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

Posts Tagged ‘K C Dey


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 :

5047 Post No. : 16959

Today’s song is from the film Door Chalen-1946.

Since the time Talkie films arrived in India in the form of Aalam Ara-1931, the enthusiastic film industry, with a pushover from the silent era to the Talkie era, was busy in discovering itself. It was improving in every field as the years passed by. In the first 5-6 years the industry was desperately trying to be free from the clutches of stage music, drama style acting and contents of the films made.

By 1937-38 all these 3 ghosts from the past had been thrown off. Music directors like Anil Biswas, R.C.Boral, Saraswati Devi, Shankar rao Vyas, K C Dey, Pankaj Mullick etc successfully brought a turnaround change in film music from stage -type boring singing to folk tunes and independent experiments with instruments, tuning and the singers. With actors like Motilal, Ashok kumar, Shahu Modak, Kumar etc. the acting became natural and free from drama-type overacting. New directors like Shantaram,Debki Bose, Mehboob etc. tried new themes in films. Prabhat and New Theatres made films on actual events or famous novels and dramas, thus making films vibrant and interesting.

By 1942 or so, many enterprising filmmakers and directors,hitherto tied up with the existing studios, broke free to start their own studios and film production companies. Shantaram, Mehboob,S. Mukherjee, Kardar, Homi Wadia and few more dynamic film makers began a new chapter in the film industry. With talented filmmakers, competing with each other to make better films, they were improving the quality of films in terms of content, music and the presentation substantially.

By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.

1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and film makers plan to pack their bage and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The3 film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.

The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.

In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.

Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.

Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….

Nirupa Roy debuted in film Amar Raaj-46

Geeta Bali debuted with a dance in film Badnaami-46

Geeta Roy sang her first film song in film Bhakta Prahlad-46

Balraj Sahni debuted in film Insaaf-46. It was a small role,though.

K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46

Meena kapoor sang her first Hindi film song in film Eight Days-46

Sudhir Phadke debuted as MD in film Gokul-46

P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46

Chitragupta did his first film as MD in Lady Robin Hood-46

Ram Ganguly became MD with film Maharana Pratap-46

Abhi Bhattacharya debuted in Hindi film Milan-46

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46

Hansraj Behl debuted as MD with film Pujari-46

Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46

Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46

S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.

Film Door Chalen-46 was made by Durga Pictures. Director was Phani Mujumdar, MD was K C Dey and all songs were written by Sajjan Purohit(the actor Sajjan). The cast was Naseem Jr., Kamal Kapoor, Balraj Sahni, Damayanti Sahni, Agha, David, K C Dey etc.HFGK sometimes blindly gave the data. The lead actress is written as just Naseem. Since in those days Naseem Bano (mother of Saira Bano) was famous, everybody thought that she was the heroine of this film. Her Filmography includes Door Chalen-46 and Jeewan Swapna-46. The reality is, there was another actress Naseem junior and she had acted in these films.

Naseem Jr. or Miss Naseem Jr. or Naseem Lodhi was the younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in the film Salma-43.

Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.

She had a hot temperament and could not get along with co-stars and the Directors. Soon the offers diminished. Not having any income, she stayed with her sister Shamim. However, she fell ill and soon died on 17-11-1946.

She did only a few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.

Similarly, only Kamal is written in the Cast in HFGK. One can not make out if this Kamal is a male or female. In reality he was Kamal Kapoor, making his Debut in the film line as a hero. His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kaala, and, of course, Mard, where he played the evil General Dyer.
Born on 22th February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.

Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.

He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanned over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to the police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film).

Kamal Kapoor died on 2nd August, 2010.

Today’s song is a duet of Meena Kapoor and K C Dey. It is the 3rd song from this film on this Blog.


Song- Na rona na rona (Door Chalein)(1946) Singers-K C Dey, Meena Kapoor, Lyrics-Sajjan, MD-K C Dey

Lyrics

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
dulha mila salona
dulha mila salona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hamne dhoondha
hamne dhoondha le chiraag
ye laakhon mein hai laal
puny kiye thhe kisi janam mein
ho gayi aaj nihaal
phir kaisa rona-dhona
phir kaisa rona-dhona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona

gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar padha nahin main doob gayi
gar padha nahin main doob gayi
gar baazi se main oob gayi
bas nahin chaahiye ??
bas nahin chaahiye ??
samjhona
samjhona
samjho na mujhe khilauna

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona


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 :

5042 Post No. : 16953

Today’s song is from the film Devadasi-1945.

The custom of Devdasi has been in India since the 6th Century. Devdasi means- a female artiste dedicated to the worship and service of God in Temples or a Deity for life. She is said to be married to God. (sounds similar to Nuns in Christian Churches, who are also supposed to be married to God). These Devdasis learned the art of dance and music. Initially their status in the society was very high during the period from the 6th century to 13th century. Devdasis used to be quite rich too, due to large donations and gifts from the kings and the Royalties. However, later on Devdasis were used for personal purposes by the Nobles and the kings and their status became worse than prostitutes. They became poor and dependent on their patrons. They bore children too. Their daughters became traditionally Devdasis again.

The British brought the ” Devadasi protection Act” in 1934. However the Devdasis continued to be used unabated. The system continued like other social ills like Dowry system and Child marriage etc. After independence, all state governments made laws abolishing Devadasi custom, but even now – after 75 years of independence -this custom is followed in villages in some or the other form.

Unlike the other social ills, not many films were made on the plight of Devdasis. I found only 1 film -today’s film- on this subject. A film on similar subject was ” Jogan”-1950, but not on Devdasi custom. Pity that Indian filmmakers opted for several versions, in all Indian languages, to make films on Devdas, but none on Devdasis ! So much for Women’s Emancipation !

Film Devadasi-45 was made by New Maharashtra Productions. It was directed by C.S.Bose and the music was by the first blind composer-K.C.Dey. The 11 songs were written by Narottam Vyas. Except prithviraj Kapoor, majority of the cast and singers were Bangla artistes. The other cast members were Monica Desai, K C Dey, Vikram Kapoor, Suman, Kamla, Dar Kashmiri, Prasannat Kumar etc.etc.

The heroine Monica Desai (sister of actress Leela Desai) was talented and an interesting person. Her entry into Bombay’s Hindi films, courtesy Kidar Sharma, was sensational but strange enough to put the owners of Ranjit and her Mentor Kidar kapoor on the edge of anxiety !. It so happened that…..

For film Gauri-1943 Kidar Sharma insisted to Ranjit owners that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.

Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all the instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.

On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her, Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.

Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will, however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.

Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.

With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated it heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.

Thus Monica Desai’s first film was a great success. ” GAURI” was a winner. Kidar Sharma was the winner.

One film old Heroine Monica Desai- was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during the 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.

Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which was released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic films ‘Aarti’ (1962) and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in the film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also among the top seven grossing films at the Indian box office in 1945. She appeared in the film ‘Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yashodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

One name Dar Kashmiri appears in the cast. He was the eldest brother of actor Jeevan (Narad roles and later on comic villain roles). When Jeevan came to Bombay he was called O.K.Dar. Since some confusion arose between these names, here is the explanation to clarify. 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 for the 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 worked in some films like –

Noor Mahal-34, Watan parast-34, yaad rahe-40, Abla-41, Saugandh-42, Angoori-43, Naya Tarana-43, Devdasi-45, Room No.9-46, Hua savera-48, Kundan-55 and Ayodhyapati-56. and many other films. 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 the film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Here is the second song from the film Devadasi-45, sung by Parul Ghosh.


Song- Tum hi sab kuchh ho meri maa Main aur kisi ko nahin jaanoon (Devdasi)(1945) Singer- Parul Ghosh, Lyricist- Narottam Vyas, MD- K C Dey

Lyrics

Tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
bin rain magan man tum mein
bin rain magan man tum mein
main aur na koi sukh maanoon
meri maa
main aur kisi ko nahin jaanoon

ek tumhi to ?? mein hamne
ek tumhi jag ke rab ne
sone mein sab mein(?)
ek tumhi jab ?? rab ne to ?? mein
jidhar dekhti udhar tumhi ho
jidhar dekhti udhar tumhi ho
aur kya gun main bakhaanoon
meri maa
main aur kisi ko nahin jaanoon

?? aankhon ke anjan
?? ke bol tum
kaanon ke kundal
?? gahne aankhon ke anjan
baani ke bol sun kaanon ke gunjan
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho


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 :

4786 Post No. : 16542 Movie Count :

4503

Today’s song is from the film Milaap-1937.

Consequent to this film, two more films were made with the same title – Milaap-1955 and Milaap-1972. Milaap-55 was the Debut film for Music Director N.Datta. There were some very good songs by Geeta Dutt and an excellent song by my favourite singer-Hemant Kumar…Ye baharon ka samaa…. Unfortunately this song was summarily removed from the film for whatever reasons best known to the producers. The lead pair was Dev Anand and Geeta Bali. Film Milaap-1972 was one of those ” also ran’ films, starring Shatrughna Sinha and Reena Roy. Music Director Brij Bhushan gave mediocre music- no memorable songs. It is difficult to assess today’s film on these lines, because only one song is available and we do not know anything else about this film. Writing on old films is like walking in the dark with a stick.As long as the stick does not touch anything, you do not know that there is something in your way.

The Indian film industry was worth 183 Billion rupees in the year 2020. However, it was below an expectation of 238 billion expected to grow at 11% over 2017 every year. Corona obviously played the villain.few people would know that the Hindi film industry had crossed the Hollywood business first time in the 60’s, but it went down again. however from 2007 onwards, we have always been ahead of american film industry turnover.

There is a major difference between Hollywood and Bollywood. There, a fixed amount every year is invested in documentation of the history of American Cinema, but in India, no such funds are allocated either by the industry or the Government. It is a very sorry state of affairs.

forget about the industry, even the common people are not aware of what old films are. When someone talks about old films, it is presumed that the talk is about old film songs. no one believes that there is much more beyond songs and music to old films. In this connection I would again quote what transpired between me and one of my old friends. he had settled down in the US for more than 30 years. Few years back, when he visited Bombay we met and this was the following discussion between us…

He – So, kya chal raha hai. You are retired now. How do you spend your time ?
Me – I write articles on old films.
he – OH,WOW ! Superb. Old films means old songs etc /
Me – Beyond that. About people working behind the camera, artistes, studios and such matters. I write specially on films from the 30’s to the 60’s.
He – Is it ? And so who reads them? I don’t think people are interested in such age-old matters.
Me – It is not true. There are many people who read these things.
He – So you must be making a lot of money.
Me – No. Money is not involved. It is all free. I do it for the love of old films.
He – Don’t waste your time on this Rubbish.

I got upset with his approach and I changed the topic. But I started thinking. As of today, the visitors to the Blog have grossed a figure of about 1,46,82,000 ( that’s close to 15 Million), which works out to about 3140 visitors per day on an average. Even if 10% of them read my articles, I have more than 9000 readers. I would be very happy with this. Forget my friend. There are always people who think differently. Their priorities in life never cross monetary boundaries. They miss out on Celestial pleasures one can have without money !

Coming back to film Milaap-1937, the film was made in Calcutta by Moti Mahal Theatres. It was directed by A.R.Kardar, who had come from Lahore, leaving his own production company and studio. from calcutta he shifted to Bombay and had his own bigger studio and company. This film’s music director was K.C.Dey ( he was the first blind MD. Later Ravindra Jain also was a blind MD). The Lyricist’s name is not known. The cast of the film was Prithviraj Kapoor, M.Ismail, Mazhar Khan, Yaqub,Bimla Kumari, Ram Pyari, Anis Khatun etc etc.

Actress Rampyari’s life story is interesting. Though from a singinging family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days. Additionally, she became famous in Calcutta when there was a letter-war between her and the New Theatres. Local newspapers tastily published the correspondence. Let’s take a look at her Life.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born on 27-8-1908. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. She had a big dispute with new Theatres and there was mudslinging through legal letters between her and the company, which called her ‘ a street singer ‘ who was helped by the company. She refuted their charges successfully. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

She died on 28-8-1970 at Bombay. There was no news in any paper.

Today’s song is sung by Akbar khan Peshawari. With this song, film Milaap-1937 will make its Debut on this Blog.


Song-Pila raha hai koi kuchh (Milaap)(1937) Singer- Akbar Khan Peshawari, Lyricist- Unknown, MD- K C Dey

Lyrics

aa aaa aa
Pila raha hai koi
kuchh lutf e mai
badha ke pila
aa aa aa aa
khuda ka waaste
saaqi ??
mila ke pilaa aa aa aa
pilaa saaqi ek ??
dheere dheere
chale jaane baaba
chale jaane baaba
?? dheere dheere

rahe ismein ??
?? yoon na thha ??
aa aa aa aa
rahe ismein ??
?? yoon na thha ??
aa aa aa
chala hai ?? dheere dheere
chala hai ?? dheere dheere

shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa aa
shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa
chale jaate koi
udhar dheere dheere
chale jaate koi
udhar dheere dheere

tahalta aa hua aa aa aa koi
aata hai maayoos
tahalta hua aa koi
aata hai maayoos
uthho sar se baandho
kafan dheere dheere
uthho sar se baandho
kafan dheere dheere


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 :

3920 Post No. : 14983 Movie Count :

4097

Today’s song is from a film, which is not only a rare but also an obscure film, about which not much is known. The film is Mera Gaon-1942.

1942 was an important year in the Independence struggle of our country. The historical ” Quit India ” (चले जाव) movement was launched by Gandhiji. He had also appealed to Indians to march towards the villages, where the real India lay, according to his philosophy. Due to unemployment and frequent dry spells in the countryside, the farmers started an influx to the cities leaving their farms. His appeal was towards such people to go back to their villages.

Impressed with Gandhiji’s clarion call, even film makers were eager to make patriotic films and songs. One such patriotic song from film Kismet-43 came under the scan of the British empire and its writer-Kavi Pradeep- had to go underground for some time to avoid arrest. Film Mera Gaon-42 was also one such patriotic film. Though I have not seen this film, I have seen its photos and comments thereon in Film India issues of 1942. A lot can be guessed from it.

The film was made by laxmi productions, Bombay and was directed by a popular and veteran Bangla director Profull Roy. Music was also by a veteran Bangla composer-K C Dey. Bengal’s respected, popular and skilled actress Chhaya Devi also acted in this Hindi film. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career from silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat Laxmi Pictures, Calcutta.

After New Theatres became well established and made films in Bangla and Hindi competition came up. Calcutta’s New Theatres was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were many Production houses in Calcutta alone. Some of them were- Arora Film Co..,Shri Bharat Laxmi Pictures, Chitramandir RBS Prodn, Dev-Dutt films, East India F.Co., Indua Movietone, Kali Films, Kamala Talkies, Madan Theatres, New Popular Pictures, Moti mahal Theatres, Murli Pictures, Quality Pictures, Radha F.Co., Sonoray Picture Syndicate, Sunrise F.Co., M and S.F.D. Company, and Tollywood studio. ( interesting point is, Bombay film industry came to be known as Bollywood decades after this Calcutta studio-Tollywood- which continued till today for Bangla Film industry). Only few of these were regular film production houses with own facilities. Most others were formed to produce occasional films, using facilities at the regular production houses.

One of the major production house was Bharat Laxmi. Established in 1934 by Babulal Choukhani in Kolkata, Shree Bharat Lakshmi Pictures became a force to reckon with in Bangla cinema and churned out many important productions in the coming two decades. In the very same year, Choukhani sets up Bharat Lakshmi Studio in Tollygunge and gets industry stalwarts like Ahindra Chowdhury, Jahar Ganguly and Dhiraj Bhattacharya to collaborate with him on some major projects of this decade. Prolific, resourceful and immensely enterprising, Shree Bharat Lakshmi Pictures holds a key position in the history of Bangla cinema.

This Bharat Laxmi Pictures had taken Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.

Chhaya Devi, who was a very well known name in Bangal, came to Bombay for this film, only on the special request of Prafull Roy. Same reason for K C Dey also for this film.

Chhaya Devi – one of the greatest actresses to have ever graced the cinema screen. At a time when women were few in acting, this lady dedicated herself wholeheartedly to the art of cinema and music. Quite less is known of Chhaya Devi about her early life.

Chhaya Devi was born in Bhagalpur in the year 1921 in a very educated and aristocrat family. Her father was Haradhan Gangopadhay. Chhaya Devi was known as “Kanak” in her childhood. Chhaya Devi started her primary education in Mikkhoda Girls School of Bhagalpur. Then her father shifted to Delhi. There she was adimitted in the Indraprastha Girls School. As per her family regulations she was married to Buddhadeb Chattopadhay at the age of only 11. In her early years of marriage, she suffered domestic violence from her husband who was the head master at the Zila School in Ranchi. In an effort to escape the torture and lead a more independent life, She came to Kolkata with her father, when she was a student of tenth standard.

In Kolkata she started taking lessons in music from legendary singer Krishna Chandra Dey. She was introduced to Upen Goswami of East India Film Company by her cousin Suresh Chandra. Suresh Chandra was a theatre enthusiast and a close friend to Upen Goswami. East India Film Company engaged Chhaya Devi for their film “Pather Seshe” in lien of a low remuneration of Rs. 750/-. There after Debaki Basu gave her a chance in “Sonar Sangsar”. This film was released in the year 1936 and it brought fame to Chhaya Devi. She then acted in films like “Rajani”, “Chhinna Haar”, “Pratisodh” and Devika Basu directed Hindi film “Bidyapati”. Suddenly she left film acting and went back to Bhopalpur. There she started taking lessons on classical music from Damodar Mishra. She used to sing Khayal and Thumri from Radio Station. She learnt classical dancing from Shanku Maharaj and Bela Aruab. After few years on request of director Sushil Majumdar and others Chhaya Devi again returned to the film industry. She acted in “Abhayer Biye”. She also sang a few songs in that film.She acted on multi-version (Bengali-Hindi-Tamil) film “Ratnadwip”. Apart from Bengali films she simultaneously acted in many Hindi films in this second phase. Her remarkable films were “Dada Thakur”, “Raja Ram Mohon”, “Arogyo Niketan”, “Sapta Padi”, “Apanjan” etc.

Though Chhaya Devi debuted in Bengali movie Sonar Sansar in 1936, she acquired fame for the outstanding acting in the role of Queen Lakshmi in the movie Bidyapati in 1938.From lead female roles in her early days to character roles in her later years, Chhaya Devi had shown her creative ability in acting. In Atal Jaler Ahwan (1962), she stole the heart of the viewers with her soft and loving acting as mother of Soumitra Chatterjee. In Deya Neya (1963) she acted as the helpless mother of the aspirant singer Prashanta (Uttam Kumar). In the movie Saat Pake Badha (1963) she was the heartless, rude and indifferent mother of Suchitra Sen opposing the affair of her daughter with Soumitra. Chhaya Devi played the role of the mother of Uttam Kumar in many films. In Anthony Firingee (1967), Chhaya Devi was mother of Hensman Antony (Uttam Kumar). Apanjan, an outstanding film directed by Tapan Sinha in 1967, which won the National Film Award for Best Feature Film in Bengali, as well as several BFJA Awards, was considered having one of the best of the performances of Chhaya Devi. In Podi Pisir Bormi Bakso (1972), a children’s movie made from a story written by Leela Majumdar and directed by Arundhati Devi, Chhaya Devi played an unforgettable lead comic role of Podi Pisi, the widowed elderly aunt.

Chhaya Devi acted in only 8 Hindi films, namely Vidyapati-37, The Rise-39, Mera Gaon-42, Shri Ramanuj-43. Uttara Abhimanyu-46, Jogi aur Jawani-75, Aalaap-77 and Rang Birangi-83. Chhaya Devi died on 27-4-2001.

The cast of the film was Hansa Wadkar, Chhaya Devi, Jairaj, K C Dey, Majid, Agha, Moti, Kashinath etc. There were 10 songs in the film, all written by Kavi Raghunath Bramhabhatt. Raghunath Brahmbhatt was born on 13-12-1892. He was a famous Gujarati poet and also a popular playwright. He was aptly called ‘Rasakavi’ or ‘Poet of rasa’. He began his career by writing erotic poems that became very popular. His plays mainly tackled mythological and historical subjects, such as Buddhadev i.e. ‘The God Buddha’, Sringi rishi i.e. ‘Mountain Sage’, Ajatsatru, Saraswatichandra, Sneh mudra i.e. ‘Ring of Affection’. He followed Sanskrit dramaturgy i.e. a novelty when Shakespearean adaptations ruled the Gujarati stage. His adaptations of Nanalal Kavi’s verse plays and Govardhanrams novel, Saraswatichandra, were highly appreciated by audiences. He is accepted in literary circles as a major dramatist, a rare recognition for a writer of the old professional theatre. His autobiography Smaran manjari i.e. ‘Cluster of Memories’ in 1955 traces the history of Gujarati theatre over three decades beginning from 1910.

Darpana’s productions of his play Kalyan rajya i.e. ‘Benevolent Kingdom’ in 1962 points to his ability to attract the experimental theatre. Raghunath Brahmbhatt died on 11-7-1983. He wrote lyrics for just 6 Hindi films- Do deewane-36, Baaraat-42, Mera Gaon-42, Ashirwad-43, Bhakta Bilwamangal-48 and Roop sundari-49.

Here is the rare song, sung by K C Dey, an unknown female and chorus.


Song-Nandrani ki kasam, Thakurani ki kasam (Mera Gaaon)(1942) Singers- K C Dey, unknown female voice, Lyrics- Kavi Raghunath Bramhabhatt, MD- K C Dey
chorus

Lyrics

Nandrani ki kasam,
Thakurani ki kasam
kanhaiyya saamne ho
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

bansi ke bajaane
?? ke laal
kanhaiyya saamne ho
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

kahaan se aayi
kaun bulaayi
kahaan se aayi
kaun bulaayi
aa kar raar kyon machaayi
aa kar raar kyon machaayi

jaa re tori chaturaayi ?? re
jaa re tori chaturaayi ?? re
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

bansuri ?? kanhaayi
kanhaayi
apni baansuri bajaayi
bajaayi
toone ?? karaayi
mohe neend se jagaayi
baansuri ?? kanhaayi
apni baansuri bajaayi
toone murli chalaayi
mohe neend se jagaayi

koi haath ke kangan
aaha
koi haath ke kangan
aha
koi kangan ke ratan
bhool aayi re
gori haath ke kangan
gori haath ke kangan
koi rang ke ratan
bhool aayi re
ho kanhaiyya
saamne ho
kanhaiyya saamne

giridhaari ee ee ee ee
giridhaari natwar shyaam
giridhaari natwar shyaam
har dil mein tera dhaam
har dil mein tera dhaam
hriday kunj mein
mohan teri
murli baje aviraam
hriday kunj mein
mohan teri
murli baje aviraam
giridhaari natwar shyaam
giridhaari natwar shyaam

baja le prem se
ho baja le prem se
baja re prem se
ho baja re prem se
prem ki ye bansari
gopal
baja le prem se
prem ki hai bansari
?? kunj mein gopal baja le
prem se
baja le prem se
ho baja le prem se


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 : 3717 Post No. : 14649

“Door Chalein”(1946), an extremely obscure “social” movie was directed by Phani Majumdar for Durga Pictures Bombay. The movie had Naseem (Jr), Kamal Kapoor, Damyanti Sahni, Balraj Sahni, Rajkumari, Agha, David, K C Dey etc in it.

The movie had at least eight songs, perhaps more. Details of eight songs are available in HFGK.

One song from the movie has been covered in the past. Here is the second song from the movie to appear in the blog. The song is sung by K C Dey and Meena Kapoor. Lyricist is not known. Music is composed by K C Dey.

Only the audio of the song is available. Seeing that K C Dey acted in the movie, it seems clear that he lip synced for himself, but it is difficult to say who lip synced in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

PS-Mr Sadanand Kamath has helped fill in the gaps as far as the missing details are concerned. He informs that Sajjan was the lyricist in this movie.


Song-Anjaane se pehchaane se(Door Chalein)(1946) Singer-K C Dey, Lyrics-Sajjan, MD-K C Dey
K C Dey + Meena Kapoor

Lyrics

Anjaane se pehchaane se
kya naya sandesha laaye ae ae
kaun kahaan se aaye
tum kaun kahaan se aaye

tum phoolon mein muskaate ho
tum kaliyon mein sharmaate ho
phoolon mein muskaate ho
tum kaliyon mein sharmaate ho

shabnam ke aansoo ro ro ker
beete din yaad dilaate ho
shabnam ke aansoo ro ro ker
beete din yaad dilaate ho
mere toote se sapnon ko
kya aaj jodne aaye
aaj jodne aaye
anjaane se pahchaane se

tum aaye ae
tum aaye
veena baaj uthhi
swar lahri phir se naach uthhi
tum aaye
veena baaj uthhi
jeewan ki veena baaj uthhi
geeton ki duniya jaag uthhi
tum aaye

jab aaye ho phir na jaana
apna lo phir na thhukraana
aaye ho phir na jaana
apna lo phir na thhukraana

tum mera jeewan ban jaao
sooni aankhon mein bas jaao
tum mera jeewan ban jaao
sooni aankhon mein bas jaao
main jaan gaya hoon
tum mera sansaar badalne aaye

sansaar badalne aaye
anjaane se
pahchaane se
kya naya sandeshaa laaye ae
kaun kahaan se aaye
tum kaun kahaan se aaye


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.

This article is his 600th writeup in the blog.

Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.

There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.
Read more on this topic…


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.

“Devdaasi”(1945) was directed by C S Bose for New Maharashtra Production, Bombay. This movie had Prithviraj Kapoor, Monika Desai, K C Dey, Vikram Kapoor, Suman, Kamla, Dar Kashmiri (Jeewan), G L Vaid, Arbind Sen, Prasann Kumar, Ashbela, Muma Tagore, Dubey etc in it.
Read more on this topic…


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.

“Door Chalein”(1946) was directed by Phani Majumdar for Durga Pictures, Bombay. The movie had Naseem < Kamal, Damyanti, Balraj, Rajkumari, Agha, David, K C Dey etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, 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.

Forgotten Melodies of the 1940s – 35
————————————–
I had never heard of the film AANDHI (1940) until I came across a couple of mp3 audio clips of the songs from the film. It was more surprising for me when I came to know that the film was from the stable of New Theatres Ltd. Of course, the film was produced under the banner of Associated Productions Ltd, probably an associate or subsidiary of the New Theatres. The film was directed by Dinesh Ranjan Das, a name I heard for the first time. The star cast included Pankaj Mullick and Mollina Devi in lead roles supported by Nemo, Shreelekha, Manjari, Muzamil, K C Dey etc.
Read more on this topic…


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.

We have been discussing the statistics of Hindi movie songs over the years and we have so far reached upto 1934. As a result of this analysis and follow up action (in the form of posting the balance available songs from those years), we now have posted almost all available songs from 1931 to 1933, with just two songs each from 1932 and 1933 still left.
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.

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(© 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

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

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