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

Posts Tagged ‘Kavi Pradeep


This article is written by Sudhir, 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 :

3953 Post No. : 15029 Movie Count :

4120

Missing Films of 1960s – 108
– – – – – – – – – – – – – – –

At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.

The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.

In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).

Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.

With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.

Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.

The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.

When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.

He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.

The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.

The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.

With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.

 

Song – Jaao Mere Devta, Jaao Mere Praan  (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus

Lyrics

jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

har har gange. . .
har har gange

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

जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

हर हर गंगे॰ ॰ ॰
हर हर गंगे

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This article is written by Sudhir, 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 :

3948 Post No. : 15023 Movie Count :

4118

Missing Films of 1960s – 106
– – – – – – – – – – – – – – –

Today, we bring on board the 1968 film ‘Balram Srikrishna’. We are now down to some of the most obscure films on this list of pending films of 1960s. However, the film itself is available, and the video clip of this song is uploaded. As the name suggests, it is a mythological / historical film based on our scriptures. It depicts some of the episodes from the stories related to the Sri Krishna avataar of the Supreme Lord. And Balram is the name of the elder brother of Sri Krishna in this incarnation.

The film is produced under the banner of Joy Films, Bombay and is directed by Chandrakant. The star cast listed for this film is very very impressive – Dara Singh, Shahu Modak, Premnath, Nana Palsikar, Randhawa, Azad, Ashish Kumar, Gemini Ganesh, Prithviraj, Savitri, Jaishri Gadkar, Geetanjali, Madhumati, Bela Bose, Padma Rani, Sushma, Uma Khosla, Aruna Irani, Sulochana Chatterjee, Babu Raje, Sherry, BM Vyas, Anand Joshi, Arvind Pandya, Bhale Rao, Radheshyam, and Pal Sharma.

There are nine songs listed for this film. All songs are from the pen of Kavi Pradeep. The music composition is by C Ramchandra. This song is rendered by Asha Bhosle, supported by a chorus of voices.

On screen this song is performed by Geetanjali, accompanied by a group of sahelis. I have not seen this film, but my intuition tells me that Geetanjali is playing the role of Rukmani, the daughter of Bhishmaka, the king of Vidarbha. As per the descriptions in the Puranas, Rukmani is the incarnation of Goddess Lakshmi. In this incarnation, she is born on this earth as the daughter of Bhishmaka. At a young age, she learns about Lord Krishna, His beauty and His virtues. She starts to love Him in Her heart, and takes a vow that She would be married only Him. As is logical even, for Goddess Lakshmi cannot be betrothed to anyone other than the Supreme Lord Vishnu himself, because they are the Eternal Couple.

The later part of the stories tell about how Her brother Rukmi announces Her betrothal to Shishupal, the crown prince of Chedi. This is to please Jarasandh, the King of Magadh. Jarasandh is a sworn enemy of Krishna, as he is the father-in-law of King Kamsa of Mathura, whom Krishna had slain in hand-to-hand combat. The detailed stories are quite intricate. Suffice to say that Rukmini becomes aware of Rukmi’s plans to get Her married to Shishupal. Having made a personal vow to Herself, that She would marry Krishna only, She sends a message to Him through a brahmin. On receiving the message, Krishna, who is now the King of Dwarka, sets out in His chariot to reach Vidarbha at the earliest. Balram, His elder brother, follows him with the army, quite correctly anticipating trouble, when Krishna would reach Vidarbha.

Bhishmaka, Rukmani’s father, is in favor of his daughter marrying Krishna, but is helpless in the face of Rukmi’s arrogant insistence. On the morning of the wedding day, Rukmani goes to the temple for prayers. Krishna is waiting there, all set with His chariot and horses. They elope from the temple, and start Their journey towards Dwarka. When Rukmi learns about this elopement, gathers his army and sets out in chase of the fleeing Couple. The two armies catch up. While Balram with his army vanquishes the army of Rukmi and Jarasandh, Krishna engages in a duel with Rukmi and defeats him. He is just going to behead him, when Rukmani begs that Her brother be forgiven. Krishna relents and spares Rukmi’s life.

As mentioned earlier, the complete description is very detailed and intricate. Only a brief summary has been presented above to establish the context. This song, from the lyrics and the performance, is most likely from the time when Rukmani has realized Her love for Krishna in Her heart, and She is pining to meet Him and see Him. The verses tell of the depth of Her anxious eagerness to meet Him.

A very melodious song, that I have heard for the first time, as I prepare for this post. A lost gem that should have been better known. Listen and enjoy.

Song – Jis Ki Sohni Hai Soorat, Mann Mohini Hai Moorat  (Balram Srikrishna) (1968) Singer – Asha Bhosle, Lyrics – Kavi Pradeep, MD – C Ramchandra
Chorus

Lyrics

aa aaa aaaa aaaaa

koi bata do
pata piya ka
kahaan mera chit chor
main wo prem deewaani
jis ka preetam
nand kishore

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

door disha mein muraliya boley
taan taan par jiya mera doley
door disha mein muraliya boley
taan taan par jiya mera doley
muraliya boley
jiyara doley
jis ka naam bansi waala
jis ne chhup chhup jaadu daala
aise natkhat se mere kab ladenge nayan
aise natkhat se mere kab ladenge nayan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
aayenge sainyaan
pakdenge bainyaan
jin ka sunder hai badan
jin ka roop mann mohan
aise prabhu mujhe denge kab darshan
aise prabhu mujhe denge kab darshan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
baadal chhaate
yaad wo aate
jis ko maana mann hi mann
maine apna jeevan dhan
aise piya ji ki main kab banungi dulhan
aise piya ji ki main kab banungi dulhan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

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

आ आss आss आssss

कोई बता दो
पता पिया का
कहाँ मेरा चित चोर
मैं वो प्रेम दीवानी
जिसका प्रीतम
नन्द किशोर

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
मुरलीया बोले
जियरा डोले
जिसका नाम बंसी वाला
जिस ने छुप छुप जादू डाला
ऐसे नटखट से मेरे कब लड़ेंगे नयन
ऐसे नटखट से मेरे कब लड़ेंगे नयन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
आएंगे संईयां
पकड़ेंगे बंईयां
जिनका सुंदर है बदन
जिनका रूप मन मोहन
ऐसे प्रभु मुझे देंगे कब दर्शन
ऐसे प्रभु मुझे देंगे कब दर्शन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
बादल छाते
याद वो आते
जिसको माना मन ही मन
मैंने अपना जीवन धन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन


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 : 3915 Post No. : 14976

Today’s song is from the film Chandi Pooja-57.

The decade of the 1950’s was significant in HFM for many reasons. Firstly, this was the decade which saw the peak of the Golden Era of the HFM and also it witnessed the downward trend in the quality of music by the end of the decade. Secondly, those Music Directors who bloomed highest in the end of 40’s, slowly started their journey downwards. A glaring example is that of C.Ramchandra. At the same time, those Music Directors who had just started their ascent in the end period of the 1940’s, went to their Zenith, stayed there for a while and began their descent by early 1960s. Typical examples are Shankar-Jaikishen, S D Burman, Madan Mohan etc.

The last few remnants of HFM of 1940s like Khemchand Prakash (he died in 1950), Hansraj Behl, Gyan Dutt, K.Datta etc began their downward journey in this decade and new stars like N Dutta, Hemant Kumar etc emerged on the musical horizon.

Thirdly, the decade was a decade of Mythological and Religious films. As many as 124 such films were released under this Genre. Consequently, Music Directors like Avinash Vyas and S N Tripathi etc, who were specialists of this Genre prospered.

1957, in my opinion, was the Pinnacle of Hindi films in the Golden Era. What films! What Music !! What entertainment !!! Films were at their best in 1957. The list reads Aasha, Abhimaan, Ab Dilli door nahin, Agra Road, Apradhi kaun, Baarish, Bada Bhai, Begunah, Bhabhi, Champakali, Dekh Kabeera roya, Do aankhen bara haath, Ek gaon ki kahani, Ek jhalak, Ek saal, Gateway of India, Hum panchhi ek daal ke,, janam janam ke phere, Kathputli, Miss Bombai, Miss India, Miss Mary, Mother India, Mr. X, Nau do gyarah, Naya Daur, paying Guest, Pyaasa, Shaarda, Yahudi ki Ladki etc etc.

It seemed as if, leading Music Directors had decided to showcase their Best offerings to the HFM lovers in the decade of the 50’s. In this flood, other MDs like Narayan Dutt, Bipin-Babul, Avinash Vyas, Jimmy, Sanmukh Babu upadhyaya, B N Bali, A R Qureshi, Ram gangully, S Mohinder, Ghulam Mohammed, Kanu Ghosh, Ramlal, Vinod, Sardul kwatra, Husnlal Bhagatram were operating but without their presence being felt.

Among all the stalwarts and their films,there was one Music Director, who quietly performed his acts and disappeared . His name was Ajit Merchant. He is one of those who were successful in Gujarati films more than Hindi films. he did give some melodious songs, however, he was not successful. he was the son of Ratansy Jetha, a criminal Lawyer in Bombay. Born on 15-8-1922, he was the only child in the family.Instead of school education, he was more interested in learning Music. he was encouraged by his father and learned from Ustad Amaan ali khan of Bhendi Bazar and Shiv kumar Shukla ( Principal of Music college, Baroda). he also learnt western music from Amy Markerus.

He started as assistant to Ashok Ghosh and Anil Biswas. His first independent work as Music Director was film Refugee-48. Then came film Raaj kumari-55 (a remake of Tamil film Van sundari), Indraleela-56, Chandi Pooja-57, Rambhakta Bibhishan-58, Sapera-61, Challenge-64 and his last film Lady killer-68. He was a Music producer in A.I.R. from 1957 to 1967. He gave music to 32 Gujarati films and only 8 Hindi films. In Gujarati, he is best remembered for Dilip Dholakiya’s song ” Taari aankhno afini” from film Diwa Dandi-50. ( Mera joota hai Japani is inspired by this song). He also gave music to more than 200 Gujarati, Hindi and Marathi stage dramas. He left behind wife Nilamben , 4 daughters and 2 sons, when he died on 18-3-2011 at Bombay.

Film Chandi Pooja-57 was directed by Raman Desai. Raman B Desai was born in Bilimora,Gujarat,on 28-4-1918. At the age of 20 years he joined Wadia Movietone as an assistant Director. He assisted Director Chaturbhuj Doshi for quite some time. he became an independent Director with Pehli Pehchan in 1947. Then came Narad Muni,Raja harishchandra,Hari Darshan,Naag Panchami,Chakradhari,Rajyogi Bharthari,Navaratri,Waman Avataar,Ram navami,Grihalaxmi (he also produced it) and Amar jyoti-1965. he also directed 6 Gujarati films.Due to his expertise in religious films,he was known as ” King of Mythological Films”.

Raman B Desai expired on 22-12-1997. ( he should not be mistaken for another director Ramanlal Desai,who operated in the same period and directed films like Aab-e-Hayaat-55 and Sangeeta-50 etc).

The cast of the film was Nirupa Roy, Manhar Desai, Prem Adeeb, Shanta Apte ( her last film), Sapru and others. In hindi film, Shahu Modak and manhar Desai both were Christians, but became famous by doing Mythological and religious films and enacting Hindu Gods and Saints.

Manhar Desai was a Gujarati Christian-real name Malcolm Alfredo D’souza. He was born on 3-8-1917. He used to stammer when he was a boy. He used to act and sing in dramas and due to his stammering style, he was very popular on stage. After completing High school, he ran away to Bombay to join Films, but could not even enter any studio, Disappointed, he returned to his home and restarted studies. He joined Wilson college in Bombay for graduation. In college he started acting and singing on stage. He had a friend N.C.Pandey, who was also mad after films. He promised Manhar that if he becomes a Director, he will make manhar a Hero. While in college Manhar married his classmate, who was from U.P.

In 1947, Manhar got a call from his friend N.C.Pandey, who was to direct a Hindi film. He made manhar the Hero of this film and thus fulfilled his promise. Toofani Sawar-47 was the first film of Manhar Desai, in Hindi. He was invited to work in film Gunsundari-48 ( Gujarati), opposite Nirupa Roy. The film was Hit and he acted in next film Mangal Phera-49 with Nirupa Roy. This too became a Hit film in Gujarati and then there was no looking back. His next Hindi film was Madhosh-51 opposite Meena kumari. Following their success in Gujarati, Nirupa Roy and Manhar were paired in several Mythological films in Hindi. Films Naag Panchami-53 and Shivratri-54 made him a popular Hero in Hindi mythological films.

Manhar Desai was fond of Reading. During breaks in shooting, he would catch up with his reading. He also was a good painter. Manhar worked in 106 Hindi films. His last film was Nal Damyanti-88. In the last phase of his career, he was disillusioned about the working in films in this era, so he gave up working and retired. ManharDesai died on 25-2-1992.

Today’s song is a very melodious song. Many readers may still remember this song. My thanks to our Sadanand ji Kamath for locating this song and giving me the link, on my request, since I could not find it anywhere. This is the type of camaraderie that exists among the Atulites.


Song-Dig dig dig dig daiyya…chali meri Naiyya (Chandi Pooja)(1957) Singer-Asha Bhonsle, Lyrics-Kavi Pradeep, MD-Ajit Merchant
Chorus

Lyrics

Dig dig dig dig daiyya
aa aa aa aa aa
chali meri naiyya
aa aa aa aa aa
Dig dig dig dig daiyya
chali meri naiyya
bahe purwaiyya re
hey haiyya re haiyya
haiyya re

matwaali gopiyaan pukaaren
jaldi se aa mil kanhaiyya
hey haiyya re haiyya
haiyya re

ooper chalte kaale megha aa
kaale kaale megha re
ooper chalte kaale megha
neeche chalti naav
chalti naav re ae
aa gaye ham to door
rah gaya peechhe gokul gaanv
gokul gaanv re
man ki amraiyya hai sooni ee
aa ja re raas rachaiyya
hey haiyya re haiyya
haiyya re

dig dig dig dig daiyya
aa aa aa aa
chali teri naiyya
aa aa aa aa

dig dig dig dig daiyya
chali meri naiyya
bahe purwaiyya re
hey haiyya re haiyya
haiyya re

chori chori kar ke bahaana aa
kar ke bahaana re
chori chori kar ke bahaana
ham nikle hain ghar se
nikle hain ghar se ae ae
mil ja re mohan
kaanp rahi hain ham duniya ke dar se
duniya ke dar se
lehron pe khelti patwaaren ae ae
karti hain chhappak chhappak chhaiyya
hey haiyya re haiyya
haiyya re


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

Blog Day : 3795 Post No. : 14782

Today’s song is from the film Naya Sansaar-41. This was a film made by Bombay Talkies. It was directed by N.R.Acharya and the music was by Saraswati Devi (4 songs ) and Ramchandra Pal (6 songs ). The lead pair of the film was Ashok Kumar and Renuka devi, along with Mubarak, Shahnawaz, Suresh, David, V.H.Desai and many more.

Bombay Talkies was established By Himanshu Rai and Devika Rani in 1934. Their marriage was a confluence of two rich,cultured,educated and Handsome/ Beautiful souls with common interests. While in England, these two frequently appeared on page 3 of the Tabloids of London. They came back to India and established Bombay Talkies Studios in the far western suburb of Bombay City- Malad. The rich and the famous joined them as shareholders and the studio soon boasted of most modern equipment, and a team of European ( read German ) technicians. Himanshu Rai was keen to have only the educated and capable artistes from respectable families. At the pinnacle period, the company had a roll call of 400 persons. They were offered the best of facilities for work and recreation. A 24 hr. Medical assistance with a Doctor was also made available.

Within two years of its existence, Bombay Talkies got its first jolt, when its Heroine cum owner-Devika Rani, eloped with her handsome Hero- Najmul Hasan. This whole thing was somehow managed, with Devika Rani’s return to Bombay Talkies. In the process, a new Hero- Ashok kumar emerged, from within its own stock. Soon all seemed well and the company rolled out 15 films- mostly successful and its name became synonymous with quality films and popular music.

The second jolt came in 1939, when film Kangan was being made and the Second World War started on 1-9-1939. In addition to restrictions on Raw film supply, the British Government arrested the German Technicians of Bombay Talkies and deported, Franz Osten-Director, Joseph Wirsching-Cinematographer, Carl Von Spratti- Set Designer and Len Hartley- Sound Recordist, to Deolali ( near Nashik) under house arrest. Film Kangan was completed by the second line staff of N.R.Acharya and Najam Naqvi. Soon Himanshu Rai lost his mind, suffered from mental illness and died on 19-5-1940.

After his death, the Directors of Bombay Talkies, namely-F.A.Dinshaw, Chimanlal Setalvad, Sir Chunilal Mehta, Sir Phiroze Sethna, Sir Richard Temple and Cawasji Jahangir met in a huddle and appointed Devika Rani as the Production In charge of the company with all powers. Consequently, this led to dissatisfaction among a group of people led by S.Mukherjee. So, two teams were formed for making films. To the credit of Devika Rani, it must be said that during her reign, Bombay Talkies rolled out the best films ever from the studio,like Bandhan, Jhoola, Kismet, Basant, Jwar Bhata, Milan etc till 1945. Devika Rani left Bombay Talkies in 1945 after her marriage. The other group had already left to form Filmistan. During this disturbed phase of the company, film Naya Sansar was made based on the story, screenplay and Dialogues by K.A.Abbas.

Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.

Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).

One of the many artistes developed by Bombay Talkies was N.R.Acharya. He was born in Karachi in 1909. He was a Government contractor, when he joined the East India Film Company, Calcutta- one of the first sound film studios in India. He shifted to Bombay and joined Bombay Talkies as Production Manager, when film Achhut Kanya was being made in 1936. When Franz Osten was arrested, while directing film kangan, he completed his work on that film.

He directed his first film Azad-40 and then Bandhan-40, both with Ashok kumar and Leela Chitnis. Then came Naya Sansar-41. When S.Mukherjee, Ashok kumar Wachha and others left Bombay Talkies, he too left, but did not join any group. He started his own company Acharya Arts productions. He produced and directed kishor Sahu’s film Kunwara Baap-42. Then it was Uljhan-42,Aage Kadam-43, parivartan and Shohrat-49, Gujarati film Lagna Mandap-50 and lastly Dhola Maru-56. Amiya Chakravarty and gyan mukherjee were his followers. He died in 1993.

The story of film Naya Sansar-41, as given on wiki, is…

The film was written by Abbas, who was a film critic at that time. He used his journalistic background to create a story about the rising radicalism in Indian society and journalism. The story addressed the conflict between a dynamic young reporter and his cautious, yet idealistic, editor of the fictional progressive newspaper, ‘Sansar’. The story line revolved around the editor, Premchand (Mubarak), who is in love with a beautiful orphan named Asha (Renuka Devi), whom his family has raised from an infant. Soon after Asha starts working for the paper, she falls in love with Sansar’s star reporter and dedicated radical-journalist, Puran (Ashok Kumar). Asha, however, still feels indebted to Premchand’s family.
When Premchand starts to hedge on his radicalism by dealing with the evil Dhaniram, Puran quits, and starts his own newspaper, “Naya Sansar”. Premchand quickly sees the error of his ways, and not only returns to the paper’s previous left-wing stance, but also condones the marriage of Asha and Puran.

One remarkable thing about film Naya Sansar. Ashok Kumar started his career from Jeevan Naiya-36 and acted in 11 films till Naya Sansar-41. He became famous as a Romantic hero. His biggest problem was he did not know what to do about his hands while acting and felt very embarrassed in his films. Due to this he looked bewildered in his films all the time.

In film Naya Sansar-41 he solved this problem. His role was of Puran-a radical journalist. For the first time, he smoked cigarette on the screen and his problem of hands was solved for ever. Thus started his smoking as his trademark in films. Even in private life, he was a heavy smoker.

Today’s song is a chorus song, sung by Arun Kumar and Kavi Pradeep.


Song-Naya zamaana aaya logon naya zamaana aaya (Naya Sansaar)(1941) Singers- Singers-Arun Kumar Mukherji, Kavi Pradeep, Lyricst- Kavi Pradeep, MD- Saraswati Devi
chorus

Lyrics

Naya zamaana aaya logon
naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
ho Naya zamaana aaya logon
naya zamaana aaya

jag mein jeewan jyot jagaane
aazaadi ka bigul bajaane
aaj naya sansaar nayi dhun
nayi zindagi laaya
haan haan
nayi zindagi laaya

lo Naya zamaana aaya logon
naya zamaana aaya

halchal charon aor machi hai
chahal pahal ghanghor machi hai
lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

kadam kadam par naya taraana
kaun sunega geet puraana
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
lo Naya zamaana aaya logon
naya zamaana aaya
naya zamaana aaya


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

Blog Day :

3748 Post No. : 14711 Movie Count :

4019

Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.

Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Administrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.

His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)

Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.

Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.

Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.

Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.

Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…

” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.

Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.

He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.

Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.

However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”

Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.


Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus

Lyrics

Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala

apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana

aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala


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 : 3577 Post No. : 14325

“Chamkee”(1952) was produced by Maganlal G Desai and directed by J K Nanda for National Film Circuit, Bombay. This movie had Raagini (Sr), Shekhar, Roopmala, Ulhas, Murad, Meera Mishra, Cuckoo, Jeewan, Nana Palsikar, Mumtaz, Uma Dutt, Khairaati, Brij Sarah, Iqbal, Pannu etc in it.

The movie had nine songs in it. Six songs from the movie have been covered so far.

Here is the seventh song from “Chamkee”(1952) to appear in the blog. this song is sung by Lata and chorus. One male voice is also heard in the song who could be Manna Dey himself. But HFGK credits this song as a Lata solo and I have gone with that.

The song is penned by Kavi Pradeep. Music is composed by Manna Dey.

Only the audio of this song is available. This rare song is a rather “different” kind of song full of “anokhe bol”. The singer and the lyricist are not normally associated with such light hearted kind of songs. 🙂

This song sounds like one that would be picturised on Cuckkoo, who figures in the cast. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.


Song-O baabaalu.. main tujhpe jawaani lutaane aayi (Chamkee)(1952) Singer-Lata, Lyrics-Kavi Pradeep, MD-Manna Dey
Unknown male voice
Chorus

Lyrics

ae o
O baabaalu

aa aa aa
baabaaloo
baabaaloo
baabaaloo

main tujhpe jawaani lutaane aayi
ee ee
ee ee
tere kadmon pe aankhen bichhaane aayi
ee ee
ee ee
main tujhpe jawaani lutaane aayi
tere kadmon pe aankhen bichhaane aayi
aaj tujhko main apna banaane aayi
ee ee
mere saamne aa
zara aankh milaa
mere saamne aa
zara aankh milaa
o kahaan chhipaa tu
u u u
baabaaloo

??
o baabaaloo

arre o o o
o o

aa haa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
main man mein ek toofaan liye huye aayi hoon
tujhe dhoondhne
dil mein laakhon armaan liye huye aayi hoon
tujhe dhoondhne
main muhabbat ka ?? aaj liye
huye aayi hoon
tujhe dhoondhne
gore gore ye gaal
ghunghraale ye baal
gore gore ye gaal
ghunghraale ye baal
meri mast chaal
kitni kamaal
arre o o o
ek nazar pher
zara meri taraf
ek nazar pher
mera jaadoo bhara ye husn dekh
saari duniya jis pe lattoo
saari duniya jis pe lattoo
oo oo
baabaaloo
??
o baabaaloo

mere saamne aa
baabaaloo
zara aankh milaa
baabaaloo
mere saamne aa
baabaaloo
zara aankh mila
ho baabaaloo
baabaaloo
baabaaloo baabaaloo
dhik chika dhik
baabaaloo
baabaaloo ba
chhik chhika chhik
baabaaloo
baabaaloo baa
chhik
chhika chhik
baabaaloo baabaaloo ba
chhik chhika chhik
baabaaloo baabaaloo baba
chhik chhika chhik


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 : 3510 Post No. : 14102

“Kisaan Aur Bhagwaan”(1974) was produced by Dara Singh and directed by Chandrakant. The movie had Dara Singh, Yogita Bali, Abhi Bhattacharya, Feroz Khan (special appearance), Asit Sen, Jayashree Gadkar, Jankidas, Shani Malik, Lalita Kumari, Padma Khanna, Parduman Singh, Saudagar Singh, Praveen Kumar, Harbans Papa, Dhanraj, Ved Prakash, Balbeer Vird, Ved Gandhi, Daljeet, Rajkumar, Rajkumari, Amita, Sant Dharmdas, Sheru, Suresh, Shammi, Gopal Saini, Master Veerendra, Amreek Randhava etc in it. etc in it.

The movie had seven songs in it.

Here is the first song from “Kisaan Aur Bhagwaan”(1974) to appear in the blog. The song is sung by Asha Bhonsle and Kishor Kumar. Kavi Pradeep is the lyricist. music is composed by Prem Dhawan.

The song is picturised on Yogita Bali and Feroz Khan. I am told that Hero and heroines those days used to run around trees while singing love duets. Finally I have seen the picturisation of a song where this is actually happening. 🙂

With this song, “Kisaan Aur Bhagwaan”(1974) makes its debut in the blog.


Song-Arre ban gayi baat sajna (Kisaan Aur Bhagwaan)(1974) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Pradeep, MD-Prem Dhawan

Lyrics

arre ban gayi ban gayi ban gayi
ho ban gayi baat sajna
pakad mera haath sajna
ho ban gayi baat sajna
pakad mera haath sajna
chal kahin le chal mere yaar ho o
thhoda thhoda pyar karen
ke thhoda thhoda pyaar karen aen aen

are sun sun sun sun soniye
ye hai shuruwat soniye
phir hai baaraat soniye
ye hai shuruwat soniye
phir hai baaraat soniye
ho ja meri dulhan taiyaar
ho thhoda thhoda pyar karen
ke thhoda thhoda pyaar karen aen aen

khatm hui hai kahaani puraani
kissa naya hai shuru u u
kissa naya hai shuru
main to kabhi se bana tera chela
jahaan chaahe le chal guru u u
jahaan chaahe le chal guru

main doongi saath sainya
daal bainyon mein bainya
main doongi saath saiya
daal bainyon mein bainya
karoongi na koi inkaar
ho thhoda thhoda pyaar karen
ke thhoda thhoda pyaar karen aen aen aen

hat gayin goriye sabhi deewaaren
milen ab khul khul ke
ho ho
milen ab khul khul ke

kahin bhi tu le chal
balma uda ke
par lage bulbul ke ae ae
par lage bulbul ke
aa meri mast raani
palat den zindgaani
aa meri mast raani
palat den zindgaani
bulaati hai humko bahaar
ho thhoda thhoda pyaar karen aen aen

ke thhoda thhoda pyaar karen aen aen
ho thhoda thhoda pyaar karen aen aen

ke thhoda thhoda pyaar karen aen aen


This article is written by Avinash Scrapwala, 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 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 : 3490 Post No. : 14022

First of all, I have to express my gratitude to this blog once again, it is only because of this blog that am able to share this post here. Though I have already shared many posts earlier, but today the personality I am writing about is of such a great stature that it is my fortune and blessings of this blog that I am able to do this.

Today we remember Ramchandra Narayandutt Dwivedi whom we fondly admire and respect as ‘Kavi Pradeep’ or ‘Rashtra Kavi Pradeep’ on the anniversary of his birth. He was born on 6th February,1915 and passed away on 11th December,1998 leaving behind a great legacy or even I can say a ‘heritage’ – a national heritage of his immortal poems and his ‘voice’.

I am short of words to add an adjective to describe his ‘voice’, because it cannot be expressed in words. It is an altogether a very different experience or rather divine experience to listen the songs sung by him. For that matter I think people like me who were born in end sixties and seventies or may be little later and even extending to the eighties, must have in their childhood heard his voice/songs playing on loud speakers, radio and in the earlier years of TV in India.

I cannot forget “Aao Bachcho Tumhein Dikhaayein“, and “Ae Mere Watan Ke Logo“, one penned and sung by him and other penned by him, which were/are a ‘must’ on every Independence Day and Republic Day. And how rightly he said the value of ‘our hard fought freedom’ when he is talking to the new generation in this song “Hum Laaye Hain Toofaan Se Kishti Nikaal Ke’.

Then there are few songs which we used to listen when we grow up but can only understand their depth after we actually matured as adults. These are the philosophical song like “Dekh Tere Sansaar Ki Haalat“,  “Mukhda Dekh Le Praani“, “Pinjre Ke Panchhi Re“, “Doosron Ka Dukhdaa Door Karne Waale“, “Kabhi Dhoop Kabhi Chhaaon“, “Hum Ne Jag Ki Ajab Tasweer Dekhi“, “Koi Laakh Kare Chaturaayi“. Listening to these and songs sung by him have always given me a great motivation and inspiration other than giving peace to mind whenever I have felt like down with spirits or depressed and struggling with our day to day adversities.

He always wrote and sung with passion, pouring his heart and his feelings into his creations, and thus his songs whether patriotic, devotional or philosophical, when we listen to them, always take us to an altogether different ‘planet’ that is the magic of his words and his voice.

Like the song “Tere Dwaar Khadaa Bhagwaan“, I have never felt tired of listening to this song. I can listen to it many many times in one go. Then his song on the partition of India – “Aaj Ke Insaan Ko Ye Kya Ho Gaya“; one can just imagine the agony in his feelings and the ‘pain’ this ‘poet’ is going through on the degrading human values.

I would like to share here an incident which proves that if one gets a chance to listen to his songs they straight way take to one’s heart and mind forever and even the new generation cannot escape from his ‘passionate’ and ‘inspirational’ voice if they get that right atmosphere around where his songs are listened to. I was at Kota, in Rajasthan at that time in 1988-89. I had bought this compilation of Kavi Pradeep’s songs released by HMV. I presented this to one of my Senior Colleagues who was from Paudi Garhwal. He had a son and a daughter who was around 4-5 years old at that time.

After a gap of around 6-7 years when I was on tour to New Delhi I got a chance to visit this senior of mine and stay with them. As we were discussing his daughter came to me and said ‘Uncle, aap wahi Uncle ho na jinhone hamen Kavi Pradeep ji ki cassette di thi’.

What I want to put here is that if we the citizens of this country nurture good values, of course including the great heritage of our history, arts and culture, and pass them on to new generations, it will be certainly of a great help to instil in them the love for the nation and respect towards the great freedom fighters, soldiers of this country, the country – the land itself and our historical and cultural values.

Hindi movies already are doing great job in the service of nation and national integration. And Kavi Pradeep’s contribution in this cause is simply great and his poetry and songs need to be continuously passed on to the new generation to rouse patriotic values and love for the nation and its great historical heritage.

On this blog we always have this opportunity to share the works of such great persons and their art which they use as a ‘medium’ to reach people and in service of the ‘greater cause’ – ‘the nation’. And we have a long long way to go in this purpose of sharing his poetry /songs that he wrote for Hindi Movies. As per the ‘statistics’ page of this blog, we have till now posted only 167 (I hope this is the latest updated figures) out of the 531 songs he wrote for HFM.

Today I am sharing one of his songs which is written and sung by himself. This song, when I initially sent almost three years ago to Atul ji, I thought was a non-filmy song. As the link available then didn’t mention anything about this song. However, thanks to this book ‘Kavi Pradeep Ka Hindi Sahitya Mein Avdaan’ by Dr. Dinesh Chandra Awasthi which I got few months back and came to know that this song is actually from a ‘recent’ 1983 movie ‘Jai Baba Amarnath’ and not from a yesteryears movie or an NFS.

I like this song very much and it is ‘philosophical’ background song in the movie (as can be seen from the video of this song available now) and in the picturization of this song we can see Vikram Gokhale, Bina and others.

‘Jai Baba Amarnath’ was directed by BR Ishara for ‘King Movies’. It was produced by Badriprasad Joshi. It had Vikram Gokhale, Beena, Mahipal, BM Vyas, Surya Kumar, Anant Marathe, Maheshwari, Master Vikas, Mohan Choti, Meghna, Ratna Bhushan, Nayna Bhatt, Champshi Bhai, Ashalata, Bhagwan, Tun Tun, S Madan, Surekha Rane, Karunakar Pathak, Baiju Raja, Nanak Singh, Lakhan, Amit, Mishrilal, Hangama, Jaya Kaushalya, and Mahesh Desai.

The songs in this movie were sung by Kavi Pradeep, Mahendra Kapoor, Usha Khanna, Suresh Wadkar, Chandrani Mukerjee and Dilraj Kaur. The records were released by ‘Music India’. Sujit Sen and Subramaniam were Assistant Directors for this movie. SA Kadar was the Chief Assistant Director. Dahya Bhai was the Cameraman for this movie. The editing for this movie was done by LD Bhatia. Story of this movie was written by Pandit R Priyadarshi. Kavi Pradeep wrote the songs for this movie and music was composed by Usha Khanna.

This movie was passed by Censor Board on 11.01.1983.

I have to confess here that I wished to write a detailed biographical write up (though I am not good in doing it like our senior members and other members) on Kavi Pradeep. I had actually started with it, but could not devote the time required, and so I am presenting a much briefer article about him. But that does not deprive us in enjoying this wonderful creation in his loving memory in our hearts. I will try to write his biographical sketch with more information about the movies he worked for in another article, as possible.

Let us now enjoy this philosophical yet motivational song, which is written and sung by Kavi Pradeep and composed by Usha Khanna. The movie ‘Jai Baba Amarnath’ makes its debut today on our blog.

 

Song – Udti Chidiya Behta Paani (Jai Baba Amarnath) (1983) Singer – Kavi Pradeep, Lyrics – Kavi Pradeep, MD – Usha Khanna

Lyrics

udti chidiya..aa..aa
behta paani..ee..ee
inki kahaani kisne jaani
udti chidiyaa..aa..aa
behta paani..ee..ee
inki kahaani ee kisne jaani
duniya waalo suno
isi ko kehte zindagani
udti chidiya
behta paani
inki kahaani kisne jaani

jeewan to hai ek ramta jogi re
bhatakta jogi
kise pata kiski shaam
kal kahaan hogi re
kal kahaan hogi
dharti waalo suno
ye hain shabd aasmaani
udti chidiya..aa 
behta paani.ee
inki kahaani  kisne jaani

bada hi ajeeb hai ye
duniya ka mela
duniya ka mela
karodon ki bheed mein hai
har koi akela
yahaan har koi akela
sun’ne waalo suno
ye hai santon ki vaani
udti chidiya..aa 
behta paani..ee
inki kahaani  kisne jaani

sansaar ke hain bade
tedhe medhe raaste
tedhe medhe raaste
ye tamaam raaste hain
hum sab ke waaste
hum sab ke waaste
chalne waalo suno safar mein
rakhna saavdhani
udti chidiya..aa
behta paani..ee
inki kahaani..ee kisne jaani
udti chidiya..aa
behta paani..ee
inki kahaani..ee kisne jaani

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
उड़ती चिड़िया॰॰आ॰॰आ
बहता पानी॰॰ई॰॰ई
इनकी कहानी किसने जानी
उडती चिड़िया॰॰आ॰॰आ
बहता पानी॰॰ई॰॰ई
इनकी कहानी॰॰ई किसने जानी
दुनिया वालो सुनो
इसीको कहते ज़िंदगानी
उडती चिड़िया॰॰आ
बहता पानी॰॰ई
इनकी कहानी किसने जानी

जीवन तो है एक रमता जोगी रे
भटकता जोगी
किसे पता किसकी शाम
कल कहाँ होगी रे
कल कहाँ होगी
धरती वालो सुनो
ये हैं शब्द आसमानी
उडती चिड़िया॰॰आ
बहता पानी॰॰ई
इनकी कहानी॰॰ई किसने जानी

बड़ा ही अजीब है ये
दुनिया का मेला
दुनिया का मेला
करोड़ों कि भीड़ में है
हर कोई अकेला
यहाँ हर कोई अकेला
सुनने वालो सुनो
ये है संतों कि वाणी
उडती चिड़िया॰॰आ
बहता पानी॰॰ई
इनकी कहानी॰॰ई किसने जानी

संसार के हैं बड़े
टेढ़े मेढे रास्ते
टेढ़े मेढे रास्ते
ये तमाम रास्ते हैं
हम सब के वास्ते
हम सब के वास्ते
चलने वालो सुनो सफर में
रखना सावधानी
उडती चिड़िया बहता पानी॰॰ई
इनकी कहानी॰॰ई किसने जानी
उडती चिड़िया॰॰आ
बहता पानी॰॰ई
इनकी कहानी॰॰ई किसने जानी


This article is written by Avinash Scrapwala, 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 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.

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 58 # Remembering Singer-Poet – Kavi Pradeep #
———————————————–—————————————————-

Today (11th December, 2017 is the nineteenth ‘Remembrance anniversary’ (06.02.1915 – 11.12.1998) of Ramchandra Narayanji Dwivedi whom we fondly remember and whose name has been engraved in the history of Indian Cinema and Poetry as Kavi Pradeep.

On this occasion here is a song from “Jai Santoshi Maa-1975” which is penned by Kavi Pradeep (he has written all the six songs for this movie) and also lent his voice to the background version of this (today’s) song in the movie.

“Jai Santoshi Maa” was produced by Satram Rohra for ‘Bhagyalakshmi Chitra Mandir, Bombay’ and directed by Vijay Sharma.
It had Ashish Kumar, Kanan Kaushal, Rajnibala, Bela Bose, Asha Potdar, Leela Mishra, Manhar Desai, B.M. Vyas, Rajan Haksar, Kundan, Neelam, Padmarani, Lata Arora, Johny Whisky, Surendra Mishra, Dilip Dutt, Uma Dutt, Tiwari, Dubey Trilok Kapoor, Anand Marathe, Shri Bhagwan, Mahipal, and Anita Guha as ‘Santoshi Maa’.

Bharat Bhushan makes an ‘guest appearance’ in this movie.

The seventies was a very special decade for Hindi movies. It saw the emergence of the first superstar of the industry and later on the rise of an angry young man on screen. Action films, formula films, multi starrer movies came to the fore in this decade. Story presentation and action underwent changes from the earlier decades. Towards the end of the decade, we found disco music entering in Hindi film music in a big way.

This decade also saw one of the greatest mythological hit of all times viz. ‘Jai Santoshi Maa’ in 1975.

Released in the same year as Sholay, this was a low budget movie but later on created records for collection. I have blurred memories about tales that many women started ‘santoshi maata vrat’ after watching this movie.

All the songs of this movie were very popular. Today’s song in particular holds a special nostalgic value for me.

I was just above 7 years old at that time. I remember that we watched both Sholay and Jai Santoshi Maa on the same day at Akola. I remember the name of the theatres. ‘Shalini’ talkies, which had that typical theatre like built inside and ‘Manek’ talkies – one of the old in the city and still maintained well and spacious.

Today when I checked the release dates of both these movies, I find that “Jai Santoshi Maa” was passed by Censor Board on 28.05.1975 and “Sholay” was passed by Censor Board on 12.08.1975).

The song being presented today has two versions. One version is sung by Kavi Pradeep and the other by Mahendra Kapoor with chorus in both of them. music is given by C. Arjun and lyrics are by Kavi Pradeep ji.

This song, oozing with devotion and spirituality has a calming effect on me and it puts me at peace. No wonder that this is a song that I like to listen to again and again.

(Note: – In HFGK Vol-V this song is mentioned as appearing at number two and six, which normally should be in the order of appearing of the songs in the movie. However, I would like to mention here that this needs to be corrected in HFGK as in the movie this song appears at number one and two respectively in the voices of Mahendra Kapoor and Kavi Pradeep.

HFGK mentions the song ‘main to aarti utaaroon re’ at number one while in the movie it comes at number number five. And, at number six is the last song of the movie ‘madad karo he… madad karo santoshi maata’).

Let us now listen to this wonderful song …

Version I
Audio

Version II II (Video)

Song-Yahaan wahaan jahaan tahaan mat poochho kahaan kahaan (Jai Santoshi Maa)(1975) Singer-Kavi Pradeep/ Mahendra Kapoor, Lyrics-Kavi Pradeep, MD-C Arjun

Lyrics

Version I
——————–
Jai Santoshi maa aa aa
Jai Santoshi ee maa aa aa
Jai Santoshi maa aa aa

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Badi man bhaawan
Nirmal paawan
Prem ki ye pratimaa
Apni Santoshi Maa
Apni santoshi maa

Is devi ki dayaa ka hamne ae ae
Adbhut phal dekha aa
Ho o o adbhut phal dekha
Ho o o
Pal mein palat de ye bhakton ki ee
Bigdi bhaagya rekha aa
Bigdi bhaagya rekha
Badi balshaali
Hmm hmm
Mamtaa waali
Hmm hmm
Badi balshaali
Mamtaa waali
Jyoti punj ye maa
Apni Santoshi Maa
Apni santoshi maa

Ye maiyya to bhaav ki bhookhi ee
Bhakti se bhaave
Ho o o bhakti se bhaave
Ho o o prem poorwak jo koyi pooje
Man waanchhit paave ae
Man waanchhit paave
Mangal karni
Hmm hmm
Chintaa harni
Hmm hmm
Mangal karni
Chinta harni
Dukh bhanjan ye maa
Apni Santoshi Maa
Apni santoshi maa

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

——————————-
Version II (Mahendra Kapoor & Chorus)
———————————

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Jal mein bhi
Thal mein bhi
Chal mein
Achal mein bhi
Atal vital mein bhi maa
Apni Santoshi Maa
Apni Santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Badi anokhi chamatkaarini
Ye apni Maai
Ye apni maai
Ye apni maai

Raayee ko parbat kar sakti
Parbat ko raayee
Parbat ko raayee
Parbat ko raayee

Dwaar khulaa
Darbaar khula hai ae ae
Aao behan bhaai
Iske dar par
Kabhi daya ki kami nahin aayi
Daya ki kami nahin aayi
Pal mein Nihaal kare
Dukh ka nikaal kare
Pal mein nihaal kare
Dukh ka nikaal kare
Turant kamaal kare maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Is Amba mein Jagdamba mein
Ghazab ki hai shakti
Ghazab ki hai shakti
Ghazab ki hai shakti

Chinta mein doobey huye logon
Kar lo iski bhakti
Kar lo iski bhakti
Kar lo iski bhakti

Apna Jeevan saunp do isko o
Paa lo re mukti
Sukh sampati ki daataa
Ye maa kya nahin kar sakti
Maa ye kya nahin kar sakti
Bigdi banaane waali
Dukhde mitaane waali
Bigdi banaane waali
Dukhde mitaane waali
Kasht hataane waali maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Gaurisut Ganpati ki beti
Ye hai badi bholi
Ye hai badi bholi
Ye hai badi bholi

Dekh dekh kar iska mukhda
Har ik dishaa doli
Har ik dishaa doli
Har ik dishaa doli

Aao re bhakton ye maataa hai ae
Sab ki hamjoli
Jo maangoge tumhen milega
Bhar lo re jholi
Suno re bhaai
Bhar lo re jholi

Ujjwal Ujjwal
Ho nirmal nirmal
Ujjwal Ujjwal
Nirmal nirmal
Sundar sundar Maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Apni Santoshi Maa
Apni santoshi maa

————————————

———————————————————-
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
———————————————————-
Version I (Kavi Pradeep)
———————————————————-

जय संतोषी माँ आ आ
जय संतोषी ई माँ आ आ
जय संतोषी माँ आ आ

यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

बड़ी मन भावन
निर्मल पावन
प्रेम की ये प्रतिमा
अपनी संतोषी माँ
अपनी संतोषी माँ

इस देवी की दया का हमने ए ए
अद्भूत फल देखा आ
हो ओ ओ अद्भूत फल देखा
हो ओ ओ
पल में पलट दे ये भक्तों की ई
बिगड़ी भाग्य रेखा आ
बिगड़ी भाग्य रेखा
बड़ी बलशाली
हम्म हम्म
ममता वाली
हम्म हम्म
बड़ी बलशाली
ममता वाली
ज्योति पुंज ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

ये मैय्या तो भाव की भूखी ई
भक्ति से भावे
हो ओ ओ भक्ति से भावे
हो ओ ओ प्रेम पूर्वक जो कोई पूजे
मन वांछित पावे ए
मन वांछित पावे
मंगल करणी
हम्म हम्म
चिंता हरनी
हम्म हम्म
मंगल करणी
चिंता हरनी
दुःख भंजन ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

————————————–
Version II ( Mahendra Kapoor)
—————————————
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
जल में भी
थल में भी
चल में
अचल में भी
अतल वितल में भी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

बड़ी अनोखी चमत्कारिणी
ये अपनी माई
ये अपनी माई
ये अपनी माई

राई को परबत कर सकती
परबत को राई
परबत को राई
परबत को राई

द्वार खुला
दरबार खुला है
आओ बहन भाई
इसके दर पर
कभी दया की कमी नहीं आयी
दया की कमी नहीं आयी
पल में निहाल करे
दुःख का निकाल करे
पल में निहाल करे
दुःख का निकाल करे
तुरंत कमाल करे माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

इस अम्बा में जगदम्बा में
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति

चिंता में डूबे हुए लोगो
कर लो इसकी भक्ति
कर लो इसकी भक्ति
कर लो इसकी भक्ति

अपना जीवन सौंप दो इसको
पा लो रे मुक्ति
सुख सम्पति की दाता
ये माँ क्या नहीं कर सकती
माँ ये क्या नहीं कर सकती
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
कष्ट हटाने वाली माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

गौरीसूत गणपति की बेटी
ये है बड़ी भोली
ये है बड़ी भोली
ये है बड़ी भोली

देख देख कर इसका मुखड़ा
हर इक दिशा डोली
हर इक दिशा डोली
हर इक दिशा डोली

आओ रे भक्तो हए माता है ए
सब की हमजोली
जो मांगोगे तुम्हे मिलेगा
भर लो रे झोली
सुनो रे भाई
भर लो रे झोली

उज्जवल उज्जवल
निर्मल निर्मल
सुन्दर सुन्दर माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ


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 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 song is from the film Girls School-1949. It is sung by Chitalkar and Shamshad Begum- one of the most popular singing pair of the late 1940s. The song was written by Kavi Pradeep and the Music Director for this song was C.Ramchandra. In this film, there were two Music Directors. One was Anil Biswas ( he composed 4 songs) and C.Ramchandra ( he composed 5 songs).

In those days, it was quite unusual to have 2 very well known and well established composers for one film. During Partition time, few composers had left India without completing their assignments and the work was then completed by another composer. So there was a convincing reason for such cases. There were few pairs of composers like Husnlal-Bhagatram, but it was a professional and permanent team. In case of Girls School-49, having two big composers was quite unusual and it created ripples in the industry, not only in those times, but its echos were heard again in 1954 also. Let us see how it all happened.

This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexiities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit at a salary of Rs. 1500/ per month and by Bombay Talkies at a salary of Rs 2500/ per month. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He, however, gave music to the film Basant-42 and name of his brother in Law, Pannalal Ghosh was used as its Music Director.

Finally when Anil Biswas joined Bombay Talkies, there were already two groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok Kumar, Gyan Mukherjee, Pradeep etc-a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at a salary of Rs. 2500/ per month, when Pradeep was getting Rs 1500 per month. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music in the film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this back ground, Anil Biswas joined Girls school as a Music Director, mainly due to Amiya who knew his calibre. Because of everybody’s background , the film was entirely shot in the Studios of Bombay Talkies. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Biswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded three songs and a solo by Lata , ” tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and wellknown idndependent composer himself , still he had accepted to be his assistant here due to his respect for Anil Biswas. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

C Ramchandra had to take over as the Music Director for the balance songs of the movie. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas has left and C Ramchandra had replaced him, she was very angry and said that she would not have recorded the song had she known about Anil Biswas’s exit. She objected to C Ramchandra taking over as the music direction and complained about it in the Artists association too. (Remember that Lata and C Ramchandra’s relations had not formed yet and Lata was still with Husnlal at that time.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba, Lata took up the issue with the Music Directors’ association. Anil Biswas was the chairman at that time and O P Nayyar was boycotted. At that time Lata quoted Girls school incident to prove that she was “highly Principled” on such matters!

Anyway, that was how C Ramchandra became the Music Director of Girls school-49 and he composed 4 duets of Shamshad and 1 solo of Lalita Deulkar in this movie. All the four duets of this pair are very interesting. However, with all this jhamelas, film Girls school was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just this one film.

I had not seen this film, so I was curious to find its review in contemporary magazines. I did not find it in Film India or in other periodicals. However I read one letter from a reader in Film India, which criticised the film for not having to do anything with women’s education. He further asserted that the film title was a misnomer, since not even one scene was there in entire film which showed running classes or a teacher in the class etc. Finally I found a short synopsis of his film in the ‘ Encyclopedia of Indian Cinema, which is given here to give an idea of what the film was about.

” Rural drama about Meena (Geeta Bali) who leaves home rather than submit to an arranged marriage and starts a girls school in a village, although opposed by the local zamindar. The zamindars brother-in-law Bipin (Sajjan), who lusts after Meena, is the villain. The hero (Sohan) appears in answer to an advertisement for a schoolteacher and is appointed only because Meena mistakes his name – Shanti Kumar Majumdar for that of a woman. The zamindar’s widowed sister Sumitradevi, a supporter of the school, objects because he is not married. Meena and Shanti Kumar fall in love but realises the damage he may cause to her school and leaves. Bipin then spreads rumours about Shanti Kumar morals, which causes further difficulties that have to be resolved before both the future of the school and of the loving couple could be assured. ”

The cast of the film consisted of Rehana, Sohan, Kuldeep Kaur, David, Pran, Iftekhar etc etc. Not much information is available about this Hero- Sohan. In Hindi films, many aspirants tried their luck. Not all of them got an opportunity to enter films. In the early era, it was easy, but as the years passed by, it became difficult for the hopefuls. Few lucky ones got a Mentor- it helped them to only to enter films but not stay in the industry.

“Aaye bhi vo, gaye bhi vo, khatam fasana ho gaya “. These newcomers were given a fair opportunity to showcase their abilities, but unfortunately, despite their honest efforts, their skill did not show up and the audience was unimpressed. They got big banners, good experienced directors, but they disappointed their Mentors with non existent abilities to act. They proved to be ‘Non- Actors ‘.

Among them, some male actor’s names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in Saraswati Chandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.

Sohan Kapila was also one such actor, who was not successful as a Hero. Actually, big banners like Filmistan supported him. He got seasoned Heroines like Geeta Bali and Rehana as well as Debutants Jayashree Gadkar and Nalini Chonkar, but nothing worked. He proved that you can take the Horse to the water, but you can not make it drink !!! He acted in Girls school-49, lajawab-50, Sanskar-58, Ek armaan mera-59, Chaand ki duniya-59, Babar-60, Commercial pilot officer-63 and Picnic-66 and may be some more as character roles. After he retired, his daughter actress Padmini Kapila also had the same fate !

The film had 9 songs (4-by Anil Biswas and 5 by C.Ramchandra). Five songs are already discussed in this Blog. Today’s song is the sixth song. The song is not very melodious or foot tapping, but it has an unmistakable C.Ramchandra stamp on it. So let us enjoy this fun song.

Editors comments:
Today (11 december 2017) is Kavi Pradeep’s remembrance day. So this song serves as a tribute to him.

Secondly, this song is the 600th song of Shamshad Begam in the blog. She becomes the 18th artist and seventh singer to reach this mark in the blog.


Song-Danke ki chot par kehta hoon main (Girls School)(1949) Singers-C Ramchandra, Shamshad Begum, Lyrics-Kavi Pradeep, MD-C Ramchandra
Both

Lyrics

o o o o
danke ki chot par kehtaa hoon main
sunte jaao ji laalaa
aji sachche kaa hai bolbaalaa jagat mein
jhoothe kaa hai munh kaalaa
aji sachche kaa hai bolbaalaa jagat mein
jhoothe kaa hai munh kaalaa

oy laalala
o o
badi badi deengen jo haank rahe thhe
unke honthon pe lag gayaa taalaa

oy kal tak diwaali manaate thhe jo
dekho nikalaa hai unkaa deewaalaa
aji sachche kaa hai bolabaalaa jagat mein
jhoothe kaa hai munh kaalaa
aji sachche kaa hai bolbaalaa jagat mein
jhoothe kaa hai munh kaalaa
oy laala

chhip chhip ke chhuriyaan chalaane waalon
kab tak manaaoge khair

ho o o
chhip chhip ke chhuriyaan chalaane waalon
kab tak manaaoge khair
ishwar ki duniyaa mein der hai bhaiyaa
lekin nahin andher
ishwar ki duniyaa mein der hai bhaiyaa
lekin nahin andher
doosron ke liye mat khodo kunwaa
kisi kaa bhi is’se bhalaa naa huaa

are ham sab ke upar jo maalik khadaa hai
wo hai hazaar haathwaalaa
aeji sachche kaa hai bolabaalaa jagat mein
jhoothe kaa hai munh kaalaa
aji sachche kaa hai bolabaalaa jagat mein
jhoothe kaa hai munh kaalaa
oy laala

jeet naa sakegaa koi ab hamse baazi
jeet naa sakegaa koi ab hamse baazi
miyaan bibi raazi to kyaa karegaa kaazi

chullu bhar paani mein doob maro bhaiyaa
kehtaa hai ye gaadiwaalaa
chhote chhote baadalon
tum kyaa chhupaaoge
chandaa kaa ujiyaalaa
arre chhote chhote baadalon
tum kyaa chhupaaoge
chandaa kaa ujiyaalaa
aeji sachche kaa hai bolbaalaa jagat mein
jhoothe kaa hai munh kaalaa
aji sachche kaa hai bolbaalaa jagat mein
jhoothe kaa hai munh kaalaa
oy laala


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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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

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