Posts Tagged ‘Jamal Sen’
- In: "Aankh" song | Asha Bhonsle songs | Blog Ten Year Challenge (2013-2023) | Duet | expression of love | Feelings of heart | Lyrics by Prakashchandra | Lyrics contributed by readers | Rafi songs | Rafi-Asha Bhonsle duet | Songs of 1950s (1951 to 1960) | Songs of 1953 | Yearwise breakup of songs
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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.
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Blog Day : |
5401 | Post No. : | 17722 |
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Blog 10-Year Challenge (2013-2023) – Song No.108
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On this date ten years ago (2 May 2013), four songs from four different movies (plus one non film song) were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8021 | Chamkat damkat daamini | Geet Govind (1947) | 4 songs covered out of 15 by now |
| 8022 | Tumbak tumba tumbak tumba | Chaar Chaand (1953) | 6 songs covered out of 9 by now |
| 8023 | Reh na sakoge ham bin sajan pachhtaaoge | Rimjhim (1949) | Movie YIPPEED in the blog by now |
| 8024 | Dil mein basa le apna bana le | Rangeela(1953) | 8 songs covered out of 11 by now |
| 8025 | Sunsaan Jamuna ka kinaara…meri bhi ik Mumtaz thhi | Manna Dey NFS (1970) |
We observe that one movie (out of four) whose songs were covered in the blog on this date ten years ago (on 2 May 2013) has since been YIPPEED in the blog. That leaves us with three unYIPPEED movies that are eligible for Blog Ten Year Challenge today (2 May 2023).
“Rangeela”(1953) was produced and directed by Bhagwan for Bhagwan Art Productions, Bombay. This movie had Bhagwan, Purnima, Vivek, Badri Prasad, Baburao, Naziraa, Bimlaa Devi, Heera Sawant, Indira,Rambha, Kammo, Cuckkoo, Usha Shukla, Afghan Sandow, Inamdaar, Madhav Kale, Sukumar, Radhey Shyam, Ramlal, Deepak, BalaRam, Harish,Hanuman, Swami, Swastha, Sitaaraa, shera etc, with Maruti in guest appearance.
“Rangeela”(1953) had 11 songs in it. 8 songs have been covered so far.
Here is the ninth song from the movie to appear in the blog. The song is sung by Rafi and Asha Bhonsle. S H Bihari is the lyricist. Music is composed by Jamal Sen.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it was picturised on Bhagwan and Poornima.
Lyrics of the song were sent to me by Prakashchandra.
Song-Matwaale nainon waale kaahe hum par jaadu daaley (Rangeela)(1953) Singers-Asha Bhonsle, Rafi, Lyrics-S H Bihari, MD-Jamal Sen
Both
Lyrics(Provided by Prakashchandra)
matwaaley nainon waaley
ho o
matwaaley nainon waaley
kaahey hum par jaadu daaley
kaahey hum par jaadu daaley
jaadu daaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley ae
teri adaayein aen aen aen aen
dil ko jalaayein aey ae ae
kaisey aag bujhaayen
ho o ho o
aankh zaraa tu milaa ley ae
milaa ley
matwaaley nainon waaley
ho o matwaaley nainon waaley
khel nahin hai aey ae aey ae
dil ka lagaanaa..aa…aa..aan
karke pyaar nibhaanaa
ho o o kaun rog ye paaley
matwaaley nainon waaley
ho o matwaaley nainon waaley ae
raat suhaanee..ee…eee..ee..eee
hai ye puraanee..eee..ee..ee
tooney haayye na jaanee
ho o
sab hain dekhey bhaaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley
kaahey hum par jaadu daaley
kaa..aahey hum par jaadu daaley
jaa..aadu daaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley ae
Kaahe ko chhipke door bhaagtee
Posted on: April 21, 2023
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.
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Blog Day : |
5390 | Post No. : | 17680 |
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Blog 10-Year Challenge (2013-2023) – Song No.83
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On this date ten years ago (21 April 2013), eight songs from eight different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 7943 | Kaahe ko diya jalaaya | Moorti (1945) | Movie YIPPEED in the blog with this song |
| 7944 | Main chaand hoon ya chaandni | Chaandni (1942) | 5 songs covered out of 7 by now |
| 7945 | Moti chugne gayi re hansi maansarowar teer | Chheen La Aazaadi(1947) | 4 songs covered out of 9 by now |
| 7946 | Tumpe ham qurbaan qismat ban jaaye | Baghdad (1961) | one song covered out of 8 by now |
| 7947 | Lagi mast nazar ki kataar | Sehraa (1963) | Movie YIPPEED by now |
| 7948 | Din bure hote hain | Sangdil(1967) | 2 songs covered out of 5 by now |
| 7949 | Pyaar ki ye baaten hamko na samjhaao | Baazi(1968) | Movie YIPPEED by now |
| 7949 | Allah bhi hai mallah bhi hai | Maan (1954) | Movie YIPPEED by now |
We observe that four movies (out of eight) whose songs were covered on this date ten years ago (on 21 april 2013) have since been YIPPEED in the blog. That leaves us with four unYIPPEED movies that are eligible for Blog Ten Year Challenge (BTYC) today.
“Baghdad”(1961) is one of BTYC eligible movies today (21 april 2023).
“Baghdad”(1961) was directed by T R Sundaram for Southern Movies, Madras. The movie had M.G.Ramachandran,Vyjayantimala,Helen,Gopi Krishna, T.S.Balaiaha, M.N.Nambiar, Sandhya, V.P.S.Mani, M.N.Rajam, T.R.Ramchandran,N.S.Natarajan etc in it.
hThe movie, apparently a dubbed movie, had eight songs in it. One song has been covered in the past and that was ten years ago.
Today, exactly ten years later, here is the second song from “Baghdad”(1961) to appear in the blog. The song is sung by Rafi. Pt Indra Chandra is the lyricist. Music is composed by Jamal Sen.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Kaahe ko chhipke door bhaagti (Baghdad)(1961) Singer-Rafi, Lyrics-Pt Indra Chandra, MD-Jamal Sen
Lyrics(Provided by Prakashchandra)
kaahe ko chhipke door bhaagti
aisey roothh ke chhoree
kaahe ko chhipke door bhaagti
aisey roothh ke chhoree
dor main lekar idhar baithhaa jee
tu bas khade hee rehnaa
oo oo maan jaao tum malikaa dil ki begum…mmm
aaj mujhse bol
muskuraa junglee billee ee ee
kitne dinaar maangey
itney diye gin ke ae ae
gar mujhe dekhe nazar ladaake
ho jaaye mohabbat bas phir to
dor main lekar idhar baithhaa jee
tu bas khadey hee rehnaa
oo oo o o
maan jaao tum malikaa dil kee begum…mmm
kaahe ko chhipke door bhaagti
aisey roothh ke chhoree eee eee
aitbaar hoor beshque dil ke sach hai ae ae
haseena hardum tere bin mehfil soonee eee
aji sanam itnee akad bhi kin se
ajee taubaa karey hum ishq se ae
dor main lekar idhar baithaa ji
tu bas khadey hee rehnaa
oo oo o
maan jaao tum malikaa dil ki begum…mmm
kaahe ko chhip ke door bhaagti
aisey roothh ke chhoree eee eee
taad ke maarey
dar kar udtee mainaa aaa
naar ye chookey baat de kab is man kee
o rey qaatil mujhe pehchaan le
idhar aao ruk ke mud ke ae
dor main lekar idhar baithaa jee
tu bas khadey hee rehnaaa
oo oo o
maan jaao tum malikaa dil ki begum…mm
kaahe ko chhip ke door bhaagti
aisey roothh ke chhoree
dor main lekar idhar baithaa jee
tu bas khadey hee rehnaaa
Hum to chale apne gaam
Posted on: March 30, 2023
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.
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Blog Day : |
5368 | Post No. : | 17604 |
Today’s song is from the film Patit Paawan-1953.
The meaning of Patit Paawan is “one who is purified after having fallen down with sin”. This was used as a Title for Lord Shri Ram because with the touch of his feet, Ahilya-Gautam Rishi’s wife, who had turned into a stone, came to life and human form. However, today’s film is not on the story of Ahilya uddhar. The story is different but the moral of the story is same.
One film on the Ahilyoddhar was made with this same title in 1933. In the film the main lead actor was P.Jairaj. In 1933, the playback system was not yet available and hence all the Hero, Heroine and others had to sing their own songs. Those artistes who knew singing had no problem, but those who were not singers were problems for the audience and the music directors. They had to do several rehearsals and had to teach singing to such actors. It was very painful for the MDs and also the audience to bear this singing. Heroes like Master Bhagwan too sang songs in his early films. You can well imagine the condition of the audience, forget how the actor must be feeling !
There is a very funny episode about this film.
Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man, when he joined films.He acted in 170 films and went on to receive the Phalke award and Padma Bhushan in 1980.
After doing 11 silent films, he did his first Talkie, “Shikari” in 1932. It was produced by a Hyderabad company-Eastern Films.
Thus, Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The Music Director of the film Patit paawan-33 was Prof.B.R.Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so badly that the song was removed from the film before its release. Jairaj is probably,the only Hero of those days who never sang in films. Even as a lip syncer of songs (after playback singing became the norm),Jairaj has sung less than 20 songs on screen despite acting in nearly 170 movies!
The film was produced by Hema Sapru under the banner of D.K.Films, Bombay. It was directed by Vasant painter and the MD was Jamal Sen. The cast was Sapru, Sulochana, lalita pawar, Sulochan Chaterjee, hemavati, Ulhas, Bipin Gupta, jeewan, Master Vinod (later Vinod Mehra), Dar Kashmiri, Rajan Haksar, Parshuram etc. The producer Hema Sapru and actress Hemavati were the same Though she had worked with top class actors like Ashok kumar, Dev Anand and Raj kapoor, in their early films her name is not known to many people.
Hemavati. Hardly anyone knows who this actress was. She had done an important role of Mohini-the Club Dancer,a time pass love of Ashok kumar in the film-Sangram-50. Normal sources will not give any information on Hemavati,but for our readers,here is some information on her. Hemavati was a Marathi actress and an active worker of I.P.T.A. in Bombay.She was also a regular actress of Prithvi Theatres and had acted as the Heroine of Raj kapoor in the drama ‘Deevar’.
At IPTA, she met actor aspirant D K Sapru and they fell in love with each other. They got married in 1948. By that time she had acted in ‘Ghar ghar ki kahani’-47 with Nayampally,Jail Yatra-47,with Raj Kapoor,Mohan-47,with Dev Anand and a few other films.
After marriage,she completed Sangram-50,with Ashok Kumar and stopped working in films to raise a family. She had 3 children. Preeti Saproo became a Punjabi film actress. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful s/play writer of popular films. Hemavati’s last film,however, was “Patit Pawan”-55,which she also produced for her husband.
She died on 10-4-2005.
In the cast you will also find names of Dar Kashmiri and Jeewan. Hardly anyone knows that they were real brothers in private life. Many times these two names are used for Jeewan only. So, here is some information about these siblings. Most sites and Blogs list Dar Kashmiri as another initial name for actor Jeevan. The reality, however, is different. Dar Kashmiri was a Pseudo-name used for Om Prakash Dar- a Kashmiri actor, who was the elder brother of actor Jeevan and who came to work in Hindi films much earlier than Jeevan had.
Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.
Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in Fashionable India-35. Since his name was Onkar Nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri acted in these films:
| Movie | Year |
|---|---|
| Noor Mahal | 1934 |
| Vatan Parast | 1934 |
| Cheen Kaa Saahookaar | 1935 |
| Jeevan Naatak | 1935 |
| Kisakee Pyaaree | 1937 |
| Veer Kesaree | 1938 |
| Imperial Mail | 1939 |
| Dorangiyaa Daakoo | 1940 |
| Yaad Rahe | 1940 |
| Abalaa | 1941 |
| Saugandh | 1942 |
| Angooree | 1943 |
| Nayaa Taraanaa | 1943 |
| Devadaasee | 1945 |
| Din Raat | 1945 |
| Room No 9 | 1946 |
| Paaro | 1947 |
| Huaa Saveraa | 1948 |
| Majaboor | 1948 |
| Kisee Kee Yaad | 1950 |
| Jhaansee Kee Raanee | 1953 |
| Chakradhaaree | 1954 |
| Laadalaa | 1954 |
| Bhedee Luteraa | 1955 |
| Ghar Ghar Men Deevaalee | 1955 |
| Jay Mahaadev | 1955 |
| Kundan | 1955 |
| Patit Paavan | 1955 |
| Pyaaraa Dushman | 1955 |
| Ayodhyaapati | 1956 |
| Jay Shree | 1956 |
| Raam Lakshman | 1957 |
| Raaj Pratigyaa | 1958 |
There are 4 films in which the brothers Dar Kashmiri and Jeevan acted together:
| Kisee Kee Yaad | 1950 |
| Jay Mahaadev | 1955 |
| Patit Paavan | 1955 |
| Jay Shree | 1956 |
Every film, he was billed as Dar kashmiri only.
Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).
In film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue decisively. (Most of this information comes from Filmdom-The All India Film Directory and Who’s who in Indian Film Industry-1946.)
I have written on D.K.Sapru, but I found a post by shri M.N.Sardhana ji on Facebook, which is more interesting than my own write up. I am giving herewith the same as an adapted version, with thanks.
” Mr D K Sapru ,scion of an influential Pandit family of J & K and one of the most handsome actors of his time ,like other young men joined the film line to become hero . In 1944 , famous film maker V Shanta Ram chose him for his much acclaimed movie ‘Ram Shastri’ . Fair coloured with expressive light eyes like his senior actor & fellow Kashmiri Pandit Chandra Mohan ,soon he became a known actor .His cousin Mr Jeevan was already an established actor in Hindi Films . In 1948, Jaddan Bai produced a movie which was based upon the tragic tale of Romeo And Juliet , written by William Shakespeare ,in which the female leading role was played by her daughter Nargis ,opposite Sapru Saab.
In the same year he married Hemavati, a Marathi actress, who mostly had worked on stage at IPTA and Prithvi Theatres and also in a few movies . Interestingly ,she was the leading lady in 1947 movie Mohan, in which the struggling actor Dev Anand was her hero. Hemvati & Sapru, looked as if they were made for each other, as both were good looking, fair coloured and had similar light eyes.
There was a big advertisement in Film India and other papers, when K Asif announced Mughal E Azam ,for which he took Sapru and Nargis as jilted lovers with Chandra Mohan in the title role of the Great Mughal . The movie could not progress, as firstly the financier migrated to Pakistan and in 49, Chandra Mohan passed away . Mr Sapru became a full time character actor and his versatility came to the forefront, when he portrayed dissimilar characters in different movies.
Sapru Saab was a man for all seasons ,and could portray saintly person/villain/cop/ foreigner/ villager / sophisticated person /King/ Sultan – all types of characters with ease. He looked so charming as a rich Jeweller ,father of Tanuja in Jewel Thief and in Tere Mere Sapne ,he was a humble villager. In Zanjeer ,he was a mafia lord and in Majboor (1964) ,he was prosecuting lawyer . He appeared in numerous mythological movies and in fact made Patit Pawan in 1955 ,which did average business. As an actor ,he was doing well, therefore one fails to appreciate the reasons as to why he thought of producing movies.
He made Bahadur Shah Zafar ,in which he himself essayed the role of the unfortunate last Mughal. He took Chand Usmani, Shyama, Jeevan, Sudesh Kumar , Ullhas etc in the movie .Unaware of the lack of honesty of his production team , Mr Sapru kept faith on them and could not monitor the expenses and the movie was over budgeted .He spent all his money and even mortgaged his immovable assets to make the movie spectacular and completed the movie . But sadly the movie could not be released and remained in cans. It was a big blow for him. Before he passed away in 1979 ,he announced another movie “Jeevan Chalne Ka Naam” , with Sanjeev Kumar ,Rekha and Shashi Kapoor . A workaholic Sapru Saab worked in more than 350 movies.
His son Tej and younger daughter Preeti, followed the footstep of their parents and became actors. Eldest daughter Reema is essentially a writer and has directed few movies also. Please allow me to state that in movies decorum of the court is the biggest casualty after Mr Sapru vacated the throne of justice and presently sheer buffoonery has taken its place .”
The story of film Patit Pawan-1955 was…
The story of the film was built around Dama Shetty,who lived happily in a village with his wife Guniya,son Nama and daughter in law Raji. His son was married in his childhood only. Dama shetty was a very pious and good person who helped the needy. He was respected in nearby villages too. However Nama was opposite to him. He only played all day and never believed in God. Dama used to scold him so that he would improve. Instead, one day nama ran away to the jungle to avoid father’s admonishments every day. He was found by a dacoit’s gang. Many years passed and now Nama was a famous and dreaded Dacoit. His wife was hoping that someday Nama would come back.
One day Raji came across Nama the dacoit. By now Dama Shetty had died. She told her about father’s death and gave him a lot of advice to give up bad life and worship God. Nama’s mind changed and he decided to reform himself. He felt that he was the cause of father’s death. Nama gave up everything and started worshipping God. However the village purohit Parshuram Bhagwat did not believe him and banned his entry into the temple. Nama stayed outside and prayed. That year there was a terrible famine in the area. Nama decided to ask God’s help by fasting and he started his jaap and fasted till he almost became a dying person.
Seeing his devotion God was pleased and it started raining heavily. Soon the villages prospered again and Nama the Patit (the fallen one) became Paawan (purified).
Let us enjoy the song by Mohd. Rafi and Chorus….
Song-Hum to chale apne gaam (Patit Paawan)(1955)Singer- Mohd. Rafi, Lyrics- Bharat Vyas, MD-Jamal Sen
Chorus
Lyrics
ham to chale apne ae ae apne ae ae gaam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
raadhe shyam
shyam radhe shyam
door hua man ka andhera
aaj jeevan mein jaaga sawera aa aa
door hua man ka andhera
aaj jeevan mein jaaga sawera
toot raha praanon ka phera aa
hamne dhoondh liya apna basera
aur sabhi jhoothhe naam
saancha ek raam naam
bolo bhai raam naam
radhe shyam
Shyam radhe shyam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
saath ham jo tumhaare rahe thhe
bol kadwe aur meethhe kahe thhe ae
saath ham jo tumhaare rahhe the
bol kadwe aur meethhe kahe the
ye hai ehsaan ham par tumhaara aa
jo hans hans ke tumne sahe thhe
do dinon ki dhoom dhaam
zindagi ki hui shaam
bolo bhai raam naam,
radhe shyam
Shyam radhe shyam
der kaise sahen pal bhar ki
hamen laagi lagan us ghar ki ee
der kaise sahen pal bhar ki
hamen laagi lagan us ghar ki
dekho bansi pukaare natwar ki ee
dekho bansi pukaare natwar ki
chhavi chhaayi hai brij ke dagar ki
subah shaam aathon yaam
rato shyam shyam shyam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
Diyaa jale chamke taara
Posted on: January 26, 2022
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.
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Blog Day : |
4940 | Post No. : | 16792 |
HAPPY REPUBLIC DAY TO ALL READERS !
HEARTY CONGRATULATIONS to Atul ji, for recording a new milestone – 15 million visitors (1 Crore 50 Lakhs) to the Blog. This is the public mandate for the popularity of this Blog, all over the world.(WordPress posts are read in 198 countries of the world). This is an unique example of what one person can achieve by building a team (sustained for years together) with a common interest. The team is continuing because the Magnet is very effective and the Magnet is Atul ji. I wish him and the Blog many more such milestones and may the Blog retain its identity for reliable and credible information, complete lyrics and non-stop service to lovers of HFM. All the best !
Today’s song is from the film Rangeela-1953 – a Bhagwan Art Production film. The Producer and the Director was Master Bhagwan himself. The cast consisted of Bhagwan. Purnima, Baburao, Badri Pershad, Indira, Usha Shukla, Madhav Kale and many others. The Music Director was Jamal Sen. There were 11 songs in the film and today’s song is the 8th song to be discussed here. Actually this song is one of the best songs of the film and I wonder how this song was left untouched. Maybe for my use !
Jamal Sen. His name is not a famous name, because he gave music in just a few films, but the industry wallahs and lovers of classic music know him too well. He was one of those few ones who had immense capability, but like Sajjad Hussain, he too was stubborn, unbending, egoistic, outspoken and reserved. In an industry full of Chamchaas and cut throat competition, artistes like Jamal or Sajjad were misfits.
Lata Mangeshkar respected him so much that to sing in his films, she sent several feelers and messages to him till she was called by him. Lata sang 10 songs for him in 4 films. 6 were solos, 2 male duets and 2 were Female duets.
If talent were the only criterion for a composer to succeed, Jamal Sen should have been the most successful music director of his time. But he was not.
Jamal Sen’s proficiency in Singing, dancing (Kathak) and poetry, lent a touch of completeness to his musical acumen and set him apart from the run-of-the-mill composers, became a liability for him in an industry which had no value for real class. The result: a composer who gave such brilliant scores as in Shokhiyan and Daaera, died unsung, after a long spell of isolation.
Jamal Sen’s forefather Kesarji who hailed from Sujangarh in Rajasthan, was said to be a disciple of Tansen and was hence called Kesar Sen. Jamal Sen was born on 26th November 1904, at village Churu. The family tradition in music was passed on to Jamal at a very young age by his father Jeevan Sen, a court singer and an acknowledged Ustad. Jamal, who could sing and play various musical instruments was especially good on the dholak, tabla and Pakhawaj.
Jamal Sen had been in Calcutta initially and sang on AIR Calcutta. He met Pankaj Mullick and studied Ravindra Sangeet too. Due to this link, he joined Pankaj Mullick in giving music to film Kasturi-54 also. From there ,he shifted to Lahore in 1938.
While in Lahore, Jamal Sen was introduced by music director Shyam Sunder to Master Ghulam Haider, which marked the beginning of a fruitful association spanning 12 years. Sen’s knowledge of classical and folk music and his mastery over the dholak made him an asset to Ghulam Haider in films from Khazanchi (1941) to Majboor (1948), until Masterji migrated to Pakistan in the wake of Partition.
He shifted to Bombay, after partition. Then a chance meeting with director Kidar Sharma gave him a break in films as a composer, and he proved his virtuosity in his very first film, Shokhiyan in 1951.
The imaginative use of the raag Yaman Kalyan in “Sapana Ban Sajan Aaye” sung by Lata Mangeshkar was a testimony to the composer’s command over classical music. The songs — “Raaton Ki Neend Cheen li” by Suraiya, a ghazal where melody is predominant, and “Aai Barkha Bahar” by Lata, Pramodin & chorus, bore the richness of Rajasthani folk music. A “Door Des Se Aaja re” by Suraiya, Lata is a classic example of folk and classical music intermingling to create an enchanting melodic pattern.
Shokhiyan was followed by Kamal Amrohi’s Daera in 1953. Though a flop, the film is remembered for the perennial appeal of the bhajan, “Devta Tum Ho Mera Sahara, Maine Thama Hai Daman Tumhara” by Rafi, Mubarak Begum, & chorus, in Raag Bhoop. When the situation required, Sen could also compose a Western tune “Sun Sun Meri Kahani” by Rafi for Bhagwan’s ‘Rangeela’
Jamal Sen, who had begun his career as a singer on AIR, Calcutta—he was among the first to sing Vande Mataram on radio—should have stuck to a career in, classical singing. With his talent and lofty ideals, he was a misfit in films. His inability to manipulate and his refusal to compromise, made him a loner, and the mediocre films which he scored music for led to a colossal waste of his rich talent.
Jamal Sen knew Producer Director K.Asif for many years.Once they met somewhere and Asif took Jamal to the sets of Mughal-E Azam. There a dance sequence was to be shot and Gopikrishna was rehearsing the steps. Jamal saw everything but did not comment anything. As Asif knew him well, he suspected something and asked Jamal what was wrong. Jamal told him that the sets are absolutely appropriate but the dance steps and the ‘Bol’ were not commensurate with the period when Akbar was reigning. Asif asked him then and there to make new Dance steps, prepare the ‘Bol’ and make music for that sequence. Jamal Sen did that and Asif was more than happy.
However that piece of Dance and music was not used by Naushad in the film, possibly due to professional jealousy.
Later, when K. Asif announced Sasta Khoon Mehnga Paani, which had a Rajasthani backdrop, he-asked Jamal Sen to be an advisor to bring authenticity to Naushad’s compositions. But luck once again played truant with him and the project never saw the light of day.
A proud and arrogant man, Jamal Sen never went out of his way to grab work. As a result, he was slowly relegated to the periphery of the music scene, and then to oblivion. Shokhiyaan and Daaera were a thing of the past. A commerce-oriented cinema had little use for his talent. Under the circumstances, it was a poor consolation to him that his imaginative score in the documentary,Madhumakhi, won laurels abroad.
Jamal Sen knew his prowess. And was proud of it. Once, after hearing him sing, Ustad Bade Ghulam Ali Khan called him a `Tansen’ and a ‘Sur Ka Bichhu’, Ustad Amir Khan described him as ‘Sangeet Shastri’. Notwithstanding the impressive titles and tributes, Jamal Sen continued to exist in a state of penury, unwanted and uncared for.
Jamal Sen should have been the most successful music director of his time. But he was not. In his last days Sen had but one friend, composer Ghulam Mohammed, who after being afflicted with a serious heart ailment, had shifted to Bombay’s far off suburb, Borivlii, where Sen was living in a dilapidated room.
In his later years, out of sheer frustration, he turned to liquor, and lived on the hope that his sons Shambhu Sen and Madan Sen would carry forward the family’s rich tradition in music. But Madan suddenly died of heart failure at the young age of 40. And he never recovered from the shock. Within a year, on April 12, 1979, he too died.
Jamal Sen composed music for 13 Hindi films.
Filmography:
1. Shokhiyan (1951)
2. Daera (1953)
3. Dharmapatni (1953)
4. Rangeela (1953)
5. Kasturi (1954), with Pankaj Mullick
6. Ritu Bahar (1954)
7. Patit Paawan (1955)
8. Amar Shaheed (1960)
9. Baghdad (1961)
10. Alha Udal (1962)
11. Manchali (1962)
12. Sankalpa (1974)
13. Pehla Kadam (1981)
Actually, Jamal Sen had retired in 1962 itself. When film Pehla kadam-81 was planned, a song which he had composed for film Shokhiyan, but had not used, was utilised in this film-Pehla kadam-81.
The cast consists of an actress Indira. Actually, the film Rangeela-1953 happens to be her Debut Hindi film. Indira is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian. She acted in 24 silent films since 1927, but did only two Talkie films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.
Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.
Indira was noticed by the popular comedian Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).
Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.
Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.
Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamor girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, and felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.”
Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.(Thanks to shri Mike Barnum ji and his blog-cinemajadoo.com).
After the phenomenal success of Albela-51, Master Bhagwan was in the seventh Heaven and floated his own production company,Bhagwan Art Productions and started making films after films, without realising that Albela’s success was mainly due to C.Ramchandra’s music and Geeta Bali. The result was as expected. Slowly but steadily, Bhagwan started going into the trap of huge debts due to unsuccessful films produced by him.
After a while, a day came when Bhagwan had to sell one by one all of his 10 cars, Bungalow etc and at the end of his career, he had to live in a one room tenement in a chawl, on the very street in Dadar named after his own uncle.
RANGEELA-1953 was one of the early failures of Bhagwan, in the series of future flops, beginning the imminent decline in few more years to come. This film was produced and directed by Bhagwan himself.
This was a story of a village boy-Babulal, who is eager to study in school, but due to his wicked step mother, has to do household chores instead. Fed up of this and to try his luck, he runs away to Bombay, where he meets Vidya Devi, a kind and young school teacher, who not only helps him but also starts teaching him, seeing his earnestness. Over a period, to sustain himself, Babulal, who was called Buddu in his village gets educated and also sells Chana, near to his school. Duly, he becomes a successful businessman, owning a shop, house etc. He is under the impression that Vidya Devi is in his love, but he is disillusioned when he hears a conversation between Vidya and her would be husband. Vidya refers to him as a good and honest student only.
Babulal learns that his father is in financial troubles and his house is up for auction. To help father, he collects all his money and is about to leave for village, when he learns that Vidya’s marriage to her fiance is in trouble, as Vidya’s father can not gather that much money.
Babulal is in two minds. Finally. he gives the money to her father for marriage, sells his shop, business and house to collect money and leaves for the village to help father.
The entire story went on predicted lines and did not succeed.
Here is the duet of Rafi and Asha Bhosle, with chorus. Let us enjoy this catchy song.
Song-Diya jale chamke taara (Rangeela)(1953) Singers- Asha Bhonsle, Rafi, Lyricist- Ehsan Rizvi, MD- Jamal Sen
Male chorus
Female chorus
All chorus
Asha Bhonsle + Rafi
Lyrics
aa aa aa aa aa aa
aa aa aa aa aa aa aa
a ha ha ha a ha ha a ha ha
a ha ha aha ha aha ha ha
diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara
piya bina man andhiyaara
ho o o
o o o
piya bina man andhiyaara
chamke taara
chamke taara
diya jale chamke taara
nyaara nyaara chamke taara
nain milaaye neend churaaye ae ae
saari saari rain jagaaye
o o nain milaaye neend churaaye ae ae
saari saari rain jagaaye ae ae
aaya aaya pyaar ka maara
o pyaar ka maara
diya jale chamke taara
nyaara nyaara chamke taara
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye ae ae
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye
aaya nahin chaand hamaara
chaand hamaara
diya jale chamke taara
nyaara nyaara chamke taara
prem bina jeevan pheeka aa aa
koi nahin meet kisi ka
o o man ka diya yoon na bujhaao o o
raam kare preet nibhaao o o
raam kare preet nibhaao o o
pyaar se hai jag ujiyaara
o ujiyaara
diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara
Mujhe apna banaaya door door se
Posted on: November 9, 2021
This article is written by Sadanand Kamath, 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.
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Blog Day : |
4862 | Post No. : | 16653 |
Shekhawati region of Rajasthan consists of the districts of Churu, Jhunjhunu, Sikar and some parts of Jaipur and Nagaur districts. The region is well-known for its painted havelis and temples. I had travelled in Shekhawati region in February 2013 mainly to see the magnificent painted havelis. There are hundreds of such havelis, some abandoned, some still being used as residential houses and a few which have been converted into heritage hotels. There are extensively and intricately painted havelis of some of the industrialists like Birla, Singhania, Goenka, Jhunjhunwaala, Podar, Morarka, Modi etc.
Shekhawati region is also known for producing hundreds of musicians, kathak dancers and vocalists – especially from Churu district. Some of the musicians, dancers and singers have been associated with Hindi films since 1931 when the sound films made their presence. A few of them have indirectly contributed to Hindi films by training some film artists in dancing and singing. Here are some of the artists from Shekhawati region who contributed to Hindi film industry.
Pandit Jagannath Prasad (1930-1996), was a classical vocalist from Khudi village. He was a court singer in Nepal and Dharbhanga before settling down for some time in Kolkata. He came to Mumbai in 1941 and remained in Mumbai until his death. His disciples included K L Saigal and Prithviraj Kapoor in Kolkata and Shahu Modak, Mukesh, Premnath, Raj Kapoor, Shammi Kapoor, Shashi Kapoor, Raj Khosla, Nutan etc in Mumbai. He also composed songs for ‘Krishnarjuna Yuddh’ (1946) and ‘Prisoners of Golconda’ (1954).
Pandit Gourishankar (1916-1992) was the first kathak dancer to perform kathak dance abroad during the Berlin Olympic in 1936. In 1938, he was appointed as kathak dance teacher in Shanti Niketan in 1941. He shifted to Mumbai and established a dance institution. His disciples included Pahadi Sanyal, Nalini Jaywant, Meena Kumari, Sandhya, Aruna Irani etc. He choreographed dances for Meena Kumari in ‘Paakeezah’ (1972).
Pandit Hanuman Prasad (1913-1969) was from Sujangarh who was a classical vocalist, a kathak dancer, a musician playing multiple musical instruments and a poet. He was the music director for many Hindi films which included ‘Draupadi’ (1944), ‘Raseeli’ (1946), ‘Bhakt Prahlad’ (1946), ‘Hip Hip Hurray’ (1948), ‘Chilman’ (1949), ‘Saudagar’ (1951) etc. He was a choreographer for ‘Geet Gaaya Patharon Ne’ (1964). He died in 1969 after choregraphing one dance song in ‘Jal Bin Machali Nritya Bin Bijli’ (1969). He was also the music teacher in Hill Grange High School, Mumbai till his death in 1969.
Pandit Laxman Prasad Jaipurwaale (1915-1977) was a Hindustani classical vocalist who was a purist in his renditions. So, he kept away from Hindi film music, But his connection with Hindi cinema was through his disciples which included Sudha Malhotra, Aarati Mukherjee and Meenu Purshottam among others.
Pandit Girdhar Prasad Jaipurwaale was the son of Pandit Laxman Prasad Jaipurwaale who, apart from being the Hindustani classical vocalist, exceled in playing Tabla. He played Tabla for many music directors including R D Burman, Laxmikant-Pyarelal and Jagjit Singh, His two sons, Jaydeep and Sanjay are musicians and music arrangers in Hindi films.
Pandit K Mahavir (1938-1987) was a talented music composer from Bidasar who unfortunately remained in the sideline of Hindi film industry as an assistant to some music directors which included Khemchand Prakash. His talent was recognised by Lata Mangeshkar who sang under his baton a few non-film songs in the genre of ghazal and geet. Pandit Hridaynath Mangeshkar was one of his disciples. One of his tough compositions which Lata Mangeshkar sang with ease was aankh se aankh milaata hai koi. After the death of Pandit Hanuman Prasad, Pandit K Mahavir was employed in his place as the music teacher in Hill Grange High School until his death in 1987.
Sohanlal and his brother Hiralal were kathak dancers of Jaipur Gharana who migrated to Chennai in the 1940s. They worked in South films as dancers and choreographers. Later, they shifted to Mumbai and worked as choreographers in many films during 1950s to 1970s. Sohanlal’s major Hindi films were, Madhumati’ (1958), ‘Taj Mahal’ (1963), ‘Parasmani’ (1963), ‘Arzoo’ (1965), ‘Guide’ (1965), ‘Hare Rama Hare Krishna’ (1971), ‘Satyam Shivam Sundaram’ (1971) etc. ‘Hiralal did choreography in films like ‘Naagin’ (1954), ‘New Delhi’ (1956), ‘Raagini’ (1958), ‘Ganga Jamuna’ (1961), ‘Prem Pujari’ (1970). ‘Shalimaar’ (1978) etc.
Khemchand Prakash (12/12/1907 – 10/08/1950) was one of the four sons of Pandit Govardhan Prasad who belonged to Khudi village in Churu district. He received in vocal training and in kathak dance from his father and his elder brother, Badri Prasad. He was the court singer and dancer in Royal Court of Jaipur. Later he shifted to the royal court of Nepal as vocalist and kathak dancer. After about 5-7 years, he came to Kolkata and became the assistant to music director Timit Baran. In 1939, he shifted to Mumbai and joined Ranjit Movietone as music director. While in Mumbai, apart from working as a music director, he got further training in Kathak dance from Pandit Achhan Maharaj.
Khemchand Prakash introduced the blending of classical music with Rajasthani folk music for Hindi film music. During his short stint of about 10 years as a music director in Hindi films, he composed songs for as many as 46 films – a very high output in 1940s standards. ‘Pardesi’ (1941), ‘Tansen’ (1943), ‘Bhartruhari’ (1944), ‘Mumtaz Mahal’ (1944), ‘Sindoor’ (1947), Ziddi’ (1948), ‘Mahal’ (1949) are some of his films having his memorable song compositions.
Basant Prakash (27/01/1928-19/03/1996) was the youngest among the 3 brothers of Khemchand Prakash. Because he was 20 years younger than his elder brother, Khemchand Prakash treated him like his son. It is said that later, Basant Prakash was legally adopted by Khemchand Prakash as his son.
Basant Prakash got the initial musical training from Khemchand Prakash and remained with him as his assistant. He was not as prolific as Khemchand Prakash. He composed music for about a dozen films many of which were in combination with other music directors.
Jamal Sen (29/01/ 1904 – 12/04/1979) was born in Sujangarh in Churu district in a traditionally music family. He got his musical training from his father, Jeewan Sen. Apart from being a vocalist, he was also trained in Tabla and Dholak. He started his singing career in All India Radio, Kolkata. He later went to Lahore and worked with music director, Ghulam Haider as a musician for the film, ‘Khazaanchi’ (1941). This was one of the earliest Hindi films in which dholak played by Jamal Sen was prominently used in all the songs.
Jamal Sen’s association with Ghulam Haider ended when the latter migrated to Pakistan in 1948. After working as a freelance musician, he got an opportunity as an indepedent music director when Kidar Sharma selected him for his film ‘Shokhiyaan’ (1951). Although the film did not fare well on the box office, Jamal Sen’s music was well appreciated. Kamal Amrohi selected him as a music director for his film, ‘Daaera’ (1953). Again, while the film failed at the box office, all the songs of the film became popular.
Despite the good music, the two failed films dented Jamal Sen’s career as a music director. He never got big banner films. In the emerging film music scenario, his raag and folk based music was regarded as misfit. During his career of over 2 decades, he was the music director for about a dozen films.
Jamal Sen had 4 sons of which the eldest son, Shambhu Sen became a dancer. He also composed music for two Hindi films, ‘Mrigtrishna’ (1975) and ‘Banno’ (1987). The second son, Dilip Sen along with his nephew Sameer Sen (son of Shambhu Sen) became the music director duo. Shambhu Sen’s third son, Lalit Sen was also the music director who majorly worked for T V Serials and non-film albums.
Mubarak Begum, the playback singer was born in Sujangarh in Churu district but brought up in Ahmedabad. Her playback singing career started with a couple of songs in ‘Aaiye’ (1949). But she could never come close to top 5 female playback singers of her time. Her career progress was earatic. As a result, though she was active as a playback singer up to 1981, she sang less than 200 songs in Hindi films.
Shankar-Shambu, the brothers, famous for their sufi qawwals, belong to Impalsar village in Churu district whose family later settled in Chanduasi village in Aligarh district of UP. They were trained by their father, Pandit Chunnilal in Dhrupad, Dhamar and Khayal singing and later by Ustand Chand Khan of Delhi Gharana. The duo also worked as the music director in 7 Hindi films besides singing in ‘Barsaat Ki Raat’ (1960), ‘Teesri Kasam’ (1966), ‘Aas’ (1972), ‘Laila Majnu’ (1976) among other films.
There are singers born in Shekhawati region but migrated to Pakistan after partition. Ashiq Hussain, one of the prominent actors of Hindi films of 1930s and 1940s and the Kathak dancer, belonged to Shekhwati region whose family had settled in Uttar Pradesh. He abandoned his acting career to concentrate on Kathak dance. Because of his expertise in Banaras Gharana of Kathak dance, he was conferred the title of ‘Nritya Samrat’. He used ‘Samrat’ as his surname when he migrated to Pakistan.
Mehdi Hasan, one of the most popular ghazal singer was born in Luna village of Jhunjhunu district who migrated to Pakaistan. So was Reshma, the folk singer of Pakistan who was born in Loha village of Churu district. Both of them also sang as playback singers in Pakistani films.
The list is not exhaustive as some musicians and dancers may have been associated with Hindi films but did not get documented especially in the initial stage of sound films
For selecting a song for this post, I had varied choices among the artists I covered in the article. Finally, I settled for a song from ‘Kasturi’ (1954) which is set to music by Jamal Sen.
‘Kasturi’ (1954) had 9 songs of which 6 songs, all under the music direction of Pankaj Mullick, have been covered on the Blog. The remaining 3 songs from the film which are yet to be covered on the Blog, have been set to music by Jamal Sen. All the 9 songs were written by Vrajendra Gaur who also directed the film.
I am presenting the 7th song, ‘mujhe apna banaaya door door se’ from the film, rendered by Asha Bhosle. The video clip contains only partial song. The full song is available on the audio clip. The song has a flavour of the Rajasthani folk music.
Note: The basic information about some of the artists mentioned in this article is based on the Ph.D thesis ‘The Contributions of Churu District in the Growth and Development of Jaipur Gharana Kathak’ by Jagdish Sundarlal Gangani – Maharaja Sayajirao University of Baroda, Department of Dance (2007). Information on Jamal Sen is based on an article by Peeyush Sharma which appeared on Silhouette.
Audio Clip:
Video Clip (Partial):
Song-Mujhe apna banaaya door door se (Kasturi)(1954) Singer-Asha Bhonsle, Lyrics-Vrajendra Gaur, MD-Jamal Sen
Lyrics (Based on Audio Clip):
ho o o o o
ho o o o o
ho o o o o
ho o o o o
ho o o o o
ho o o o o
ho o o o o
ho o o o o
mujhe apna banaaya door door se
dil ki baaten kahoongi main huzoor se
mujhe apna banaaya door door se
dil ki baaten kahoongi main huzoor se
ho o o o o
meri ankhiyaan sote se jaagin
ho o o o
meri ankhiyaan sote se jaagin
aur jaagin to tum sang laagin
kyun na dekhoon main
kyun na dekhoon main tumko guroor se
mujhe apna banaaya door door se
mujhe apna banaaya door door se
dil ki baaten kahoongi main huzoor se
ho o o o
kiya kismat ne aisa ishaara aa aa
kiya kismat ne aisa ishaara
mila mujhko tumhara sahaaraa aa aa
tumne rishta
tumne rishta nibhaaya majboor se
mujhe apna banaaya door door se
mujhe apna banaaya door door se
dil ki baaten kahoongi main huzoor se
ho o o o o
tum to chhup ke se aaye mere man mein
ho o o o
tum to chhup ke se aaye mere man mein
mera uljha hai man uljhan mein
dekho badla na lo
dekho badla na lo bekusoor se
mujhe apna banaaya door door se
mujhe apna banaaya door door se
dil ki baaten kahoongi main huzoor se
Alhad jawaan mera jaage
Posted on: December 28, 2020
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.
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Blog Day : |
4546 | Post No. : | 16121 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XIV: Year 1960
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1960.
In 1960, 111 Hindi movies contaning 852 songs were released. Lata Mangeshkar got to sing in 48 of these movies and she sang 166 songs in these movies. So Lata Mangeshkar’s voice was heard in 43 % of the movies released in 1960. Her voice was heard in 19.5 % of the songs appearing in the movies of 1960.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1960 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aayi Phir Se Bahaar | Vedpal Verma | 2 | 2 | 2 | 0 | 0 | 0 | Vedpal Verma (1) Indeewar (1) |
| 2 | Amar Shaheed | Jamal Sen | 0 | 3 | 2 | 1 | 0 | 0 | Arjun |
| 3 | Angulimaal | Anil Biswas | 2 | 2 | 0 | 0 | 1 | 1 | Bharat Vyas |
| 4 | Anuraadha | Pt Ravi Shankar | 5 | 5 | 4 | 0 | 0 | 1 | Shailendra |
| 5 | Baaraat | Chitragupta | 2 | 2 | 2 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 6 | Baarood | Khayyam | 6 | 6 | 2 | 2 | 1 | 1 | Hasrat Jaipuri |
| 7 | Bahaana | Madan Mohan | 2 | 2 | 2 | 0 | 0 | 0 | Rajinder Krishan |
| 8 | Bambai Ki Billi | Khayyam | 1 | 3 | 2 | 1 | 0 | 0 | Hasrat Jaipuri |
| 9 | Banjaarin | Pardesi | 1 | 3 | 2 | 1 | 0 | 0 | Pt Madhur |
| 10 | Barsaat Ki Raat | Roshan | 2 | 2 | 1 | 1 | 0 | 0 | Sahir Ludhianvi |
| 11 | Bindiyaa | Iqbal Qureshi | 3 | 3 | 2 | 1 | 0 | 0 | Rajinder Krishan |
| 12 | Chaand Mere Aaja | Chitragupta | 4 | 5 | 3 | 2 | 0 | 0 | Prem Dhawan |
| 13 | Chandramukhi | S N Tripathi | 3 | 3 | 1 | 1 | 1 | 0 | Bharat Vyas |
| 14 | Chaudhvin ka chaand | Ravi | 1 | 1 | 1 | 0 | 0 | 0 | Shakeel Badayuni |
| 15 | Chhalia | Kalyanji Anandji | 3 | 3 | 2 | 1 | 0 | 0 | Qamar Jalalabadi |
| 16 | College Girl | Shankar Jaikishan | 5 | 5 | 1 | 4 | 0 | 0 | Rajinder Krishan |
| 17 | Delhi Junction | Kalyanji Anandji | 6 | 6 | 4 | 1 | 1 | 0 | P L Santoshi (2) Prem Dhawan (2) Farooque Kaiser (1) Gulshan Bawra (1) |
| 18 | Dil Apna Aur Preet Paraayi | Shankar Jaikishan | 5 | 5 | 5 | 0 | 0 | 0 | Shailendra (4) Haasrat Jaipuri (1) |
| 19 | Dil Bhi Tera Ham Bhi Tere | Kalyanji Anandji | 3 | 3 | 2 | 1 | 0 | 0 | K L Pardesi (2) Shamim Jaipuri (1) |
| 20 | Do Aadmi | S N Tripathi | 1 | 1 | 0 | 1 | 0 | 0 | Prem Dhawan |
| 21 | Ek Phool Chaar Kaante | Shankar Jaikishan | 4 | 4 | 2 | 2 | 0 | 0 | Shailendra (2) Hasrat Jaipuri (2) |
| 22 | Gambler | Chitragupta | 2 | 5 | 4 | 1 | 0 | 0 | Prem Dhawan |
| 23 | Ghoonghat | Ravi | 3 | 3 | 3 | 0 | 0 | 0 | Shakeel Badayuni |
| 24 | Girl Friend | Hemant Kumar | 1 | 1 | 0 | 0 | 0 | 1 | Sahir Ludhianvi |
| 25 | Ham Hindustaani | Usha Khanna | 2 | 3 | 3 | 0 | 0 | 0 | Bharat Vyas (2) Rajinder Krishan (1) |
| 26 | Honeymoon | Salil Chaudhary | 5 | 5 | 2 | 2 | 1 | 0 | Shailendra |
| 27 | Jawaahar | Salil Chaudhary | 4 | 4 | 3 | 1 | 0 | 0 | Prem Dhawan |
| 28 | Jis Desh Mein Ganga Bahti Hai | Shankar Jaikishan | 7 | 7 | 2 | 3 | 1 | 1 | Shailendra (6) Hasrat Jaipuri (1) |
| 29 | Kaala Aadmi | Dattaram | 2 | 2 | 1 | 1 | 0 | 0 | Hasrat Jaipuri |
| 30 | Kohinoor | Naushad | 6 | 6 | 2 | 4 | 0 | 0 | Shakeel Badayuni |
| 31 | Laal Qila | S N Tripathi | 3 | 3 | 2 | 1 | 0 | 0 | Bharat Vyas |
| 32 | Maa Baap | Chitragupta | 0 | 4 | 4 | 0 | 0 | 0 | Rajinder Krishan |
| 33 | Maaya Macchendra | Ramlal Heera Panna | 0 | 4 | 2 | 1 | 1 | 0 | Pt Madhur (2) Keshav (2) |
| 34 | Mughal e Azam | Naushad | 9 | 9 | 8 | 0 | 1 | 0 | Shakeel Badayuni |
| 35 | Mukti | Malay Chakraborty | 1 | 1 | 1 | 0 | 0 | 0 | Muneer Aarzoo |
| 36 | Naache Naagin Baaje Been | Chitragupta | 4 | 5 | 2 | 3 | 0 | 0 | Majrooh Sultanpuri |
| 37 | Parakh | Salil Chaudhary | 4 | 4 | 4 | 0 | 0 | 0 | Shailendra |
| 38 | Patang | Chitragupta | 4 | 4 | 2 | 2 | 0 | 0 | Rajinder Krishan |
| 39 | Police Detective | Chitragupta | 3 | 4 | 1 | 2 | 1 | 0 | Prem Dhawan |
| 40 | Rickshawaala | N Datta | 0 | 1 | 1 | 0 | 0 | 0 | Jaan Nisaar Akhtar |
| 41 | Saaranga | Sardar Malik | 4 | 4 | 2 | 2 | 0 | 0 | Bharat Vyas |
| 42 | Shrawan Kumar | Pt Shivram | 1 | 1 | 1 | 0 | 0 | 0 | Bharat Vyas |
| 43 | Singapore | Shankar Jaikishan | 6 | 6 | 3 | 3 | 0 | 0 | Hasrat Jaipuri (4) Shailendra (2) |
| 44 | Sinhaldweep ki sundari | S N Tripathi | 0 | 3 | 2 | 1 | 0 | 0 | Bharat Vyas |
| 45 | Superman | Sardar Malik | 1 | 1 | 1 | 0 | 0 | 0 | Prem Dhawan |
| 46 | Usne Kaha Thha | Salil Chaudhary | 3 | 3 | 1 | 2 | 0 | 0 | Shailendra |
| 47 | Veer Durgadas | S N Tripathi | 1 | 2 | 1 | 1 | 0 | 0 | Bharat Vyas |
| 48 | Zimbo comes to town | Chitragupta | 2 | 2 | 2 | 0 | 0 | 0 | Prem Dhawan |
| Total | 48 movies | 24 MDs | 139 | 166 | 102 | 50 | 9 | 5 | 21 lyricists |
One notices that Lata Mangeshkar did not have a single song with C Ramchandra in movies released in 1959 as well as 1960 because she fell out with him. Despite that C Ramchandra continued to be the music director with highest number of songs composed for Lata Mangeshkar (263). Shankar Jaikishan, who continued to work in many movies with Lata Mangeshkar closed in at 252 songs. Overall, the top eight music directors, viz C Ramchandra (263), Shankar Jaikishan (252), Anil Biswas (116), Husnlal Bhagatram (108), Chitragupta (105), Roshan (103), Madan Mohan (96) and Naushad (91) composed 1134 songs out of 2217 songs that Lata Mangeshkar had sung in Hindi movies till end of 1960. The top six lyricists till end of 1960 for Lata Mangeshkar were Rajinder Krishan (374), Shailendra (245), Hasrat Jaipuri (166), Shakeel Badayuni (134), Prem Dhaan (125) and Bharat Vyas (124). These six lyricists had penned 1168 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar tied up with music directors Malay Chakraborty, Pardesi, Pt Ravishankar, Usha Khanna and Vedpal Verma for the first time in movies of 1960. She tied up with lyricists Arjun, K L Pardesi, Muneer Aarzoo Kaazmi and Shamim Jaipuri for the first time in movies released in 1960.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1960 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| Total upto 1960 | 563 movies | 1836 | 2217 | 1596 | 461 | 117 | 41 |
As can be seen from the table of 1960, Lata Mangeshkar sang 166 songs in 48 movies released in 1960. As many as 139 of these songs have been covered in the blog. Out of 48 movies of 1960 where Lata Mangeshkar sang, all Lata Mangeshkar songs of 35 movies are already covered. So we have to look at the remaining 13 movies of 1960 to find Lata Mangesahkar songs to discuss in the blog.
Alphabetically the first such movie that offers us such Lata Mangeshkar songs to discuss is “Amar Shaheed”(1960). This movie was originally made in Tamil as Veerpandiya Kattabomman (1959). The movie was produced and directed by B R Panthalu for Padmini Pictures, Madras. The movie had Sivaji Ganesan, Gemini Ganesan, Padmini, Raagini, S Varalaxmi, V K Ramaswami, O A K Tear, Kannan, Natrajan, M R Santanam, V R Rajagopal, Mutthulaxmi, T Lalitha, Baby Kanchan, Jawar Seetaraman etc in it.
It appears that the movie rights were bought by Alok Bharati, Madras. The movie was dubbed in Hindi as “Amar Shaheed”(1960).
It appears to me from the songs that the Hindi dubbing was done in a casual manner. From the way the songs have been dubbed, it appears to me that the person translating the songs from Tamil into Hindi tried to do a literal translation and ended up with a Hindi words that sound unnatural.
The movie had ten songs in it. Lata Mangeshkar’s voice is there in three songs. Two are solos and one is a duet with Manna Dey. None of these three songs have been covered in the blog so far.
As mentioned above, the dubbing of movie and songs leaves a lot to be desired. I have picked a song whose lyrics appears to make some semblence of sense to me. This song is sung by Lata Mangeshkar and chorus. Arjun is the lyricist. Music is composed by Jamal Sen.
The song is picturised on Padmini and others.
From what I can make out, this song is about a strong bull that can apparenty strike fear in the minds of enemy. I have struggled to get the lyrics right but I have failed miserably, especially in the chorus part. I request our readers with keener ears to help fill in the blanks andsuggest corrections.
I also request our knowledgeable readers to thro light on the movie as well as on the picturisation of the song.
Song-Alhad jawaan mera jaage (Amar Shaheed)(1960) Singer-Lata, Lyrics-Arjun, MD-Jamal Sen
Lyrics
Alhad jawaan mera jaage
is’se paala pade veer bhaage
?? koi mahaaveer re
paale mein
aaye ree
Alhad jawaan mera jaage
is’se paala pade veer bhaage
aa aa aa aa
aa aa aa aa
ho o o o
o o o o
o o
sambhaal bhool mat jaa re
kal bhoolegi ?? jaa re
jab aayega koi ??
??
sambhal ke dol mastaani
chal haule bahak mat raani
khoonkhaar roop dhare ae
sher se mel kare ae
khoonkhaar roop dhare ae
sher se mel kare
veeron ke veer
sab daude munh mod kar
r r r r
baatooni aan ??
bekaaboo pair ude
bhaage pahalwaan
chhod maidaan khule
ho o o
o o o
o o o
o o o
bhaage pahalwaan
chhod maidaan khule
aao re anjaan naadaan
dil mera hai betaab behaal
alhad jawaan mera jaage
is’se paala pade veer bhaage
ho ??
teri nazren karengi salaam
??
??
veeron ??
?? aayi
??
alhad jawaan mera jaage
is’se paala pade veer bhaage
?? koi mahaaveer re
paale mein
aaye ree
Alhad jawaan mera jaage
Dola utaaren kahaar
Posted on: September 19, 2017
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“Daaera”(1953) was produced and directed by Kamal amrohi for Kamal Pictures, Bombay. the movie had Meena Kumari, Nasir Khan, Kumar, Roopmala, Nana Palsikar, Protima Devi, Kammo, Jankidas, H Prakash, Romesh Kapoor, Zarina etc in it.
Read more on this topic…
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