Muslim unity. The film was titled as ‘Bhaichaara’ (1943). The film, as per the advertising material, advocated the virtues of good neighbourly relationship between Hindu and Muslims who have common traditions and culture in India. The star cast of the film included Bharat Bhushan, Rai Mohan, Ramesh Sinha, Sunetra, Beena Kumari, NA Ansari, Rajendra Singh, Mohammed Hadi, Rajkumar Bedi, Himmat Rai, Isabella etc. ‘Bhaichaara’ (1943) seems to have not done as well as ‘Bhakt Kabir (1942) at the box office.

Under the banner of Unity Productions, Calcutta, the third film produced and directed by Rameshwar Sharma was KL Saigal starrer, ‘Kurukshetra’ (1945). The film was based on the events in the story of Mahabharat which were to depicted in the social scenarios prevalent at that time. The film failed miserably at the box office though it was regarded as an off-beat film. I guess, this film virtually ended the journey of Rameshwar Sharma and Lahori Ram Parashar in Hindi films as producer and director.

‘Bhaichaara’ (1943) had 10 songs written by IC Kapoor, MR Kapoor, Kumar Vyas, Udaybhanu Bhatt and Nazir Bedi. But allocation of songs among the 5 lyricists is not known. All the songs have been set to music by Himangshu Dutta Sursagar.  It is interesting to note that Rameshwar Sharma entrusted the music direction of his first two films to Himangshu Dutta Sursagar.

Himnagshu Dutta (1908-1944) was a Hindustani classical singer who also gave the music direction in about 20 Bangla films. He was a contemporary of Gurudev Rabindranath Tagore and Kazi Nazrul Islam. Just like ‘Rabindra Sangeet’ and ‘Nazrul Geeti’, Himangshu Dutta has been known for his ‘Himangshu Gaan’.  He was also instrumental in promoting SD Burman by composing some of his non-film Bangla songs during his early days of musical career. Himangshu Dutta was the childhood friend of SD Burman in Comilla (now in Bangladesh).

I am presenting the first song from the film, ‘Bhaichaara’ (1943) –  mujhko khayal e yaar sataaye to kya karoon. The song is in a ghazal format sung by Jagmohan Sursagar in an unusual style. For example, he renders the first line, mujhko khayal-e-yaar followed by a short pause and then continue sataaye to kya karoon. This style is repeated in the all subsequent couplets also.

 With this song, ‘Bhaichaara’ (1943) makes a debut in the Blog.

Song – Mujhko Khayaal e Yaar Sataaye To Kya Karoon (Bhaichaara) (1943) Singer – Jagmohan Sursagar, Lyrics – [Unattributed], MD – Himangshu Dutta Sursagar

Lyrics

mujhko khayaal e yaar sataaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
rah rah ke unki yaad jo aaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
 
shaam e firaaq unka tasawwur ke ha……aaye
shaam e firaaq unka tasawwur ke ha…..aaye
zauq e nighaah e aas badaaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
 
pehlu se unki yaad alahda na kar sakaa
pehlu se unki yaad alahda na kar sakaa
zarre mein aaftaab samaaye to kya karoon
kya karoon
mujhko khayal e yaar sataaye to kya karoon
kya karoon
 
behki huyi nazar wo jawaani ki mastiyaan
behki huyi nazar wo jawaani ki mastiyaan
saaqi mujhe jo aap pilaaye
saaqi mujhe jo aap pilaaye
pilaaye
pilaaye
saaqi mujhe jo aap pilaaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
kya karoon
kya karoon

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
रह रह के उनकी याद जो आए तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

शाम ए फिराक उनका तसव्वुर के हा॰॰आ॰॰ए
शाम ए फिराक उनका तसव्वुर के हा॰॰आ॰॰ए
ज़ौक़ ए निगाहे ए आस बढ़ाए तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

पहलू से उनकी याद अल्हदा ना कर सका
पहलू से उनकी याद अल्हदा ना कर सका
ज़र्रे में आफ़ताब समाये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

बहकी हुई नज़र वो जवानी की मस्तियाँ
बहकी हुई नज़र वो जवानी की मस्तियाँ
साक़ी मुझे जो आप पिलाये
साक़ी मुझे जो आप पिलाये
पिलाये
पिलाये
साक़ी मुझे जो आप पिलाये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
क्या करूँ
क्या करूँ


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4163 Post No. : 15334 Movie Count :

4225

Today’s song is from an obscure film from Calcutta,- Arzoo-1944.

It is my observation that barring very early Talkie films made by Madan Theatres, Calcutta, films made by other film makers of Calcutta – other than New Theatres – were, generally, not successful or popular in the Hindi belt. At the peak times in the 30’s, there were about 20+ film making companies in Bengal, but New Theatres alone had got the best of Hindi artistes in almost every department of film making and Music, available in the Eastern sector. Accordingly, even Arzoo, made by I.B.Films, Calcutta also did not create any ripples in the Hindi belt. It was directed by R N Vaidya (a successful Silent Film maker ) and M.Issa. The Lyricist was Khwaja Kidwai and the Music was by Subal Dasgupta. The cast of the film was, Dhiraj Bhattacharya, Panna, Pramod Gangully, Renuka Roy, Fazal, Shanta etc.etc.

In Hindi film arena, there were many brother pairs as Music Directors like Husnalal-Bhagatram, Kalyan ji-Anand ji etc. Most of them were prolific and successful too. But there were no cases worth noticing, where two brothers operated separately as MDs, in the same period but never worked as a Team. Two such cases were from Calcutta. The first was that of Timir Baran and Mihir Kiran and then Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Timir Baran did 11 Hindi films compsing 86 songs.Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944, Kamal Dasgupta did 17 Hindi films and composed 157 songs.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention Kamal Dasgupta’s name as its composer, but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

” His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his times. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance. This is all that could be collated about Subal Dasgupta.

Today’s song is sung by Jagmohan Sursagar. In older times, when when films had not yet become ” inevitable ” in the society, for the period 30s to 50s, Non Film Songs (NFS) ruled the nation. The A.I.R. regularly broadcast NF Bhajans, Geets and Gazals etc. These were extremely popular and their private records used to make a big sale too. Among the NFS male singers, the best was Jagmohan and in the female group, the best was Juthika Roy.

Somewhere in the late 2011 AK ji, of Songsofyore.com, had written on this Blog about the importance of NFS. After reading his views, I too wrote a rather lengthy comment supporting the inclusion of NFS on this Blog. Our contention was that, prior to the Hindi Film Music becoming popular all over India,it was those ghazals, Geets and Bhajans, privately sung and recorded by various artists which had ruled the tastes of music lovers. In fact many famous singers had recorded NFS in the beginning phase of their singing careers. Some names are Talat Mehmood, Saigal, Pankaj Mullick, Jagmohan and JUTHIKA ROY !

I do not think there was a single singer in those days who had not sung a Non Filmi geet of some type like Bhajan or ghazal etc. I am sure many senior readers from this Blog must have grown listening to these NFS Bhajans and Geets. In fact more than a filmi song, may be these people have some old geet or Bhajan embedded in their memories with some persons, events or places.

Today’s singer Jagmohan Sursagar was very well known and close to Rajnikumar Pandyaji and he has elaborated his Bio data in the book ” Aap ki Parchhainyan”. The following information is adapted from this. Born on September 6,1918,Jagmohan whose real name is Jaganmoy Mitra came from a conservative family of land-lords.Sometime before he was born,his father died of a stomach ailment, while his mother was still in her teens. Though Jagmohan had no problems in childhood,he was to grow up an ardent devotee of his mother.When she died in 1981,and was followed by the singer’s wife,in a few months time,Jagmohan felt a terrible void in his life,something that he appears to have been unable to fill ever.

There was an atmosphere of music in his maternal grandfather’s house where they went to live after Jagmohan’s father died.He literally grew up listening to dhrupad,khayal,thumri and tappa,surreptitiously learning from his uncle’s ustads ragas and raginis as also the tabla.It all paid off when after passing his matriculation examination, Jagmohan took part in all Bengal music competition ,topping the list in dhrupad,tappa,thumri,kritan and baul,religious folk music of Bengal.The year was 1937.In the same year,his professional singing career began at All India Radio.The next year,he stood first in khayal singing in an all India competition at Allahabad.

A music recording company, HMV,grabbed him for recording.Says Jagmohan: ” I had a tune and had been trying to compose a song to suit it.But,an acquaintance, Hembabu asked me to see Kazi Nazrul Islam,the great poet.Hembabu took me to him and left me with the poet.The poet was a very kindly man and my diffidence vanished after a while. I sang the few lines I had composed.He praised my tune and music but offered to write a song for me to fit them.I sang the tune several times as the Kazi sat writing stanza after stanza;his words, as if poured after,and there nary was a change or scratching out of a word here or there.That was the song Saaon Ratey Jadi…. on which my re-cording was made.” It was a great hit.Then,in 1940, came two songs of Rabindranath Tagore,both approved by the Nobel prize winning poet.Tagore permitted him to record two more of his songs.

In 1945,Jagmoohan was given the award of Sursagar (ocean of music) in Bengal.The award has not since been given to anyone else,and the singer was only the second recipient of the honour.( The other recipient was Himangshu Datta ). In fact, most people have forgotten that Mitra is Jagmohan’s real surname; it has just become Jagmohan Sursagar, a name under which he also wrote an auto-biography in Bengali. It has recently been translated into Gujarati and brought out under the title of one his more famous songs, Dil Dekar Dard Liya Hai Maine…
Gandhiji too had appreciated Jagmohan’s singing and the singer recorded Sapt Kand Ramayana in six minutes at the Mahatma’s suggestion.Another national leader fond of his singing was Jay Prakash Narayan.

Jagmohan toured abroad also extensive and has been to among other countries East Africa,the U.K.,the U.S.A.and Canada,earning vast fan following everywhere. Speaking at the Ontario College of Art in Toronto,Jagmohan held his audience spell-bound,claiming there essentially was no barrier to music.He sang a Bengali composition in Bhairavi and followed up with an English song ,rendered in the same raga.

He came to Bombay in 1950 to become a Playback singer, but the Bombay film world atmosphere did not impress him and he did not sing in any film. In fact after 1955, he did not cut any record for Hindi films. In 1955, he sang under his own baton, for the only Hindi film for which he was the composer. This movie was “Sardaar”(1955).

A dignified individual, Jagmohan never turned bitter,became more of an introvert,paying heed to the calls of none but his inner voice.After the deaths of his mother and his wife in 1981,feeling lonely,he had moved residence thrice– from Bombay to Delhi for two years while he was a member of Censor Board,then to Calcutta and to Ahmedabad.

He did not seem to regard his moving from one city to another as something of great importance. He declared :”I crave for affection ,respect and human warmth and go wherever my inner-self tells me to. I have followed the dictates of my inner-self only all my life.”
“I can go away from a city,but I cannot go away from music”,he said.

He had become so popular due to his NFS in Hindi and Bangla, that he had neither the time nor the desire to sing for films. However Jagmohan sang 23 songs in 12 films, The films were, Bhakta Kabeer-42, Bhaichara-43, Hospital-43, Arzoo-44, Subah Shaam-44, Ameeri-45, Meghdoot-45, Krishnaleela-46, Pehchaan-46, Zameen aur Aasmaan-46, Iran ki ek raat-49 and Sardar-55.

After many attempts, it became clear as to how many Non film songs or Geets he sang in Hindi and the number is 75 songs. However. his songs are few on this Blog.The generation born in the 40s grew on Saigal,Jagmohan and Pankaj Mullick songs. There was a period when Non film Geets were extremely popular, even in the presence of film music, but gone are those days now when record collection was a respectful hobby. With this, the decline of such songs too came fast and only memories lived on.

In his book, Aap ki parchhainyan, shri Rajnikumar Pandyaji has mentioned an incident when Jagmohan went all the way to a far off place, just so that a dying fan of his songs, could listen to him while on deathbed. This is how Rajnikumar Pandya ji described this incident -in an E mail sent to me after I posted above information earlier. ” The patient was Manubhai Trivedi,father of my writer friend Niranjan Trivedi, I was knowing that Manubhai was an ardent fan of Jagmohan but due to his serious ailment it was not possible for him to come down to my place to see Jagmohanda who just arrived by morning train from Bombay .

“I therefore requested to Dada to pay a visit to Manubhai . He reluctantly agreed to it,We went to Manubhais place which was just few minutes form my place, After seeing his serious condition he expressed hid desire to sing a Bhajan before him though Manubhai was not in his senses, Anyway he sang a Bhajan “Ab tim kab sumiroge Raam, Jeevn do din ka maehamaan,’There were tears in the eyes of all who were present there including me and my small daughter who is party seen in the photograph attached with this mail. ( he attached a photograph for me).
Manubhai passed away after a week of this incident. ” The family members of the fan became eternally obliged to Jagmohan’s noble gesture.
Jagmohan returned to Bombay, after almost 2 years in Ahmedabad. He died on 4-9-2003, in Bombay.

The Hero of film Arzoo was Dhiraj Bhattacharya ( 5-11-1905 to 1959 ) worked in 10 Hindi films, namely Radha krishna-33, Seeta-34, Chandragupta-34, Balaa ki raat-36, Mandir-37, Kumkum the dancer-40, Arzoo-42, Wapas-43,Shri Ramanuj-43 and Irada-44.

Today’s song is not only a very rare song, but also an excellent Gazal. In the NFS, there is no parallel to jagmohan and Pankaj Mullick. You too will fall in love with this song, when you hear it. With this song, film Arzoo-44 makes its Debut on the Blog.

(I thank Rajnikumar Pandya ji, Manik Premchand ji, wiki and my notes for information used in the above article. )


Song- Hai kaun dil nahin jo pareeshaan e Aarzoo (Aarzoo)(1944) Singer- Jagmohan Sur Sagar, Lyricist-Khwaja Kidwai, MD- Subal Dasgupta

Lyrics

Hai kaun dil nahin jo pareeshan e aarzoo
Hai kaun dil nahin jo pareeshan e aarzoo
ye zindagi hai asal mein saamaan e aarzoo
ye zindagi hai asal mein saamaan e aarzoo
murjhaati hai jo ye ke to khilti hai doosri
murjhaati hai jo ye ke to khilti hai doosri
kaliyon se yoon bhara hai gulistaan e aarzoo

uske karam se ae ae ae
badhhta hai har dil ka hauslaa
uske karam se badhhta hai
har dil ka hauslaa
har dil ka hauslaa
phaila hua hai is liye daamaan e aarzoo
phaila hua hai is liye daamaan e aarzoo
maayoosiyaan bhi deti hain ummeed ko janam
maayoosiyaan bhi deti hain ummeed ko janam
naakaam e aarzoo ki to jaan hai aarzoo

shaayad isi tarah se khule girah phaans(?) ki
shaayad isi tarah se khule girah phaans(?) ki
girah phaans(?) ki
ham chhodte hain baandh ke paimaane aarzoo
ham chhodte hain baandh ke paimaane aarzoo


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3923 Post No. : 14990

Today’s song is from an almost unknown film called Zamin Asman-46. The film was made by Saubhagya Pictures, but was promoted and distributed by Prakash Pictures. While HFGK mentions name of Saubhagya, the film booklet and other records show the name of Prakash Pictures. In fact, with this film, not only the rights of this film but the company Saubhagya Pictures was taken over by the Bhatt brothers for Prakash Pictures.

The film was directed by Dwarka Khosla (born in 1904), who started from silent film era. His first Talkie film was Josh E Jawani-35 and he directed, in all, 33 films till his last film Reporter Raju-62. All songs of today’s film were composed by Faiyaz Hashmi (1920 to 29-11-2011), who wrote lyrics for only 9 Hindi films in India. The Music Director was Kamal Dasgupta and today’s song is sung by Jagmohan Sursagar and Kalyani Das.

Kalyani is a name fit for ” Same name Confusion” and I find that though kalyani Bai and kalyani Das were two different singers, most sites, Blogs and even the well known book ” Swaron ki yatra” by Anil Bhargav ji, makes a mix up and they are treated as one person. Let us know who they were….

First Kalyani Bai. Hailing from Turkman gate in Delhi, Kalyani Bai was a born singer. She took lessons from Ustad Vazir khan and in no time started singing on A.I.R and HMV. She recorded many Ghazals, Khayals and Thumris. She was taken to Calcutta at the age of 13 years to act and sing in film Pardesi, which was shelved halfway, but she was offered a job by New Theatres at Rs. 250 pm. Her nickname was Kallo. R C Boral changed her original name Zarina to Kalyani bai.

She acted and sang in 4 films of New Theatres- Anath Ashram, mukti, president and Vidyapati till 1937. She acted with all big stars of that time. Later Chandulal Shah called her to Bombay with Rs. 800 per month and she joined Ranjit in Bombay, doing her first film Toofani Toli-37. After doing 9 films, she left Ranjit and worked for several production houses. In 1945, she was in the famous All Women Qawali in film Zeenat-45- Aahen na bhari, shikve na kiye.

After her marriage in 1948, she left films to raise a family. However, she had to come back to films after after many years to do some films in 1975 onwards. After doing some films with small roles, she realised that her time was gone and she retired completely. Her last years were spent in financial difficulties. She died on 1-10-2009. kalyani Bai acted in 26 films and sang 68 songs in 41 films.

Kalyani Das was born and brought up in Calcutta. She was born in 1927 in Calcutta. Her first Hindi film song came up in film Jawab-1942, but her solo song came in Kurukshetra-45, under the baton of Pt. Ganpatrao. When Kamal Dasgupta went to Bombay, he called her and she sang in film Meghdoot-45, Bindiya-46, Zamin Asman-46, Prem ki Duniya-46, Manmani-47, Faisla-47,Giribala-47, Swayamsiddha-49 and Iran ki ek raat-49. She sang 37 songs in 11 Hindi films in addition to several songs in Bangla films.

Kalyani Bai left Calcutta in 1937 and kalyani Das started in 1942 in Calcutta. Kalyani Bai never sang for Kamal Dasgupta or any imported Bangla composer. kalyani Das sang only for Kamal Dasgupta (8 films) and in one film each for Ganpat rao, Subal Dasgupta and Prafulla Choudhari. Therefore there need not be any mix up, but you know how it is in Hindi film industry ! Shortcuts are popular.

After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financers were concerned, almost all producers and film makers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.

The film industry in Pakistan was never an organised one. Moreover the often changing Goverments did not bother to do anything to protect, sustain, help or develop the infrastructure of Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.

By 2010,the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !

While Indian films were distributed in over 90 countries, there was no International market for Pakistan films.

All studios in Pakistan were in ruins and Theatres had been demolished.

Can you believe, In the entire Islamabad city, there is ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )

We heard songs composed by the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today we will talk about a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta.

It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.

Kamal Prasanna Dasgupta was born on 28-7-1912 in village Narail,Jessore district in East Bengal. He matriculated in 1928 and did his B.Com. Then he earned a doctorate in music from the Banares Hindu University. His father Tara Prasanna died early. Kamal, his brother Subal and sister Sudhira were brought up by the eldest brother Bimal Dasgupta.

In 1935, he joined HMV as a Music Director. Here he met Kazi Nazrul Islam, who was also employed there. Kamal was a singer himself and sang many songs in Hindi, Bangla and also Tamil. He tuned almost 400 songs written by Kazi as Nazrul Geeti. It was here that he met and developed the talents of singer Juthika Roy and Jagmohan. The modern songs tuned in Rabindra and a mixed ghazal style were labelled as ” HINDUSTANI SONG ” and soon became popular all over the country. Lyricist Faiyaz Hashmi was the third person in the team of Kazi, Kamal and Faiyaz. Besides Jagmohan, Kamal Dasgupta also helped Talat Mehmood and Hemant Kumar to get established with NFS in Hindi and Bangla. His close ties with Juthika Roy were ‘special’. She wanted to marry him, but when it was clear that it was not possible, she chose not to marry at all and remained a spinster throughout her life.

He gave music in 16 Hindi films like Jawab, Hospital, Rani, Meghdoot, Arabian Nights, Bindiya, Krishna Leela, Pehchan, Zameen Aasmaan, Faisla, Giribala, Manmaani, Chandrashekhar, Vijay yatra, Iran ki ek raat and Fulwari. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.

Kamal was a chain smoker and suffered from Gall Bladder stones. Instead of an operation, he started taking Morphin injection for pain relief, but then he became its addict. His elder brother died and all the family responsibility fell on his shoulders. He had earned a lot, but all his money was lost when his bank went bankrupt. In Calcutta, New Theatres was almost on the verge of closing down. Arrival of new blood in music field took away focus from him and he felt neglected. He became a depressed person. Around 1958 he migrated to Dhaka-East Pakistan. He converted to Islam, changing his name to Kamal Islam. He also married singer Firoza Begum. The got 3 sons and a daughter.

After the emergence of Bangla Desh, the Government tried to help him, but it was too late by then as he had become disillusioned and depressed. In frustration he wrote to a friend “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”

His was not in good terms with his wife. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !

The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. here is some information about her, for our readers.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip Kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. But as the Luck would have it, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, prem Adeeb, Prithviraj Kapoor, Jairaj,Dilip kumar,Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together. Her sister Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She worked in A.I.R. and some Marathi dramas and films. Her first Hindi film was Ghar ki Rani-40. She also did Charnon ki Daasi-41, Village Girl-45, Wamaq Azra-46 and Zamin Asmaan-46. In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

Film Zamin Asman-46 was about a love triangle. Baburao Patel severely criticised this film and especially Jeevan- the Hero, in his film magazine Film India issue. The film was released on 12-7-1946 at Lamington Theatre, Bombay. The story of the film as outlined in this magazine was-

Nanak Chand (Ramesh Sinha) owns a sugar mill in partnership with Ravi (Jeevan)- son of his dead partner Pooran Chand. Ravi’s marriage with Nirmala (Kusum) is already announced, before he went to England for higher studies, but Ravi is not interested. Ravi is distressed by the plight of his factory workers, he meets Kamala (Ranjana) in a jungle ashramcalled Bharati Ashram. They fall in love.
There is a conflict between Nanak Chand and his workers. Ravi takes workers’ side. Finally, Nanak chand has to bow down and Ravi and Kamala unite.

Here is a duet sung by Kalyani Das and Jagmohan Sursagar. Jagmohan has not sung many songs in Hindi films. He was more interested and famous for his wonderful NFSs. Therefore it is more enjoyable. I like the voice of kalyani Das.

( Thanks to http://www.beetehuedin.blogspot.com for information culled from Kalyani Bai’s interview by Shishir Krishna Sharma ji )


Song-Ek geet sunaana hai hamen ek geet sunaana hai (Zameen Aasmaan)(1946) Singers-Kalyani Das, Jagmohan Sursagar, Lyrics- Faiyaz Hashmi, MD- Kamal Dasgupta
Both

Lyrics

Ek geet sunaana hai hamen
ek geet sunaana hai
Ek geet sunaana hai hamen
ek geet sunaana hai
rone waalon ko hansaana hai
duniya ko swarg banaana hai
hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

aansoo bhi hansi ban sakte rhain
haan aan aan aan
aan aan aan aan aan
kaanten bhi kali ban sakte hain

haan aan aan aan
aan aan aan aan aan
aansoo bhi hansi ban sakte hain
kaanten bhi kali ban sakte hain
ye kar ke hamen dikhaana hai
ye kar ke hamen dikhaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

thhirak thhirak kar jaise baati
aanchal bhar bhar jyot lutaati
ee ee
waise hi

auron ke liye jal jaana hai
jal jaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

ab na rahen ye sapne adhoore ae ae ae
ye geet hamen kar denge poore
ae ae ae

jo khoya hai so paana hai
paana hai ae ae
jo khoya hai so paana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )

Audio

Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3489 Post No. : 14013

Sardar (1955) was produced and directed by Gyan Mukherji for Gyan Mukherji Productions, Bombay. Though described as a “social” movie in HFGK, is was a suspense movie. It had Ashok Kumar, Bina Rai, Jagdish Sethi, Nigar Sultana, Rama Sukul, Tiwari, Mishra, Vasantrao, Ifthikaar, H Murad, Sampson, Bhoopendra Kapoor, Jamal, Mehmood, Samar Chatterji, Sailen Bose, Pal Sharma, S K Singh, Sheila Vaz etc, with Guest appearance by Nana Palsikar.

The movie had 9 songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Sardaar”(1955). This song is sung by Asha Bhonsle. Uddhav Kumar is the lyricist. Music is composed by Jagmohan Sursagar.

Only the audio of the song is available. The song sounds like a villain’s den song cum club song. I request our knowledgeable readeers to throw light o the picturisation of this song.

[
Song-Khili kali armaan ki (Sardaar)(1955) Singer-Asha Bhonsle, Lyrics-Uddhav Kumar, MD-Jagmohan Sursagar

Lyrics

aa haa
aa aa aa
hmm hmm
hmm hmm
hmm hmm hmm hmm

khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

aaj chhalakta jaam le
aaj chhalakta jaam le
mere laakh salaam le
ji bhar ke ji
bhar bhar ke pi
marzi meharbaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

tu dil ke har raag mein
tu dil ke har raag mein
mere har andaaz mein
mera jahaan tujhmein ??
khaaun kasam jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki

mehfil ki aagosh mein
mehfil ki aagosh mein
kar doon tujhe madhosh main
armaan jagen phir na lagen
nazren beimaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki
khili kali armaan ki
parva kise jahaan ki
pyaar mein ab to baazi laga di
maine apni jaan ki


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Readers from Gujarat must have heard the name of Shri Rajanikumar Pandya ji, a famous writer and winner of five awards from Sahitya Academy of Gujarat. One of the several books he has written on film people is “Aap ki Parchhaainyaan “.( He had gifted me this book). This book contains information derived from his personal interactions with several film greats like Nargis, Talat, Shamshad, Mubarak Begum, Jaikishen, Mukesh, Rafi, Composers Kalyan ji – Anand ji, Naushad, Anil Biswas, Hemant Kumar, Kavi Pradeep and a few more. In this book he has devoted 30 pages for his personal experiences with Jagmohan Sursagar ( Jaganmoy Mitra ). This is about the period close to two years when Jagmohan first stayed in his house and later elsewhere in Ahmmedabad. Jagmohan had already retired by that time and he was a devastated person due to the demise of his mother and wife in a span of a few months.
Read more on this topic…


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16900 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16949

Number of movies covered in the blog

Movies with all their songs covered =1313
Total Number of movies covered=4587

Total visits so far

  • 15,237,082 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,982 other followers

Bookmark

Bookmark and Share

Recent comments

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: