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

Posts Tagged ‘Khemchand Prakash


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 :

5061 Post No. : 16975

Today’s song is from the film Mulaqat-1947.

The film was made by Taj mahal pictures.It’s all 11 songs were written by Munshi Dil Lucknowi and the film was directed by the Lyricist himself. Actually, ” Munshi ” means a Clerk, a writer, a literary assistant or a Language Teacher. How this Munshi directed the movie is a wonder. But then in the Hindi film industry, you find many such odd, unimaginable things. This was not his first directorial venture. He had already tried his hand at film-“Abla ki Shakti’-1940 and after this film, he again directed a film “Do Bhai”-1954. As a Lyricst, he write 126 songs in 16 film which included films like Iqrar-42,Naqgad narayan-43 ( a remake of Marathi film ” पैसा बोलतो आहे”), Sohni Mahiwal-46 and Laila-54. After this he migrated to Pakistan.

In Hindi, films are repeated in different ways like….

1. Same Titles – Commonest type, but not necessary that the film content will be the same. Hundreds of titles are repeated from Twice to more than 5 times. The maximum repetitions’ honour goes to the title ” INSAF “. Films with this title were made as many as 7 times. Funnily, there was at least one “Insaf” movie in each decade for 70 continuous
years ! They were made in 1937, 1946,1956, 1966,1973, 1987 and 1997. What Luck !

2. Same story – Different Titles…like Actor, Damaad and Albela – all made in 1951. Aurat teri yehi kahani-1954 and Aurat Teri kahani-1988. Many others.

3.Remakes….a) Hindi to Hindi – Aurat and Mother India, Abodh and Uphaar, Panghat-Chitchor and Main Prem ki diwani hoon, Hamare Tumhare and Khatta Meetha, Mala and Amar, Grihasthi and Ghar Basake dekho, Malkin and Biradari etc.

b) Other languages to Hindi like Marathi, Bangla, Tamil, Telugu etc. Chandralekha, Bahar, Ladki, Many films from New Theatres, Calcutta.

c) Dubbed films like Jaisimha to Jaisingh. Many films fall in this category nowadays, especially from the south.

There are many such remakes and the lists would be too long. This only proves that a popular theme/story is worth remaking a film. Why does this happen? Are there a shortage of stories ?
In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth or identical persons.
6.Comedy and
7.Tragedy .

After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above themes.

Today’s movie Mulaqat-47 was also a repeat title film. Films on this title were made in 1947, 1993 and 2002. This was a film with Muslim social background. The cast of the film was Naseem Banu, Prem Adib, Rama Shukla, Mumtaz Ali, Majid, Najma, Shah Nawaz and many others. The story of the film was –

Nasir (Prem Adib) is a school teacher. He and Saeeda fall in love and think of getting married. Saeeda loses her father and orphan Saeeda has to live with her Uncle and Aunt, who ill-treat her. fed up os this treatment she wants to commit suicide under a train, but is saved by a passing by Nawab Saheb (Shah Nawaz). He takes her home and decides to keep her there with them. He has a daughter who is Nasir’s student. Through her, the lovers come together again and decide to get married soon.
Meanwhile Mukarram (Rama Shukla), the vagabond son of the Nawab returns home. promising to mend his ways, he stays there. Now he too wants to marry Saeeda. The Nawab asks her. Under the burden of his help, she can not say ‘No’. The marriage is fixed.
Just one day prior to marriage, the town Police come and arrest Mukarram for a murder, which he had committed and take him away. The nawab is heartbroken. His daughter tells him about Nasi and Saeeda’s love affair. Nawab immediately calls Nasir and arranges his marriage with Saeeda. The End.

Shahnawaz Khan, known only as Shahnawaz, was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During his school education, he used to act in dramas. After Matriculation, he joined the Govt. Service in Hyderabad state. He was, however, keen on joining films and dramas. After 5 years, he left the job and started a Motor car business. In that connection, he would visit Bombay often and try his luck at different studios. Finally, his efforts bore fruit and he got a Villain’s role in film Bharat ka laal-36, in which he was listed as S.Nawaz. It was a stunt film made by the Kadam brothers (Harischandra rao and Chandra rao Kadam), with Master Bhagwan as the Hero.

After this, he never went back to Hyderabad. Then came his films Daulat-37, Toofani khazana-37, Rangila Mazdoor-38, Jungle king-39, Sardar 40 etc etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was seen in Punarmilan-40,Bandhan-40, Jhoola-41, Naya Sansar-41, Kismet – 43 and Hamari Baat-43.He also worked in Masterji-43, Police,Parakh and Anban-44, Zeenat, Bhaijan and Humayun-45 and few more films. In all, he did 35 films in India. In 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some of his films were quite famous, like Aansoo-50, Sassi-54, Ayyaz-60 etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was Nek Parween-75.

There are two small actors. Here is some information about them, since they migrated to Pakistan after this film.

Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

Najma was born at Lahore on 1-12-1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945)’ ‘Naseeb’ (1945) and Mulaqat-1947. Then she got married, left films and migrated to Pakistan.

Today’s song is a duet by Arunkumar Mukherjee and Binapani Mukherjee. The music was by Khemchand Prakash. Enjoy….


Song- Kaale kaale baadal mein gora gora chaand (Mulaaqaat)(1947) Singers- Binapani Mukherjee, Arunkumar Mukherjee, Lyricist- Munshi Dil Lucknowi, MD- Khemchand Prakash
Both

Lyrics

Kaale kaale baadal mein
Kaale kaale baadal mein
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya
koi bijli giraa kar chala bhi gaya
haan koi bijli giraa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

aaya thha koi ee ee ee ee
aaya thha koi
?????? liye huye
fariyaad lab par
aankhon mein
toofaan liye huye
mehfil ko phoonk dene ka
saamaan liye huye
apni mehfil ko

apni mehfil ko
apni mehfil to
gaati ki gaati rahi

apni mehfil to
gaati ki gaati rahi

koi aansoo bahaa kar chala bhi gaya
haan koi dukhda sunaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya


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 :

5026 Post No. : 16934

Today’s song is from the film Diwali-1940.

Going through the Film Index book, listing all Hindi films from 1931 to 2012, I was surprised to see that only one film was made with the title of Diwali. One more film was Diwali ki Raat-56. Similarly, only one film was made with the title Dussehra-1956. There are 2 films on Holi-1940 and 1984 while another was Holi ayee re of 1970. This is the end of Indian Festival films. 2 Films were made on Eid ka chaand in 1933 and 1964, Idd ka salaam-1976 and finally Idd Mubarak-1988.

I fail to understand, when so many films are made on Mythological stories, Gods, Arabian Night stories and Mughal Kings, why were the filmmakers disinterested in making films on Indian festivals ? It is ofcourse most unlikely, rather impossible, that any Indian producer will read my question and give a convincing answer. Likewise there are not many songs on Diwali or other festivals either. I found many songs on Holi and Rakhi, though. I don’t expect any explanation for this either !

I am not aware of the storyline or any other matter concerning today’s film. The film was made by Ranjit Movietone and was directed by Jayant Desai. Music was given by the inhouse MD- Khemchand Prakash. This was his first film with Ranjit. Before him Gyan Dutt was the resident MD who worked from 1937 to 1940. After Khemchand prakash left Ranjit, it was Bulo C Rani from 1945 onwards.

In the early era, Ranjit was one of the most powerful and famous filmmaking companies in India, boasting of famous and popular artistes on its payroll. owned by Chandulal Shah, Ranjit Movietone made,in all, 175 films during its existence. Calcutta’s New Theatres, however, stands tall at No.1 with 177 films to its credit.

Film Diwali-1940 had 13 songs, written by D N Madhok, Pt. Sudarshan and P L Santoshi, but HFGK does not credit any song to any Lyricist. The cast of the film was Motilal, Madhuri, Ishwarlal, Keshavrao Datey, Dikshit, Indubala, Suresh, Vasanti etc.etc. The name of Indubala is a misfit. She was a Bengali and did Hindi films mainly made by Calcutta producers in Calcutta and she acted during a period from 1932 to 1949. She sang 30 Hindi songs in 14 films She acted in 33 Hindi films. In most films, she did comic roles. Even in this film she is paired with comedian Dikshit ( of the Ghori-Dikshit pair of the 1930s films). Here is Indubala’s Biodata based on an article by Dr, J.P.Guha, with thanks to him.

Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.

Indubala was born in November, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend Rajbala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajbala dwindled later, supposedly because Rajbala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.

After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.

In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as a record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Coimbatore, Dacca and several other places.

In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.

Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Diwali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swayamsiddha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.

In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.

Even at old age all the empty perfume bottles were kept within her view. She was fond of jewelry too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic strokes. It was Dr. Badan Sengupta who made necessary arrangements for her treatment. She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.

The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.

Today’s song is sung by Vasanti and Suresh. Vasanti was a very well known and popular Child star. So was Suresh. However Suresh became an adult star in later years. I know of only 2 child artistes, who left the film world, though they were in great demand. First was Vasant, who got married at an appropriate age and left films. The second was Shashi Kapoor Sr. who quit a quite flourishing film career to pursue higher education. He spent his life as a Professor in an US University.

Let us now listen to the duet of Vasanti and Suresh.


Song- Ye bade sahab ka topa hai (Diwali)(1940) Singer- Vasanti, Suresh, Lyricist- Not known, MD- Khemchand Prakash

Lyrics

Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja

Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja

Raja ke ghar saab aaya
gitpit gitpit boley
Raja ke ghar saab aaya
gitpit gitpit boley
Raja Rani pade soch mein
kaun kiwaade kholey
Raja Rani pade soch mein
kaun kiwaade kholey

Natthu dhobi aaya re
Natthu dhobi aaya re
sang mein dholak laaya re
sang mein dholak laaya re

dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
raja ke ghar topey waala
saath biraaje re
raja ke ghar topey waala
saath biraaje re

maange sodawater
oye
maange sodawater
Raja ?? baaje
Raja ?? baaje
maange sodawater
maange sodawater
Raja ?? baaje
Raja ?? baaje

haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
hey


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 :

4931 Post No. : 16773

“Kurbaani”(1943) was directed by Ram Daryani for Murli Movietone, Bombay. This obscure “social” movie had Durga Khote, Ishwarlal, Vasanti, Kaushalya, Gulab, Kamla, Gope, Majid, Sheikh, Dharpure etc in it.

The movie had nine songs in it.

One song from “Kurbaani”(1943) has been covered in the past.

Here is the second song from “Kurbaani”(1943) to appear in the blog. This song is sung by Kaushalya and Ishwarlal. Wali Sahab is the lyricist. Music is composed by Khemchand Prakash.

Only the audio of this song is available. Seeing that the singers of this song acted in the movie as well, one can assume that the song was picturised on Kaushalya and Ishwarlal themselves.

Like the first song from the movie, this song too is a delightful song to listen to. This song has retained its freshness even today nearly 80 years after the song was created. Clearly a song that deserves to be better known among music lovers.


Song-Aao aao sajan tohe jhoola jhulaaun (Kurbaani)(1943) Singers-Kaushalya, Ishwarlal, Lyrics-Wali Sahab, MD-Khemchand Prakash
Both

Lyrics

aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
saawan saawan manaao
saawan saawan manaao
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

kaajal ki dori ka jhoola banaa ke
kaajal ki dori ka jhoola banaa ke
nainon ki putli mein tohe bithha ke
nainon ki putli mein tohe bithha ke
aasha ki duniya basaaun
aasha ki duniya basaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
jhoolo to main baanh ka jhoola banaaun
jhoolo to main baanh ka jhoola banaaun

tumhen is naye jhoolne mein bithhaaun
tumhen is naye jhuoolne mein bithhaaun

udhar gaao tum
main idhar gungunaaun
udhar gaao tum
main idhar gungunaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

saawan saawan manaaun
saawan saawan manaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun


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

Blog Day :

4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa


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 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 :

4708 Post No. : 16413

In the initial years of sound films, some of the story, screen-play, dialogue and song writers came with literary background who had been well-known in the literary circle due to their published works. Gaurishankar Lal ‘Akhtar’, ‘Narayan Prasad ‘Betab’, Munshi Premchand, Amritlal Nagar, Dr. Safdar Aah Sitapuri, Krishan Chander, Dewan Sharar, Pandit Mukhram Sharma, Pandit Anand Kumar were some of such writers who started their association with Hindi films in the 1930s and 40s. Vrajendra Gaur, writer, poet and journalist was one among them.

Vrajendra Gaur had a long inning of 35 years in Hindi film industry as a screen-play/dialogue writer and the lyricist, aggregating around 70 films. A good number of photos I have browsed through on the google images, gives me an impression that Vrajnedra Gaur had friendly relationship with almost all the stalwarts of Hindi film industry during 1950-1980. In Bollywood, to have a successful career, one requires building up friendly relationship with those who matters in the film industry apart from the talent. It appears that this combination was a success formula for Vrajendra Gaur in his filmy career.

Etawah-born and Lucknow-settled Vrajendra Gaur (01/04/1924 – 07/08/1980) had already published his novels like ‘Sindoor Ki Laaj’, ‘Aadhi Raat Ka Sooraj’ ‘Jaagte Raho’ and ‘Manzil’. His other novels, ‘Kalkatte Ka Qatl-E-Aam’ and ‘Parole Par’ were banned by the British government for creating anti-British sentiment. He joined Hindi film industry in 1945 not on his own volition but on an invitation from Motilal after he heard his radio play, ‘Dhai Lakh’ on All India Radio. Motilal was so impressed with his presentation on AIR that he entrusted Vrajendra Gaur to write screen-play and dialogue for Motilal-Shanta Apte film, ‘Saawan’ (1945).

After writing lyrics for the films like ‘Ratnavali’ (1945), ‘Panihaari’ (1946), ‘Mangalsutra’ (1947), ‘Gunjan’ (1948), Vrajendra Gaur was disillusioned by the way the Hindi film industry works. He went back to Lucknow and worked in different capacity including editing some Hindi periodicals.

It was in 1950 when Bombay Talkies invited him to write dialogues for their film ‘Sangram’ (1950) with Ashok Kumar and Nalini Jaywant in the lead role. The box office success of this film not only helped Bombay Talkies financially, it also gave a lease of life for the filmy career of Vrajendra Gaur who also wrote songs for the film. ‘Parineeta’ (1953) was his next major box office success film as a dialogue writer in which Ashok Kumar was the producer-actor.

Vrajendra Gaur‘ first and the only film which he directed was ‘Kasturi’ (1954) for which he also wrote dialogues and songs. In an article published in silhouette magazine, it was mentioned that during the making of ‘Kasturi’ (1954), Vrajendra Gaur was to direct ‘Bahu’ (1955). However, his contractual obligations as a director for ‘Kasturi’ (1954) under which he could not take up direction in any other film until ‘Kasturi’ 1954) was released, came in his way. So, Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. Vrajendra Gaur did get to write the dialogues for the film. This opened up Vrajendra Gaur’s long association with Shakti Samanta in many films as dialogue writers such as ‘Howrah Bridge (1958), Insaan Jaag Utha’ (1959) ‘Singapore’ (1960), ‘Jalli Note’ (1960), ‘China Town (1962), ‘Saawan Ki Ghata’ (1966), ‘Kati Patang’ (1970), Jaane Anjaane’ (1971), ‘Anuraag’ (1972), ‘Charitreheen’(1974), ‘The Great Gambler’ (1979) etc.

It would also appear that Vrajendra Gaur had a close rapport with Dev Anand if one goes by the number of films, he wrote story/screenplay/dialogues in which Dev Anand was the lead actor. ), ‘Baarish’ (1957), ‘Jalli Notes’ (1960), ‘Manzil’ (1960), ‘Sarhad’ (1960), ‘ Baat Ek Raat Ki’ (1962 ‘Teen Devian’ (1965), ‘Pyaar Mohabbat’ (1966), ‘Duniya’ (1968), ‘Mahal’ (1970), ‘Warrant’ (1975) were some of the films he was associated with Dev Anand. From a photograph I saw on the net of the Udaipur location shooting, it appears that Vrajendra Gaur was initially associated with ‘Guide’ (1965). Chetan Anand, who was to direct the film, had to leave the assignment when he got approval for his film ‘Haqeeqat’ (1964). Probably, when Vijay Anand took over as a director, he started with a clean slate by writing afresh, the screen-play and dialogues for ‘Guide’ (1965).

Other successful films for which Vrajendra Gaur wrote dialogues were ‘Saraswatichandra’ (1968), ‘Sharmeelee’ (1971), Geet Gaata Chal’ (1975), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Akhiyon Ke Jharokhon Se’ (1978) etc.

[Note: Some of the information about early life of Vrajendra Gaur mentioned in the article are gathered from the Facebook page, ‘Vrajendra Gaur’.]

Vrajendra Gaur’s stature as a dialogue writer has been so impressive that his contribution as a lyricist seems to have remained in the sideline. He had to write songs during the early phase of his career as at that time his assignments as a dialogue writer were few. After going through some of the songs among 60 odd songs he wrote for a dozen films, mainly during 1945-55, I feel that his literary bend of mind is reflected in some of the songs. A few examples:

Song Movie (Year)
nain baan se karke ghaayal ‘Ratnavali’ (1945)
kiska saath nibhaaun ‘Gunjan’ (1948)
wo unka muskuraanaa sharmaanaa chaley jaana ‘Sangram’ (1950)
kabhi inko chaahen kabhi unko ‘Zalzala’ (1952)
wo meri taraf yoon chale aa rahe hain ‘Kaafila’ (1952)
main to haar gayi mann ‘Kasturi’ (1954)

Incidentally, lyricist Yogesh is the first cousin of Vrajendra Gaur.

To highlight Vrajendra Gaur also as a lyricist, I am presenting the only song he wrote for the film ‘Muqaddar’ (1950) out of 9 songs. The song is ‘tum mere paas raho mujhse kuchh baat kaho’ which is rendered by Shamshad Begum. During the making of the film, Khemchand Prakash, the music director for the film died. The songs were completed by his music assistant, Bhola Shreshta. The song is, therefore, accredited to Khemchand Prakash/Bhola Shreshta as the music directors.

A highlight of this song is that each antara of the song has been set in slightly different tune and pitch.

Audio Clip:

Song-Tum mere paas raho mujhse kuchh baat kaho (Muqaddar)(1950) Singer-Shamshad Begam, Lyrics-Vrajendra Gaur, MD-Khemchand Prakash

Lyrics

meri duniya mein bahaaren hain
chaman aabaad hai
roothh jaaoge jo tum
to zindagi barbaad hai

tum mere paas raho
mujhse kuchh baat kaho
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o

maine tumko jo kabhi pyaar kiya dil se kiya
maine tumko jo kabhi pyaar kiya dil se kiya
tumne badle mein mujhe dard diya dil na diya
meri ulfat mein sitam dhha ke mujhe loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o

bewafa bhool na jaana meri aahon ko kabhi
bewafa bhool na jaana meri aahon ko kabhi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere sapnon ko sawera dikha ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o

tumne samjha hi nahin meri mohabbat ko kabhi
tumne samjha hi nahin meri mohabbat ko kabhi
agar jo hukm ho to jaan bhi de doon abhi
agar jo hukm ho to jaan bhi de doon abhi
mujhe ulfat ka tamaasha bana ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o o
ho ho ho…o
o o o o o
o o o


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 :

4622 Post No. : 16269

Today’s song is from the film Iqrar-42. This was just one of the many films- coming out of Ranjit’s factory. It was like their emphasis was on churning out films in quantity. They were not much worried about the quality of the films, it would seem to the observer. As such the number of hit and successful films coming out of Ranjit was certainly not very high, unlike New Theatres, Bombay Talkies or Prabhat.

Of course, one knows that there is no formula for successful films. It is also true that A grade actors, well known composers and famous directors alone do not make a hit film. In my opinion, a strong storyline forms a base for good films. That coupled with either factors, enhances the chances of such films being successful at the box office.

In the early 30’s films from new Theatres became successful mainly because their films had strong storylines. Bombay Talkies films of the late 30s and early 40’s became successful due to fresh faces and simple music and songs. Prabhat films had a combination of strong story, social reform subjects and quality actors and directors, which made them successful.

A common thread for these companies was the total involvement of the owners in their business. This, precisely, was the weak point of companies like Sagar and Ranjit. Their owners got engaged in family problems and their Gambling habits. The first to go down was Sagar and Ranjit followed suit when Chandulal Shah lost more than a Crore of rupees in just one deal of ‘Satta’. That is a sad story, anyway.

In 1942, when the industry was having a great shake up, Ranjit had 6 films ready for release and 6 films on floors. You can imagine why Ranjit was called a ‘Factory’ ! Indian film industry has always been alive to the happenings in the country and reflects the national problems and important events in our films.1942 was an year when the II World War was on its peak and it had caused a severe food shortage in the world. Italy had made a silent film ‘Greed’ on this issue. Based on it.Mehboob Khan made a film , Roti’ in India. Mehboob was a socialist and a Nehruvian to the core and so his films like,Mother India or Son Of India were made on socialistic principles. In 1942,Ramchandra Thakur also directed one such film,’Gareeb’.

In India, the Congress had started its Quit India movement, but in our Film Industry it was a Quit studio movement. Many well known film artistes, directors, composers and other related staff moved over to new pastures. 1942, in a sense, became an overhauling of the Film industry with so much movement of people. The following activities changed the scenario to a great extent.

1. A group of disgruntled people in Bombay Talkies, comprising of Rai Bahadur Chunilal, Shashadhar mukherjee, Ashok Kumar, Sawak Vachha and few of their followers left Bombay Talkies, after disagreements with Devika Rani and formed their own outfit – Filmistan.
2. Mehboob Khan separated from National studios and established his own Mehboob Productions. This was also the time when Mehboob and Anil Biswas separated from each others due to some differences.
3. Abdul Rasheed Kardar established his own Kardar studios.
4. V.Shantaram, along with his team left Prabhat- an institution which he established and made a famous one by his directorial contribution. He first joined the Films division and then started his own Raj Kamal Kala Mandir.
5. Wadia Movietone split and the brothers separated. While JBH Wadia, the elder brother, wanted that their company should start making only Social films now, the younger Homi Wadia wanted to continue with Stunt and Action films. He started his own Basant Pictures. Wadia’s star performer Fearless Nadia went with Homi Wadia, whom she married yew years later.
6. Calcutta’s New Theatres started showing signs of disintegration and Debki Bose,P C Barua etc left the New Theatres. Debaki Bose made Apna Ghar’ in Bombay. K L Saigal left new Theatres to do films in Bombay . He did Ranjit’s Bhakta Surdas’ and ‘ Bhanwra’. He of course went back to Calcutta to do a few more films,before coming back to Bombay for Shahjehan and Pawana. He did not/could not go back to Calcutta,as he died after Parwana-47. Saigal, while recording song ‘ Nainheen ko raah dikha” in Bhakta Surdas, did 14 retakes in recordings. His younger brother Mohan Saigal acted as Shri Krishna in this film and he is heard saying” Surdas ji” in the song Nis Din barsat Nain hamare.
7. Composer Vasant Desai did his first independent film ” Shobha” as a Music Director.
8. C Ramchandra did his first Hindi film as a composer- Sukhi Jeevan.
9. Ninu Mujumdar became MD with the film Black Out.
10. Kamal Dasgupta started his Hindi career with film Jawab.
11. Lyricist Ramesh Gupta started with the film Awaz.
12. Lyricist Qamar Jalalabadi started with Zamindar
13. Suraiya entered the Playback with songs in Nai Duniya and Sharda.
14. Hemant Kumar sang his first Hindi song in the film Meenakshi-42.
15. Manna Dey first sang a Hindi song in film Tamanna.
16. Jagmohan Sursagar sang in the first Hindi film-Bhakta Kabir.
17. Nurjahan sang her first Hindi film songs in film Khandan-42, in Lahore.
18. Bharat Bhushan’s first film in a leading role was Bhakt Kabir
19. Madhubala started as Baby Mumtaz in film Basant

From Lahore Dalsukh Pancholi repeated his magic with ‘ Khandaan’-42. This time it was Noorjehan who shook the industry with her songs under Ghulam Haider. Films like Bhakt Kabir,Bhakta Surdas, and Bharat Milap kept the Mythology/religious films in limelight. new Theatres,prabhat,Bombay Talkies etc all brought excellent films in 1942. Barring Bhakta Surdas,Roti and Khandan,there was not much competition to Naushad’s Station Master-42 ,in music.Its music became quite popular and the film celebrated Silver Jubilee. Naushad tasted success for the first time in his career in 1942 and 2 of his 3 films in the year celebrated Silver Jubilees. The other film was Nai Duniya-42.

Let us take a look at some important films of 1942….

Film Barat had music by Ratanlal-brother of khemchand Prakash and he himself as Khemraj.

Film Basant- though it has the name of Pannalal Ghosh as MD, as per HFGK, all the songs were composed by Anil Biswas (because he was still under contract with National Studios) and Ghosh had only done Orchestration and background music.

Bhakta Kabir had music by Himangshu Dutt- the first title holder of ” Sursagar”.
Bhakta Surdas- Gyan Dutt gave 15 hit songs of Saigal and Khursheed. In this film Khursheed sang equally well with Saigal.

Bharat Milap- First film in which Prem Adib and Shobhana Samarth did the roles of Shri Ram and Seeta, which made them famous all over India.

Chauranghee- the only Hindi film for which Kazi nasrul islam gave music and wrote songs too. It was his debut film. Also Debut for Hanuman prasad Sharma as Md and S.Fazli as Director.

Dus Baje- Debut of Baby Shakuntala.

Iqrar- Last film of actress Madhuri (Beryl Classen). Master Vithal-a professional singer from Sholapur sang his only song in a Hindi film.( not the actor)

Jawab- all songs popular, especially kanan devi’s ” Ye duniya Toofan mail”.

Khandan- Entry of Nur jahan, from Lahore. All her songs are popular.

Muqabala- First Talkie film with double role of Heroine- Nadia. Babhubhai Mistri’s magic in trick scenes.

Nai Duniya- Suraiya’s first song in Hindi film.

Roti- Begum Akhtar’s role and 6 songs.

Savera- First film of Arun Ahuja and Nirmala Devi.

Sharada- Naushad gives good songs.

Station Master- Hit film with songs.

Zamindar- Shanta Apte goes to Lahore all the way

All in all, the year 1942 was an eventful year for the industry. Indian audience enjoyed a variety of Genres in film offerings and a feast of Naushad’s songs, Bhajans and New artistes.

Film Iqrar-42 did not have lilting music or popular songs. It had the usual story of a Love Triangle around Madhuri, for whom this was her last film in the career. After this film she retired from films, got married and simply disappeared from public life. After 50 years, she was searched and discovered by an organisation, for a function to honour the Silent Era artistes – Madhuri and Jairaj. Film Iqrar-42 was directed by Manibhai Vyas and the cast was Madhuri, Motilal, Rama Shukul,Bhagwan Das, Tarabai and many others.

One more interesting actress in the cast was Tarabai. She is none other than the elder sister of famous dancer actress Sitara Devi. Born in 1905, Tara/ Tara Devi / Tarabai was a good dancer. She started film career with Silent films like Malti Madhav, Bambai ki sethani etc. She started Talkie films with Vasantsena-31. She played the role of Princess Octavia in the film Yahudi ki Ladki-33, along with K L Saigal.

She acted in many films like Shehar ka jadu-34, Savitri 37, Narsi Bhagat-40, Sasural -41. She acted in film Haiwaan-40, along with her two other actress sisters,namely Alaknanda and Sitara Devi. This may be the First Hindi film, in which 3 sisters played roles in one film.

It seems the mother of Alaknanda and Tara was different from that of Sitara, but the father was the same-Pt.Sukhdev. Alaknanda and Tara were not their real names. In fact, the real name of Tara/Tarabai was Triveni.

She married co-star Marutirao Pehelwan, left films and they settled in Dhule,in Maharashtra. They started a Dairy business. Their son was the famous dancer Gopi Krishna. Marutirao was already married, still Tara married him. His surname was Gawali (Milkman).

Soon they separated and Tara married a small businessman Sonthalia from Calcutta. We do not know why, but Tarabai returned to Bombay and started working in films. But now she was reduced to a Junior Artiste (Extra) and got only negligible roles. She lived in Bandra slum. There is no information about her after this.

Her son Gopi Krishna (real name Gopal )stayed with his maternal Grandfather, Pt. Sukhdev, who trained him in Dancing. Gopikrishna came to Bombay, with the name Gopikrishna Sonthaliya and stayed with Sitara Devi, but he was soon thrown out. He spent bad days,staying in chawl etc, before he became famous as a Choreographer and actor. ( some new information from RMIM forum, with thanks.)

Today’s song is sung by one Master Vithal of Sholapur. His real name was Vithal Channa. He used to sing Saigal’s songs and did many mehfils privately, to earn a living. This is his only song in a Hindi film. With this song he makes a Debut on this Blog, with all his songs covered !


Song- Aankhon mein paani kis liye zindagani kis liye (Iqraar)(1942) Singer- Master Vithal of Sholapur, Lyricist- Not known, MD- Khemchand Prakash

Lyrics

Aankhon mein paani ee ee
kis liye ae ae
zindagaani ee
kis liye
Aankhon mein paani ee ee
kis liye ae ae
zindagaani ee
kis liye

hans hans ke rulaane ke
hans hans ke rulaane ke
ro ro ke hansaane ke
ro ro ke hansaane ke
mil mil ke bichhohne ke ae ae
mil mil ke bichhohne ke ae ae
ban ban ke bigadne ke
ban ban ke bigadne ke
ye sapne kahaani kis liye
ye sapne kahaani kis liye
ye zindagaani kis liye
aankhon mein paani kis liye
ye zindagaani kis liye
aankhon mein paani kis liye
ye zindagaani kis liye


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 :

4584 Post No. : 16202

Today’s song is from the film Bhanwara-1944.

It was a Saigal film. I had no chance to write about a song from any Saigal film, because there were better people to write on Saigal. Who can forget the efforts taken by Atul ji and Sudhir ji in ensuring that possibly all available Film and Non Film songs of Saigal are discussed and archived in this Blog. It is sheerly by coincidence that I am writing on a song from a Saigal film, because it is not sung by Saigal and it was till now, not available on YouTube.

K.L.Saigal ( 11-4-1904 to 18-1-1947) started his film career with Film Muhabbat ke aansoo-32. His first Heroine was Akhtari Moradabadi in this film. Surprisingly, the local newspapers had hailed her songs in the film but totally ignored Saigal. Later, she moved to Burma, joined the British Imperial film company and acted in some of their films. His second Heroine was Mehzabeen, in the film Zinda Laash-32. His next Heroine was Rattan Bai in the film Subah ka Tara-32. Radha Rani was his Heroine in the film Yahudi ki Ladki-33. However Saigal got recognition and praise for his songs, first time, in the film Pooran Bhagat-1933. Here , his Heroine was Anwari bai. I mentioned about Saigal’s early Heroines because they are never in the limelight, when Saigal is discussed. They remained in the dark all the time.

Out of huis 27 films, he did 20 films in Calcutta, mostly with New Theatres. The last 7 films were done in Bombay. He was invited by Ranjit Studios to come to Bombay to do films with them. They offered him a very lucrativeamount of Rs. One lakh per film, with other perks. Due to this and the disturbed conditions and Ego tussles in New Theatres, Saigal shifted to Bombay. As it is, many of his friends like Kidar Sharma, Prithwiraj kapoor, K.N.Sing etc had already shifted to Bombay.

The film Tansen-43, by Ranjit, was completed well before time and stii 9 days were remaining from his contract. The business mind of Chandulal Shah would not let go this waste. He requested Kidar Sharmas to make a Quicky, in which Saigal’s part shooting would finish in the 9 vacant days. Kidar Sharma immediately wrote a script, approved by Ranjit and film Bhanwara was made in a short period.

Bhanwara was a Comedy filmSaigal had no experience of a Comedy film work, but the deft direction of kidar Sharma made film Bhanwara a grand success. The cast of the film was Saigal, Arunkumar Ahuja, Kamla Chatterjee ( Kidar Sharma’s wife), Monica Desai ( actress Leela Desai’s younger sister and director Phani Mujumdar’s wife), Lala Yaqub, Brijmala and others. Here is a short Synopsis of the story of film Bhanwara-44.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

In this film, Arunkumar Ahuja was the second hero he was the father of popular Hindi film hero Govind, who was active during 1986 to 2000 period. Arun Ahuja’s real name was Gulshan Singh Ahuja, a Sikh, born on 26-1-1918 at Gujaranwala (now in Pakistan). After the school education, he joined Mughalpura Engineering college and secured an Engineer’s degree in 1937. During his college life he had won the Best Football player of the year award. Mehboob Khan was on a Talent Hunt in Lahore. From among the 100 and odd candidates, his choice fell on the well built, athletic, dashing and handsome Gulshan. He was selected and brought to Bombay to act in film Ek hi rasta-39, with a screen name of Arun Ahuja. He was variously billed as Aroon, Arun, Aroon Kumar, Arun Ahuja etc.

His first film was an outstandingly successful hit film. Arun got roles in Bhole Bhale-39 and Civil Marriage-40. Later Mehboob Khan took him for film Aurat 40, which he directed for National Studios. The versatile actor acted in over 25 films in 6 years, some of his films were Kanchan, Holiday in Bombay, Beti, Nurse, Savera, Return of Toofan Mail, Shankar Parvati, Andhera, Bharthari, Caravan, Amrapali etc. From 1945 onwards he became a Free lancer.

During the film Savera-42, he fell in love with his co-star – Nirmala. They got married on 5-5-1945. After marriage Nirmala (7-6-1928 to 15-6- 1996) completed 4 pending films and stopped working. Her last film Sudhar was released in 1949. In this film also she paired with Arun. Thus her last film also had her life partner. She acted in only 12 films, but she sang 63 songs in 23 films.

Arun Ahuja was in demand. He continued working in films. He set up his own production company – Arun Productions and he produced 2 films. One film Sehra was released in 1948, but the other film ” Jo hai saajan” remained unreleased for some reasons. Film Sehra was also a huge flop. Arun suffered heavy losses. He tried to work in films to compensate it, but now due to competition from new stars, new films were slow to come, so he did not get many films. His last film was Aulad-54. He had to sell all his property, bungalow, cars and jewellery. He shifted from his bungalow in Bandra to a chawl in far off suburb Virar, with his family, in 1962. Here his last son Govinda was born in 1963.

His health deteriorated. Nirmala decided to revive her singing, to help the financial difficulties of the family. Composer A R Qureshi arranged her stage programme in Calcutta. It went off with tremendous success and offers started pouring in. She became famous as a Thumri singer. She did many jalsas in India and abroad. Their financial position improved. Their son Govinda also became a big star. He bought a house in Juhu and the family shifted to Juhu for the sake of convenience. However, Arun Ahuja continued to stay in Virar. He did not shift to Juhu.

Arun Ahuja died on 4-7-1998, two years after his dear wife’s death on 15-6-1996.

The film Bhanwara-44 had 11 songs. Today’s song is the 10th song to be posted here. It is sung by Arunkumar (Mukherjee), it was lip synched by Arunkumar (Ahuja) on the screen and Arunkumar (Deshmukh) has written about this song here ! What a coincidence !!


Song-Ye to Malaria hai Muhabbat nahin huzoor (Bhanwra)(1944) Singer- Arunkumar Mukherjee, Lyricist-Kedar Sharma, MD-Khemchand Prakash

Lyrics

Ye to malaria hai
muhabbat nahin huzoor
Ye to malaria hai
muhabbat nahin huzoor
muhabbat nahin huzoor
kaanpenge
kaanpenge haath paanv to
dhadkega dil zaroor
kaanpenge haath paanv to
dhadkega dil zaroor
dhadkega dil zaroor
Ye to malaria hai
muhabbat nahin huzoor
muhabbat nahin huzoor

ye hai bukhaar sap pe
?? sawaar
?? sawaar
aur haddiyaan
aur haddiyaan huzoor ki
kar dega choor choor
aur haddiyaan huzoor ki
kar dega choor choor
kar dega choor choor
Ye to malaria hai
muhabbat nahin huzoor
muhabbat nahin huzoor

honthon pe khoon ye ae ??
machchar se kam nahin
machchar se kam nahin
o jisko jahaan parhez rahe
inse door door
o jisko jahaan parhez rahe
inse door door
rahe inse door door
Ye to malaria hai
muhabbat nahin huzoor
muhabbat nahin huzoor

jannat milegi aap ko o o
jannat milegi aap ko
ab haspataal mein
ab haspataal mein
har nurse jab ke saamne aayegi ban ke hoor
har nurse jab ke saamne aayegi ban ke hoor
aayegi ban ke hoor
Ye to malaria hai
muhabbat nahin huzoor
muhabbat nahin huzoor
huzoor


This article is written by nahm, 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 :

4397 Post No. : 15773

In Memory of Meena Kumari :

Mehjabeen Bano, who gained name, fame and huge popularity as Meena Kumari, was born on 1st August 1932. Child artist, tragedy queen, poet and singer, are the various attributes to her name. Had she lived to see this day, she would have been 88 today i.e. the two fat ladies of housie. Really, she was just 40 when she left this world, her temporary abode.

Honestly, I have not seen many of her movies. Some of the earlier movies like “Sahib Bibi aur Ghulam” and “Chiraag kahan aur roshni kahan” I have seen on TV longback. The unforgettable “Dil Apna aur preet praayi” and “Ghazal”, “Kaajal” , “Mere apne” and “Bahu Begum” also on TV. “Pakeeza” is the only film I have seen on the big screen and revisited in recent times. The songs of ‘Pakeeza” are embedded in mind from early childhood, even before I am conscious of listening to radio.

I belong to a family of film buffs, and the only family outings known to my parents and their brothers and sisters was going to watch movies in Theatre. Discussing about the film stars and their lives and their movies was a favourite pastime of all of them. Emphasis has always been on education, doing well in studies, but watching movies was dangled as a prize in front of us while in school. But none of them bought Records or record players as far as I know. I had not seen a record player in my life or touched one till I was in college. One of my college friend’s father had one. That was one L-P record player, kept in his room, alongwith all his prized possessions of school and college days. That was a separate room, a little far from their house where the family lived. So when exams were near and I would go to the friends place and she will take me to that room, where no one would disturb us and it was a quite place. It was in a chawl system, and that room was kept separate and maintained to be used as guest room as and when need arose. So that was my actual ‘darshan’ of a record player. We played some records available on the player sometime. Afraid of damaging it, we left it alone mostly. I recall only one or two names of those records, one of them was ‘Nasbandi” and other may have been “Dastak”.

Then there is the childhood memory of Pakeeza songs. Usually on a Sunday, one of the nieghbours on the floor above us, who had ‘ishq’ with Pakeeza songs, he would play it in on his record player. That sound has never gone away from the consciousness. Right from ‘inhi logon ne’ to ‘thhaare rahiyo’ to “chalte chalte”. Childhood impressions are very strong, there is no denying that. My knowledge of the Gujarati language also belong to the same period. Terms like “advanu nathi” (don’t touch) and “saras chhe” (Its nice) were never forgotten. It was in the BEST officers quarters, so even if we shifted houses, we were in the same building and nieghbours. The kids all played and grew up together even studied together. But we kids would never go to their house as that aunty was a stickler for neatness and cleanliness of the house and the uncle was a disciplinarian sort of person. So that explains why I never actually saw the record player that played “Pakeeza“ songs most Sundays. Let me make it clear that only the songs of Pakeeza were heard from the house and nothing else. Explains the “Ishq” of Pakeeza songs.

Now of course the record playing era is also over. Youtube is, the be all and the serve all for people like me. Meena Kumari, for me is always about her urdu diction and that voice full of emotions. Some of the material read in urdu magazine’s about her is surfacing in the mind. Like someone saying that she was the most beautiful of all the female artists of her time. Meaning, more beautiful than Madhu Bala ? it is difficult to digest. But her voice and diction is the instantly recognizable feature of her persona and more appealing than her beauty, for my generation.

So I found this song of the film “Tamasha” to post on this occasion. I was put up for this post by Peevicie’s Mom. She acted as a prompt or the catalyst for this writeup. The song is a solo of Lata Mangeshkar, picturised on Meena Kumari. Lyricist is Bharat Vyas. The music composer include Manna dey with Khemchand Prakash. It is not clear whether they composed the songs as a team or separately.

The films cast includes Dev Anand, Ashok Kumar and Kishore Kumar.

I will conclude with a factual impression about Meena Kumari, that she was like a rare flower. It bloomed fascinatingly for a long while, but could not deal with its own beauty and frailty. So it wilted fast in neglect of its soul as the real beauty was in the soul.

Hazaaron saal nargis apni be-noori pe roti hai
Tab kahin jaa ke hota hai chaman mein koyi deedawar paida…..

Audio

Video

Song-Bhool sakey na ham tumhen aur tum to jaa ke bhool gaye (Tamaasha)(1952) Singer-Lata Mangeshkar, Lyrics-Bharat Vyas, MD-Khemchand Prakash-Manna Dey

Lyrics

Kyun Ankhiyaan bhar aayin een
kyun Phir koyi yaad aaya aaa
Aaaa aaaa
Kyun Ankhiyaan bhar aayin

Bhool sakey na ham tumhen
Aur tum to jaa ke bhool gaye ae
Bhool sakey na ham tumhen
Aur tum to jaa ke bhool gaye ae
Ro ro ke kehta hai dil
kyun dil ko lagaa ke bhool gaye ae
Bhool sakey na ham tumhen

Bewafaa
Ye kya kiyaa aa aa aa aa
Bewafaa aa
Ye kya kiyaa aa
Dil ke badle gham diyaa
Muskuraayi thhi ghadi bhar
Raat din ab roun piyaa aa
Ek pal ab chain na miley
Tum jhalak dikhaa ke bhool gaye ae
Bhool sakey na ham tumhen
Aur tum to jaa ke bhool gaye ae
Bhool sakey na ham tumhen

Kaun si thhi bairan ghadi wo
Jab ke tujh se uljhe nayan
Kaun si thhi bairan ghadi wo
Jab ke tujh se uljhe nayan
Sukh ke meethhe jhoole mein rum jhum
Jhoom uthhaa thhaa paagal sa mann
Din sunehre raatein rupehli ee eee
Tum mile main huyi magan
Aankh khuli to
Maine dekhaa
Dekhaa thhaa ek jhoothha sapan
Sapnon ke sansaar mein
Mera mann bharmaa ke bhool gaye ae
Bhool sakey na ham tumhen
Aur tum to jaa ke bhool gaye ae
Bhool sakey na ham tumhen


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 :

4389 Post No. : 15751 Movie Count :

4342

The job of writing on old films and music is not an easy one, as many people may be thinking. Normally, such information is not available at one place and even if it is, the same has to be cross verified by other documents or proofs of some kind. There are many books available on these topics, but just having a book and copying from it has its own dangers. The danger to your credibility is one and misleading information is another one. I am of the firm opinion that no book on these subjects is without any errors. Every book contains incomplete information – including my own book !

After a gap of 40 years, when I again turned to old films and music and started making comments based on my notes of many years and writing articles, I quickly realised that some of my information had become old, outdated and newer evidence had emerged to prove matters differently. Secondly, as I started collecting and reading several books, I got a different perspective to what I knew. New facts had been unearthed and established myths had been busted. I also realised that a major menace of ‘Same Name Artistes’ was causing a lot of miscrediting, misinformation and injustice was being done to real performers.

As a challenge, I started work on this project and in the last 5-6 years, I dug out credible, indisputable information on at least 35 such cases- involving about 80 old artistes, comprising Actors, Singers, Composers, Directors etc. From what I read on the internet, this project has helped film historians and is quoted by them in their works. Recently, when I visited another well known Blog on old films and music, I was pleasantly surprised when I read a comment from a reader, ” I believe Arun ji, more than what any site says”. I treat this as a certificate of credibility.

In the initial years like 2011 and 2012, some of the comments I made on this and other Blogs and sites are no more valid, because new evidence had emerged and today those comments seem to be totally wrong. But then History, be it of any subject, always gets updated as new evidence, documents, Interviews, Old books, Magazine articles, Newspaper posts etc. emerge and some old bits of information get a changeover. I will give just one example.

In 2011, I had said somewhere,” C Ramchandra and Vasant Desai gave music together to 3 films, under the name of Vasant Ramchandra” and it was accepted. However when a new book was published on Vasant Pawar, Music Director, it became known that he and Ramchandra Wadhavkar-another MD made a pair as Vasant-Ramchandra and gave music to 3 films. This was confirmed in the biography of Datta Dharmadhikari-the director of these films. This way, the earlier belief was proved incorrect and matters became clear and my statement became wrong.

Many such riddles were solved when new evidence cropped up or dug out. Riddles like
1. Who sang ‘ Dilli se aya bhai Tingu’
2. Who sang ‘ Bharat ki ek sannari ki…’
3. Who actually sang songs from the film ‘ Ummeed-41’ as Noorjehan…
4. Who directed films Pariwar-56 and ‘ Apradhi Kaun-57’
and many more riddles were solved when new information came out.

Dedicated workers in this field have done a great job and enriched the old films history. Information on unknown or less known artistes came to light. This is an ongoing process. Those who write on old films and music were not living in that era, so they have to depend on available information in books and other documents. The advent of the internet too has helped, but at times it also spreads wrong or incomplete information. Thus some famous sites too have become doubtful providers of information. Enthusiasts with half knowledge are a headache because they write without checking or corroborating. They simply copy from somewhere – many times out of context. I have kept my policy- ” Never write anything, which you can not defend “.

Why I am writing all this is just to emphasize the value of credibility of what we write. Readers must understand that gaining credibility requires hard work and investment in time. Fortunately, this Blog is famous for providing information which is tested and credible. This Blog is highly respected in the Cyber world of old films and music.

Today’s song is from an obscure film Khilauna-42. It was the first film made by Amar Pictures, which came into being when National Studios was closed. National itself started when Sagar Movietone merged into it. The film was directed by Sarvottam Badami. He was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.

At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the Tamil film “Harishchandra” left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a Newsreel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head.

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

The cast of the film “Khilauna”(1942) was Snehprabha Pradhan, Jairaj, Prabha, Satish, Kanhaiyalal, Pratima Devi, Nagendra and others. Prabha and Nagendra may be new names for most people. Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-2015 at Ludhiana. Her father Rajpal was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urtdu, Hindi, punjabi and English.

Right from childhood, she was keen on working in films. Being an orthodox family, there was opposition, but despite all this she entered films and her first film was Jung Bahadur aka DareDevil-1935. After doing some films like Dilawar-36, Awakening-36, she left Bhavnani camp and worked in Minerva’s film Atma Tarang-37 as a Heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like Gramophone singer-38, ladies only-39, Civil marriage-40. Later she became a freelancer.

In all she worked in 36 films in her career. She got married to a Cinematographer Virender Ahuja and settled down after the film Veerangana-47.
When her husband was one of the producers, she worked in film Shrimati ji-52 and then retired from films.
(Ack; Filmdom, Film Directory, CITWF, HFGK and my notes).

Nagendra Majumdar was the father of Music Director Ninu (Niranjan) Majumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy” established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector.Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Alladin aka Alladin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.
( Information for this, is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by Kamlakar P. and my notes.)

Film Khilauna-42 was based on the Gujarati story by Vaju Kotak. Screenplay and dialogues were by R S Chaudhari. The film was released on 21-3-1942 at Royal opera House, Bombay. It did average business at the box office. The film’s review came in the Film India issue of May 1942. Baburao Patel did not have a good opinion about the film’s direction, but he praised Snehaprabha’s acting along with Prabha. The film’s story was about a jobless artiste and a homeless girl. The love story had some complications but the end , as expected, was happy. The film had 10 songs and today’s song is its best song, according to me.


Song-Nazron ke khel khele koi kis tarah akele (Khilauna)(1942) Singers- Khan Mastana, Snehprabha Pradhan, Lyricist- Pt. Indra, MD- Khemchand Prakash
Both

Lyrics

Dil unko dhoondhta hai
Hum dil ko dhoondhte ae ae hain
manzil ke paas donon manzil ko dhoondhte hain

nazron ke khel khele
koi kis tarah akele
nazron ke khel khele
koi kis tarah akele

??
koi kis tarah akele
nazron ke khel khele
koi kis tarah akele
nazron ke khel khele

lut gayi main to soch lo
lut gayi main to soch lo

lut(?) gaya ji main to sochna
lut(?) gaya ji main to sochna
utar gayi tasweer si dil mein
aa baithhi taqdeer nazar mein
utar gayi tasweer si dil mein
aa baithhi taqdeer nazar mein
ab na aur samaay rasiya
ab na aur samaay
ab na aur samaay rasiya
ab na aur samaay

chhalkat chhalkat ?? gagariya
??
chhalkat chhalkat ?? gagariya
??
ghat ghat dolat hamri najariya
ghat ghat dolat hamri najariya
ek musaafir aaye
?? dekhoon soyi ankhiyaan
?? dekhoon soyi ankhiyaan
tanman mein ??

tanman mein aa jaaye rasiya
tanman mein aa jaaye rasiya
tanman mein aa jaaye
nazron ke khel khele
koi kis tarah akele
nazron ke khel khele


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:

4348 Post No. : 15660

Songs Repeated in Hindi Films – 19
– – – – – – – – – – – – – – – – – –

Even this one – you might say. Aah yes, even this one. 🙂

This song from ‘Mahal’ in 1949, probably has the most recognized prelude across the entire history of Hindi Film Song. It has become the signature song of the earlier decades of Hindi cinema. No representative selection of Lata ji’s songs would ever be considered complete without it.

The all too familiar picturization – the girl on the swing then the empty swing, the lonely boat in the river, the stunningly beautiful features of Kamini (Madhubala) – the song and its images are now an unforgettable montage. There is a whole traditional lore that now accompanies this song, which has achieved a cult status over the decades.

‘Kadambari’ from 1975, is delicate love story of young hearts which has some unconventional twists to it. The film is based on the novel ‘Dharti Sagar te Sippiyan’ written by Amrita Pritam. The film is produced under the banner of Madhu Creation Picture Pvt Ltd, Bombay and is directed by HK Verma. The star cast lis listed as Shabana Azmi, Vijay Arora, Arpana Choudhary, Jeet Surendra, Ajeet Singh, Mona, Jugnu, Chand Usmani, and V Gopal etc.

The film has two songs. One is written by Amrita Pritam herself –“Ambar Ki Ek Paak Suraahi, Baadal Ka Ek Jaam Uthaakar”, composed by Ustad Vilayat Khan and sung by Asha Bhosle, and the second one is “Kyon Hum Tum Rahen Akele”, written by Geetanjali Singh and is composed and sung by Ajeet Singh.

As per the official listings, that is all the songs in this film. In fact both the songs are already present on our blog and in that sense the film is already yippeee’d.

But wait, here is the surprise that was mentioned in a message early morning today. The film carries this iconic song – a repeat version, which in of itself, has a significant importance. The song is not reused in its original form. It has been re-recorded in the voice of Kavita Krishnamurty, and reused in this film. The important point here is that this is the debut recording of a film song by Kavita Krishnamurty in Hindi films – her first song. And she gets to re-render this classic masterpiece.

The song appears in the film in two parts. One stanza is performed close to the beginning of the film. The occasion is the birthday party of Chetna (Shabana Azmi). A very close and dear friend, Amit (Vijay Arora) is still awaited to join. In this mood, Chetna sings one stanza of this song – “Deepak Bagair Kaise Parwaane Jal Rahe Hain“.

The second stanza – “Bhatki Huyi Jawaani. . .” appears sometime before the end of the film. This stanza appears in the background. The situation is that a chance meeting happens between Chetna and Sheetal (Aparna Chaudhry) after many years. Both are in passing through difficult time in life, both are single and both are awaiting the men they love to return to them. Sheetal is in love with Sudhir (Jeet Surendra), who is the brother of Chetna.

As Chetna departs from Sheetal’s home, the song starts to play, with the visual cutting back and forth between Sheetal at home, with paintbrush and canvas, and Chetna in a three wheeler heading back to her home. “Maanjhi Bagair Naiya Saahil Ko Dhoondhti Hai” – the two friends are like directionless boats at sea, searching for the shores.

A brief summary of the storyline,

Chetna and Amit are childhood friends, and are in love. Amit has a past that he once reveals to Chetna – that he is an illegitimate child. His mother was a victim of a violent assault, and the man responsible neither did own up, nor accepted the lady. Amit’s mother (Chand Usmani) single handedly brings up Amit and educates him to be a doctor. Amit reveals that he has such a reverence for his mother that he has taken a vow never to marry, not sure how the prospective addition to the family would treat his mother and whether she would understand the painful past in the family.

To Chetna it becomes clear that Amit will not marry. She is heartbroken, but then she promises herself she will never pursue him for matrimony. An interlude happens in between, and Chetna is now carrying Amit’s child. She hides this fact from everyone, including Amit, moves to Bombay from Delhi on the pretext of a job, stays there for a couple of years, has the child and then returns home with a story about an unfortunate family where the parents passed away leaving behind this newborn child. So she has adopted the child.

The parallel love saga of Sheetal and Sudhir is also not working out well, and the two are not seeing each other. Both are in pain, but both are restraining. Chetna meets with Sheetal and talks with her to coax her back and rebuild the relationship with Sudhir.

In the meantime, Chetna and Amit are also back to their normal exchanges. Amit’s mother, who has always liked Chetna, starts to help with taking care of the child. Some observations, some exchanges, something about the child and Amit’s mother comes to realize that the child’s father is Amit, her son. Situations progress to an amiable juncture where this fact gets revealed and is accepted by everybody. Both couples are back together once again.

It is a sensitively handled drama of love. There are no emotional overplays in the film. Every situation is underplayed and intelligently handled. Love stories are not always dependent on villains and stern parents to play out their saga. In some cases, it is the protagonists themselves who provide the interesting and unexpected turns to the story. ‘Kadambari’ is one such story.

The reuse of the two stanzas of this song are also very imaginative and very appropriately linked into the specific situations and story flow.

And yes, by the way, as per the ten year challenge chart published early morning today, ‘Kadambari’ made its debut 10 years ago today. Quite appropriately, we bring on this post, and add the repeat song to the list of songs of this film on our blog. The song has been suggested to me by Dear Avinash ji, who has also sent us both the set of lyrics – in Hindi and English.

A mysterious and dreary night of a palace from 1949 got transformed into a birthday party at a middle class home in Delhi in 1975. Watch, listen and enjoy.

 

Song – Aayega Aayega. . . Aayega Aanewaala  (Kadambari) (1975) Singer – Kavita Krishnamurty, Lyrics – Nakshab Jarchavi, MD – Khemchand Prakash

Lyrics (Provided by Avinash Scrapwala)

Part I

aayegaaaa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

deepak bagair kaise
parwaane jal rahe hain
deepak bagair kaise
parwaane jal rahe hain
koi nahin chalaata
aur teer chal rahe hain
koyi nahin chalaata aa
aur teer chal rahe hain
tadpega koi kab tak
be-aas be-sahaare ae
tadpega koi kab tak
be-aas be-sahaare
ye kah rahe hain mujhse
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

Part II

bhatki hui jawaani
manzil ko dhoondhti hai
bhatki hui jawaani
manzil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
kya jaane dil ki kashti
kab tak lagey kinaare
kya jaane dil ki kashti
kab tak lagey kinaare
lekin ye keh rahe hain
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

—————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————–

भाग I

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

दीपक बगैर कैसे
परवाने जल रहे हैं
दीपक बगैर कैसे
परवाने जल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
तडपेगा कोई कब तक
बे-आस बे-सहारे
तडपेगा कोई कब तक
बे-आस बे-सहारे
ये कह रहे हैं मुझसे
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

भाग II
भटकी हुई जवानी
मंज़िल को ढूंढती है
भटकी हुई जवानी
मंज़िल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
क्या जाने दिल की कश्ती
कब तक लगे किनारे
क्या जाने दिल की कश्ती
कब तक लगे किनारे
लेकिन ये कह रहे हैं
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ


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 17000 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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