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

Posts Tagged ‘Kidar Sharma


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

Blog Day :

4807 Post No. : 16575

Today’s song is from the film Armaan-1942.

I have found many times that film titles are given on the basis of the essence of the story – the result, the effort or even the relationship etc. It is expected that from the title itself, the movie fan should be able to guess the type of film or the story of the film. Some titles are straight forward like Baiju Bawra, Tansen, Jhansi ki Rani etc. Such films do not call for intelligence work to know about the film’s content. But when the titles like Armaan, Laalach, or Ladki are given, the fan has to scratch his head about the type of the story. Next help is from the cast of the film. Cast of a Stunt film is absolutely distinctive. The actors are fixed, not known to the general public and includes at least some actors with strange names like Chemis, Manchi Toothy or Bajarbattu etc. Initially, a Dilip kumar film used to be equated with a sad end due to Hero’s death. Nirupa Roy indicated a Religious film etc.

Even from the names of Directors one could guess about the type of films.For example, a film directed by Sohrab Modi meant extra long dialogues in pure urdu or Hindi, Historical story. Mehboob Khan meant a film on Nehruvian Socialism etc. From the names of Music Directors also one could fairly guess the type of film. Avinash Vyas or S.N.Tripathi means a Mythological film, Naushad or C.Ramchandra means musical entertainment etc.

There have hardly been any directors who handled films of different Genres. Tragedy, Comedy, Family film directors never tried historical and any Stunt film director never tried a family tear jerker. I can think of only one film director who directed films of different Genres like, Comedy, Tragedy, Family, Musical, Social evils and even a Mythological film. His name is Franz Osten- a Director from Bombay Talkies stable. And mind you, he did not know Hindi language-he had come from Germany ( he thought Bulbul means 2 Bulls !). May be that is why he could do it.

Film Armaan’s director was Kidar Sharma. He mostly did social films. I came to know about this autobiography much later than it was published posthumously – by his son in 2002. I bought the book sometime in 2015 or so. During the period 2012 to 2018, I bought books on cinema like a mad person. The result was, I ended up with 50 % useless books ! Initially I had no discretion and no knowledge as to which could be an useful book for me. Shortly ( and after spending a Ton !), I learnt the trick and became very selective. By the year 2018-2019, I became known to many writers and Historians. This resulted in getting recently published good books as gifts from various authors. This way I now have a reasonably good number of useful books. Some books I value very much like the Encyclopedia of Indian Cinema by Rajadhyaksha and a few rare books. I have a collection of 6700 songs from films of the 30s and 40s only, some of them very rare. These are also gifted to me by friends and collectors across the continents. I got some books xeroxed. Our dear friend (late) Bharatbhai Upadhyay, Harish Raghuwanshi ji, Deepak Chaudhari and few more have been very helpful in xeroxing old, rare books.

The cast of the film Armaan-42 was Motilal, Shameem, Nagendra, Meera, Rajkumari, Rewa Shankar etc . Kedar Sharma mentioned in his book that Sardar Chandulal Shah, owner of Ranjit had warned him not to take Shameem as Heroine. The reason was, Shameem was the niece of actress-singer Khursheed, who was very jealous of Shameem. He feared that Khursheed may not work with Kidar, if she is taken as Heroine. Kidar was firm and took Shameem. However, Khursheed did work in Kidar’s film later on without any complaint.

Shamim was variously billed as Shamim, Miss Shamim, Shamim Bano and Shamim Akhtar, in different films. She was born on 11th September 1926 in Lahore. Her father was a General Merchant. She used to sing and act in school dramas. She completed her matriculation from Islamia Girls school, Lahore. In 1939, she visited Bombay along with her father. They accidentally met director G.R.Sethi, who encouraged Shamim to join films. She too was keen on joining films.

She debuted in the film Imaandar-1939. Then came Baghi-39, Niraali Duniya-40, Kanyadan-40,Jadui Nagari-40, Pyas-41, Dhandhora-41, Return of Toofan Mail-42, Mehmaan-42, Fariyaad-42, Armaan-42, Gauri-43, Bansari-43, Pehle Aap-44, Jwar Bhata-44, Sanyasi-45, Laaj-46, Samrat Ashok-47, Sindoor-47, Bhanwar-47, Shikarpri-47, Ratan Manjiri-48,Toote Taare-48 and Desh sewa-48. She also sang about 30 songs in 11 films.

After partition, she migrated to Pakistan with the family. There, she acted in 8 films- 6 Urdu and 2 Punjabi. Her first film Shahida-49 was a hit film and celebrated Silver jubilee. Even Do Ansoo-50 and Ghulam-53 were hit films. Shamim married Producer/Director Anwar Kemal Pasha. Shamim died on 23-10-1982 in Lahore. Shamim was niece of actress singer Khursheed Begum. Shamim’s younger sister Naseem was also an actress in India, but she died quite young, on 17-11-1946 at Bombay, in India only. This was reported in Film India magazine also.

The other interesting name in the cast is of Nagendra Majumdar-father of Ninu Majumdar, MD. 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 Aladdin aka Aladdin 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 article 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.)

Today’s song is the second song from the film Armaan-42 to feature here.


Song- Raat suhani re raat suhaani (Armaan)(1942) Singer- Shamim Bano, Lyricist- Kedar Sharma, MD- Gyan Dutt

Lyrics

raat suhaani re
Raat suhaani
raat suhaani re
Raat suhaani
aao guniyyaan aao
aao guniyyaan aao
sunaayen prem kahaani re
kahaani
aao guniyyaan aao
sunaayen prem kahaani re
prem kahaani

Chaand sittaare re
chaand
Chaand sittaare re
chaand sitaare
hum saajan se door
hum saajan se door
sajanwa paas hamaare re
hamaare
hum saajan se door
sajanwa paas hamaare re
paas hamaare

sard hawaayen re
hawaayen
sard hawaayen re
sard hawaayen
phoonk(??) rahin hain tanman
phoonk(??) rahin hain tanman
saajan
thhandi aahen re
aahen
phoonk(??) rahin hain tanman
saajan
thhandi aahen re
thhandi aahen

mast jawaani re
mast
mast jawaani re
mast jawaani
bhanwron ka paighaam suno
bhanwron ka paighaam suno
kaliyon ki zabaani re
zabaani
bhanwron ka paighaam suno
kaliyon ki zabaani re
kaliyon ki zabaani
raat suhaani re
raat
raat suhaani re
raat suhaani


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 :

4652 Post No. : 16317

Today’s song is from a ‘not so famous’ film from New Theatres – which had been making popular and musical films for the last few years. The song belongs to the film ” Sapera aka The Snake Charmer”-1939. The song was written by Kidar Sharma and the music was by R C Boral-The Doyen of Film music in India. The film was directed by Debaki Bose and the cast was Nawab, Kanan Devi, Pahadi Sanyal,Prithviraj Kapoor, K C Dey, Menaka Devi and others.

Today’s song is sung by Kanan Devi. I have memories that I first heard her singing “Toofan Mail” from the film Jawab-42, sometime in the end of the 40s, when I was about 10 year old. We had a “Phono” (Gramophone) with a lot of records in 2-3 Record boxes. My father was fond of Pankaj Mullick songs, so we had many records of his film and non-film songs. Also Saigal songs, but I only remember vividly the song of Kanan Devi-Toofan mail, ye duniya hai Toofan mail. Later on, as I grew older, other film songs took over, but even today, whenever I hear this song, I get a nostalgic feeling. That was the magic of her singing !

Kanan Devi is a true example of “Rags to Riches” story. She rose from a very low level, but ended up with earning all the honours and respect a successful artiste can have ! When I first read her autobiography-‘ My Homage to all’, tears came to my eyes. Famous film writer late Pran Neville called her “an unlettered slum girl, who rose to become a much sought after social celebrity”. She did not know who her father was, she faced a failed love affair and a broken marriage, but won over all these things to become the winner.

If one sees the history of early cinema in Bengal, about 70% of the cine artistes (in all departments of filmmaking) were educated and from well to do families. Some were foreign returned, some were very rich and very few came from low level. Kanan was an example. In her childhood, she faced days when she had nowhere to go, but in the end, she led the way to other strugglers.

Kanan Devi, the melody queen and superstar of the 1930s and 40s, was a remarkable personality. An epitome of beauty, glamour and grace and the recipient of the prestigious Dadasaheb Phalke Award (1976), Kanan’s life story (1916-1992) transcends that of Eliza Doolittle in “Pygmalion” and “My Fair Lady”. Her memoir “Sabare Ami Nami” (I pay my respect to everyone) provides a fascinating account of her transformation from an unlettered slum girl into a much sought after social celebrity. The most astounding aspect of her persona was her grit, determination and courage which led her to attain the pinnacle of fame and glory and thus become a legend and an institution in her lifetime.

Kanan was born on 22 April 1916 in Howrah, West Bengal. In her autobiography, entitled ” My Homage to all”, Kanan has observed that those she considered as her parents were Ratan Chandra Das and Rajobala, who lived together. After the death of her adoptive father, Ratan Chandra Das, young Kanan and Rajobala were simply left to fend for themselves. Her life story is a true tale of rags to riches. Some say she did her schooling (not completed) from Howrah’s St. Agnes’ Convent School.

A well wisher, Tulsi Banerji, whom she called Kaka babu, introduced Kanan when she was only ten to Madan Theatres/Jyoti Studios, where she was cast in a small role in Jaidev (1926), followed by Shankaracharya in 1927. She was known as Kanan Bala.

By now, she was known as a good singer. By 1929, she was recording several songs. In this year, Kanan Bala met handsome Hiren Bose and a new chapter in her life seemed to be blooming. Hiren Bose was highly educated and had earned titles of “Vidya Bhushan” and “Sangeet Ratna”. In the years 1928 to 1932, Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren Das. Both Kazi and Hiren wrote lyrics for songs in HMV .

Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came to record songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose. In 1932,this team left HMV, on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934,Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala. She was broken-hearted.

Kanan did at least five films with Madan Theatres productions, (1926–1932) Rishir Prem (1931), Jorebarat (1931), Vishnu Maya (1932) and Prahlad, playing even male leads in the last two. She then worked with Radha Films from 1933 to 1936, then with New Theatres from 1937 to 1941, with MP Productions 1942 to 1948 and finally set up her own label Shrimati Pictures, 1949 to 1965.

From silent film roles as a child artist, Kanan made the successful transition into talkie films and was noticed with Jorebarat (1931), Manomoyee Girls School, Khooni Kaun and Maa (1934).

Her films with Jyotish Bannerjee included Joydev (1926), Rishir Prem (1931), Jorebarat (1931), Vishnumaya (1932), Kantahaar (1935) and Manomoyee Girls School (1935). Her films with Prafulla Ghosh were Sree Gouranga (1933), Char Darvesh (1933), Maa (1934) and Hari Bhakti. Others with Radha Film Company were Kanthahar (1935), Krishna Sudama (1936), Bishabriksha (1936) and Char Darvesh (1933).

New Theatres’s P.C. Barua wanted her to play the lead in his Devdas (1935), but, due to contractual reasons with Radha, she could not act in the film, a factor she regretted all her life.

The films of New Theatres, owned by Biren Sircar, established her as a superhit singer and her films ran to packed audiences. She had to travel under constant protection, given her huge fan following. During her years with New Theatres, Calcutta from 1937, she played the lead in Barua’s Mukti (1937), which was perhaps her finest performance, making her the studio’s top star. Apart from Mukti, she did Vidyapati, Saathi (1938), Street Singer (1938), Sapera (1939), Jawani Ki Reet (1939), Parajay (1939), Abhinetri (1940), Lagan (1941), Parichay (1941) and Jawab (1942). She became known as Kanan Devi from this point.

She came in contact with the music maestro Rai Chand Boral, who not only coached and familiarized her in the Hindi accent, but experimented with many classical Western and Indian forms in his music. She received her initial musical training under Alla Rakha. She was employed as a singer at the Megaphone Gramophone Company, receiving further training under Bhishmadev Chatterjee. She later learnt Rabindra Sangeet under Anadi Dastidar. Kanan remained the top star of New Theatres until she resigned her contract in 1941 and began to freelance in Bengali and Hindi films.

She worked with the biggest names in Indian cinema with K. L. Saigal, Pankaj Mullick, Pramathesh Barua, Pahari Sanyal, Chabi Biswas and Ashok Kumar.

M.P. Productions’ Jawaab was perhaps her biggest hit. Her song Duniya Yeh Duniya, Hai Toofan Mail was well received. She repeated the same feat in Hospital (1943), Banphool (1945) and Rajlakshmi (1946). Kanan Devi’s last Hindi film was Chandrashekhar (1948), with Ashok Kumar. In all, she worked in 20 Hindi films. She also sang 86 songs in 16 Hindi films.

In 1947, she went abroad to educate herself with the goings on in the western world of cinema. She was glad to visit Hollywood and meet legends like Clark Gable, Spencer Tracy, Robert Taylor and others. On her return she resumed her professional career and worked in some films before setting up her own Shrimati Productions. Kanan turned producer with Shrimati Pictures in 1949 and later launched the Sabyasachi Collective with the film Ananya (1949). Her own productions were mainly based on the stories of Sharat Chandra Chattopadhyay.

Kanan married Ashok Maitra in December 1940. He was the son of the staunch Brahmo Samaj educationist Heramba Chandra Maitra. Despite their best intentions, the marriage could not withstand the severe condemnation by the then conservative society. Even the poet Rabindranath Tagore, who sent a token gift to the married couple received scathing criticism for blessing the couple. The main issue was that Kanan was not expected to be working in films after her marriage. She filed for divorce in 1945. Despite the pain of the divorce, Kanan expressed her immense gratitude towards her first husband for giving her social recognition through marriage for the first time in her life. To Kanan’s credit, she maintained excellent relations with Rani Mahalanobis, sister to Ashok Maitra and her husband, the famous social scientist P.C. Mahalanobis and with Kusumkumari Devi, Ashok Maitra’s mother, even after the marriage was severed.

Kanan married Haridas Bhattacharjee around 1949. Haridas Bhattacharjee was then ADC to the Governor of Bengal. He eventually left the naval service to join Kanan in her filmmaking venture and became a competent director. While raising their son Siddharth in Calcutta, she also formed and worked as the president of Mahila Shilpi Mahal, an organization to help senior female artists and other charitable and community causes, including those for the betterment of Bengali cinema.

It was quite an uphill task for Kanan Bala to transform herself into Kanan Devi in those days when women liberation was unheard of. She had to struggle and with her strong determination and independent personality, she virtually forced the society to shower their respect and esteem on her when she became a celebrity in her own right. In her old age, she fondly remembered her days at New Theatres, full of joy and laughter. She was deeply impressed with K.L. Saigal and had the greatest regard for him.

Kanan Devi virtually stopped singing after 1947. Her last concert was at the India House in London when she was invited by Shri Krishna Menon, the High Commissioner, to perform on 15th August 1947. She mentioned it as the greatest moment in her life as a singer. Kanan inspired a whole generation of later day singers, the foremost being Lata Mangeshkar. She lived a full life both as an artiste as well as a woman. A great devotee of Lord Krishna, during her last years she spent most of her time in worshipping her lord and reading Geeta for her self-realisation and inner peace.

Kanan Devi, as the first lady of the Bengali screen, received many honours for her contribution to Indian cinema. An honorary degree from Vishwabharati, the Padma Shree in 1968 and the Dadasaheb Phalke Award in 1976.

She died on 17 July 1992 in Bellevue Clinic, Calcutta when she was around seventy-six years of age. ( based on some information from Wiki, an article by Pran Neville, book ‘ My homage to all’ by Kanan Devi, muVyz, and my notes, with thanks.)

In the film’s cast the name Menaka Devi appears. She is a part of Same Name Confusion, as another Menaka was also active at the same time. Luckily this was from Calcutta and the other one was from Bombay. However, by working in Bombay films and Calcutta films, both Menakas did create enough confusion. Let us know more about this Manaka Devi- Calcuttewali.

Menaka Devi was born in Varanasi on 23-1-1921. Her mother was a resident of the holy city although her father was from Bengal. She studied upto Matriculation. She could speak fluent English and Hindi, but not much of Bangla, having been raised in Varanasi. Her interest in music and dance took her to Bombay where she starred in a couple of films like Prince Thaksen (1929), Uttara Abhimanyu, Ishwar Ki Maut and others as a child artiste. When the Talkie started she acted and sang in Bhedi Rajkumar-34, Pyara Dushman-35 and Krishna Shishtai – 35.

Reportedly, she met the legendary film director Debaki Bose of Bengal during a train journey and he was so impressed by her that he decided to cast her in the lead role of his next venture in the Hindi version of the bilingual Sonar Sansar (1936 in Bangla and Sunehra Sansar-36 in Hindi) and thus began the illustrious career of Menaka Devi.

Her devotion to work was such that she learnt Bengali, her mother tongue although she was anything but fluent in it having spent all her life till then outside Bengal, so that she could play the same role (that of Alka) in the Bengali version also. Dhiraj Bhattacharya was her first hero on the screen. P.C.Barua, who was on the lookout for a young and fresh face to play Jharna in his forthcoming production Mukti (1937) selected her for both the versions ( Bangla and Hindi) and a flow started whereby she starred in films like Adhikar (1939), Abhigyan (1938), Bardidi (1939 in Bangla and Badi Didi in Hindi), Rajat Jayanti (1940) and others.

She decided to try her luck in Bombay around 1944 and starred in a few films there and definitely made her presence felt although playing the second lead most of the time. Kishore Sahu procured her services for Hamari Duniya (1952). She was married to Pannalal Shrivastav and had 1 daughter ( Jaya Ganguly). She turned producer also and this proved her undoing. Both her films as producer, Apna na Huye Apne (No information of this film,probably incomplete) and Jeene Do-48, both starring herself with prominent Bombay stars flopped.

She returned to Calcutta a broken woman and found to her dismay that roles were not coming to her. She joined the MG Enterprise, a drama group of Molina Devi and performed on the stage to continue to live as an actress. She even arranged magic shows along with husband Pannalal Srivastava while small roles came pouring in films like Ekti Raat (1956) and others. The feature that strikes even today while seeing her performance is the spontaneous nature of her acting. Why good roles eluded her is a mystery. She was last seen on the screen in Bhombal Sardar (1983). In all, she acted in 60 films-Bangla and Hindi together.

Her end came on 22-1- 2004 after a prolonged fight not only against poor health but also poverty. Her death was reported only in one Bengali daily although her death news received good coverage on television.

Filmography- Only Hindi
——————————–

Title Place of production Comments
Bhedi Rajkumar-34 in Bombay Acted and sang 1 solo
Pyara Dushman-35 Acted and sang 2 solos
Krishna Shishtai-35 Acted and sang 2 solos
Sunehra Sansar-36 in Calcutta Acted and sang 1 solo
Mukti-37 Acted and sang 1 solo
Abhagin-38 Acted
Badi Didi-39
Sapera-39
Mahakavi Kalidas-42
Shrikrishna Arjun yuddha-45 Bombay Acted
Shravan Kumar-46
1857-46
Chitod Vijay-47
Jeene Do-48 ”( produced also)
Hamari Duniya-52
Do Bigha Zamin-53 Calcutta

Now that we have seen the life stories of Kanan Devi and Menaka Devi-Calcutta Wali, let us enjoy the song from the film Sapera-1939.


Song-Morey ghar aao saajan re (Sapera)(1939) Singer- Kanan Devi, Lyricist- Kidar Sharma, MD- R C Boral

Lyrics

Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
roop ki bagiyaa
baras(?) rahi hai
roop ki bagiyaa
baras(?) rahi hai
man ki maina chahak rahi hai
haan aan aan aan
man ki maina chahak rahi hai
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan re

leti hai angdaiyaan
piyaa aa
aa aa aa aa aa
leti hai angdaiyaan
pi ee
sooni hai hirday ki basti ee
sooni hai hirday ki basti ee
aao ab aan baso re
ae morey pyaare sajan
aao ab aan baso re
ae morey pyaare sajan
Morey ghar aao sajan

leti hai angdaiyaan
piyaa aa aa aa
aa aa aa
leti hai angdaiyaan
pi ee
sooni hai hirday ki basti ee
aao ab aan baso re
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan 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 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 :

4630 Post No. : 16283 Movie Count :

4423

Today’s song is from the film Dil hi to hai aka Aulad-1939. It was made by the Film Corporation of India, Calcutta. The film was directed by Kidar Sharma. This was his first film as an independent Director. Kidar Sharma (12-4-1910 to 29-4-1999) went on to direct 35 more films. His last film as a Director was Sehme huye Sitare-1994. Sharma acted in 8 films.He even sang 1 song each in 2 films – Inquilab-35 and kavi Sammelan-72. As a Lyricist, he wrote 312 songs for 44 films, from Inquilab-35 to Jalo Tarang-49. Some of his famous films as a Director were Chitralekha-41, Bhanwar-44, Neel Kamal-47, Jogan-50, Bawre Nain-50, Hamari yaad aayegi-61 and others.

The music for the 12 songs written by kidar Sharma was composed by Acharya Bhishma Dev Chatterji. He was born on 8-11-1909 in Hooghly, West Bengal. He studied upto M.A. in English. He became a Teacher and taught English in a college. Few years after learning Music from stalwarts of Bengal, he left the job of teacher and joined Megaphone Record Company as a Composer. He used to meet Kidar Sharma in the Recording studio.

Taking permission from his company, he became a Music Director for his First film – Dil hi to hai aka Aulad-1939, made by the Film Corporation of India, Calcutta. He composed some Ghazals, which Ramola and Ramdulari sang. After this film, Bhishma Dev gave music to 3 more Hindi films – The Rise-1939, Qaidi-1940 and Hamara Hindustan-1940. All films made by Film Corporation of India and in Calcutta. This was the end of his Hindi film music .

Bhishma Dev was highly respected in Bengal for his knowledge of Classical Music. Even S D Burman learnt music from him. His nature was saintly. He cut many records on Dhrupad sangeet. I am not aware of his contribution to Bangla films.

Suddenly, one day, he left his job, work, music, family, everything and he became a Sanyasi. He remained so till he died on 8-8-1977.

The film was originally titled and censored as Dil hi to hai, but advertised itself in Magazines and Newspapers as ” Aulad” and in brackets ‘ Dil hi to hai ‘. All the records were issued in the name of Dil hi to hai. Looking at the short synopsis of the film, as given in Film India magazine, I feel the title of ” Aulad” was more appropriate. The story deals with traditional parents and their modern thinking children. The film ends with the heroine (Ramola) committing suicide.

It was the first film of Ramola as a Heroine and she had to die at the end of the film ! There is a story behind how Ramola, who was a small time actress in Bangla films initially, got the heroine’s role in Kidar Sharma’s first Directorial venture. Sharma has described it in his autobiography.

Actress Ramola (real name- Rachel Cohen) was born in a Jew family on 5-7-1917, at Bombay. Her father Hayam Cohem was a school Teacher. Her initial education was done in Bombay. Later they shifted to Calcutta where she completed her matriculation and joined films. Her first film was ‘ Graher fer’-38,a Bangla film. She did a few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali.etc etc.

Initially, Ramola was a small time actress. First she acted on stage along with her two sisters. Then she got a Bangla film. It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma. According to Kidar Sharma,

“She was smart and a charming young lady. Her only drawback was her height. She was not tall, just about 5 feet, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Romola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something for which the nature was responsible. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Romola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Romola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi To Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and his darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middle class man, was played by Ramola.

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. When she acted in Pancholi’s famous film Khazanchi-41, she became famous all over India and film offers started pouring on her. She looked so cute in her Punjabi dress- Salwar and Kurta- in that film, that this dress became famous and popular as Khazanchi dress amongst the women in India.

The cast of the film Aulad aka Dil hi to hai-39 was Ramola, Ramdulari, Nand kishore, Amarnath, Purno Chaudhari, Ibrahim etc.etc. There is one interesting name in the cast, for whom this film was his Debut film as an actor. He was only in his Teens, but with a good personality. His Name – Amarnath.

Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath.

This Amarnath was born in Hafizabad, in Gujranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he made it as a Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51, Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54, Danka-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

Today’s song is sung by Ramdulari. This is a very rare song. It was given to me by Mr. Abhay Jain (US) and uploaded for me by our own Sadanand Kamath ji, as he always does for all my songs. With this song, film Dil hi to hai aka Aulad-1939 and Bhishm Dev Chatterji as MD, make their Debut on this Blog.


Song- Hoga na vaidya se ilaaj mori peer ka (Dil Hi To Hai)(1939) Singer-Ram Dulari, Lyrics-Kidar Sharma, MD-Bheesmdev Chatterjee

Lyrics

Hoga na vaidya se ilaaj mori peer ka aa
Hoga na vaidya se ilaaj mori peer ka aa
dil to shikaar hua nainwa ke teer kaa
maiyya mori peer ka
bhaiyya mori peer ka
daiyya mori peer ka
peer ka
peer ka
Hoga na vaidya se ilaaj mori peer ka aa
Hoga na vaidya se ilaaj mori peer ka aa

Hoga na vaidya se ilaaj mori peer ka aa
main jamunaaaa jal
bharne ko nikli aa aa aa aa aa
aa aa aa
main jamuna jal
bharne ko nikli
haaaaaan

main jamuna jal bharne ko nikli
main jamuna jal bharne ko nikli
main jamuna jal bharne ko nikli
main jamuna jal bharne ko nikli
milna thha Shyam se
bahaana kiya neer ka aa
milna thha Shyam se
bahaana kiya neer ka
maiyya mori peer ka
bhaiyya mori peer ka
daiyya mori peer ka
peer ka
peer ka
Hoga na vaidya se ilaaj mori peer ka aa


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 :

4618 Post No. : 16260

—————————————————————————
Blog 10-Year Challenge (2011-2021) – Song No. 15
—————————————————————————

This date ten years ago (viz 10 march 2011) was a normal day for the blog. As many as six songs from six movies were covered on that day.

Here are the details of the six songs that were covered on that day :-

Blog post number Song Movie (Year) Remarks
3633 Tumne kahaa chhoo maine chhoo liyaa Saawan(1959) Movie YIPPEED by now
3634 Wo dekho dekh rahaa thhaa papeehaa Fariyaad(1964) Four songs covered by now out of 6
3635 Aise to na dekho Bheegi Raat(1965) Movie YIPPEED by now
3636 Sun ae bahaar e husn mujhe tum se pyaar hai Night in London(1967) Movie YIPPEED by now
3637 Ho munna jaayegaa baazaar Man Mandir(1971) Three songs covered by now out of 6
3638 Do bechaare bina sahaare Victoria number 203 (1972) Movie YIPPEED by now

One can notice that four movies (out of six) whose songs were discussed ten years ago on that date have since been YIPPEED in the blog. So only two movies are eligible for blog ten year challenge today.

“Fariyaad”(1964) is one such movie. This movie was directed by Kidar Sharma for Show People, Bombay. The movie had Ashok, Zeb Rehman aka Preeti Bala, Dilip Dutt, Mohan Choti, Achala Sachdev, Gyani, Gopal Sehgal, Bela Bose, Apsara, Malik, Maria, Tuntun, Sayeeda, Najma,Shabani, Raj Maria etc in it.

The movie had six songs in it. Four songs have been covered in the past.

As blog ten year challenge today (10 march 2021), here is a song from “Fariyaad”(1964). Thia sonmg is sung by Mahendra Kapoor, Mubarak Begam and chorus. Kidar Sharma is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the puicturisation of the song.

Lyrics of this song were sent to me by Prakashchandra.

audio link:

Song-Dilli se do behnen aayin (Fariyaad)(1964) Singers-Mahendra Kapoor, Mubarak Begam, Lyrics-Kidar Sharma, MD-Snehal Bhatkar
Chorus

Lyrics(Provided by Prakashchandra)

Dilli se do behnein aayeen een
Dilli se ae ae ae ae
Dilli se do behnein aayeen
roop duhaayee rey ae
aei jee roop duhaayee rey ae

o zara sunn mere bhaai rey ae
o zara sunn mere bhaai rey ae

Rozie aur Daisy
oyye hoyye hoyye
har shayye angerzi
haayye haayye haayye
har baat mein tezi
oyye hoyye hoyye

baali umariya tirchhi najariyaa
jaadu naye jagaaye
main mar gayi jaadu naye jagaaye
main mar gayi jaadu naye jagaaye
baali umariya tirchhi najariyaa
jaadu naye jagaaye
main mar gayi jaadu naye jagaaye
main mar gayi jaadu naye jagaaye ae

ho o o ho o ho o o o
o dil pehloo o o o se ae
utth utth bhaagey ae ae ae ae
mukh se
nikse haayye
haaaaye

kaa hamri
o kaa hamri sudh budh bisraayi
daddy raam duhaayi rey ae
o zara sunn mere bhaai rey ae
o zara sunn mere bhaai rey ae

ankhiyaan matwaari
oyye hoyye hoyye
honthon par laali
haayye haayye hayye
latt kaali rey kaali
oho o o ho ho o hho o ho o o

haath milaayein haath hilaayein aen
baar baar kahen
haayye
haath milaayein haath hilaayein aen
baar baar kahey
haayye

inn ke charan chhuye bin bandhu
hamse rahaa naa jaaye
o raama
hamse rahaa na jaaye
kaissi ..eee
o kaissi mann mein
aggann lagaayi
daddy raam duhaayi rey ae
o zara sunn mere bhaai rey ae
o zara sunn mere bhaai rey ae

kya naach dikhaaye
oyye hoyye hoyye
sau sau bal khaaye
haayye haayye haayye
gardan mattkaayye
oyye hoyye hoyye


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 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 :

4462 Post No. : 15943 Movie Count :

4370

Kidar Sharma has often been given a title of ‘one-man film industry’. He was producer, director, actor, story/screen-play/dialogue writer, lyricist, editor, still photographer etc. He was also known to have the working knowledge of Hindustani classical music. He also sang a song on himself in the film ‘Inquilaab’ (1935). With a vast knowledge gained from working in New Theatres, Kolkata during 1933-41 and in Ranjit Movietone during 1942-47, Kidar Sharma had directed 11 films and written lyrics for 23 films before he turned producer with ‘Neel Kamal’ (1947).

Kidar Sharma had a passion for film making. Otherwise why a young man of 22 years after completing M.A. in English literature would join the New Theatres (NT) as a painter. He would have very well got the job of a lecturer in any college in around his native Punjab. His progress in filmy career was rapid. Within 2 years of joining NT, he was a still photographer and the lyricist for ‘Devdas’ (1935). he became dialogue writer for the Hindi version of ‘Vidyapati’ (1937) in addition to song writing. By 1939, Kidar Sharma had become a free-lance director with ‘Aulaad’ (1939’, his debut film as a director followed by ‘Chitralekha’ (1941) which became much talked about film. Incidentally, after about 23 years, Nadiadwala of Pushpa Films engaged Kidar Sharma to direct ‘Chitralekha’ (1964), a remake of its 1941 version.

After directing 9 films for Ranjit Movietone, Kidar Sharma decided to produce and direct ‘Neel Kamal’ (1947) under his own banner, Oriental Pictures. In fact, nobody was prepared to produce this film, not even his employer, Ranjit Movietone. So, he was forced to become the producer. He arranged finances by selling the distribution rights of the film in advance. For his maiden venture, he introduced two new comers – Raj Kapoor and Madhubala. Both the actors had done some bit roles in films before they were given the lead roles for the first time in the film. The film was an average success in terms of box office collections. Since then, Kidar Sharma has produced and directed 14 films between 1947 and 1980.

As a producer-director, Kidar Sharma was not a showman like Raj Kapoor for whom the production value in terms of star cast, techniques and costly sets for film shooting were as important as the theme of the film. On the other hand, Kidar Sharma was an antithesis of a showman. He believed in low budget film which ruled out taking star actors for the lead roles. Hence, for almost all his films which he produced and directed, he preferred new comers and his protégées to whom he had earlier introduced in his films. In this process, he gave to the Hindi film industry, popular actors like Raj Kapoor, Madhubala, Geeta Bali, Bharat Bhushan, Mala Sinha, Tanuja etc to whom he introduced in his films as lead actors for the first time. Similarly, he mostly relied on Snehal Bhatkar and Roshan as music directors for his films who were introduced by him in his films ‘Neel Kamal’ (1947) and ‘Sohag Raat’ (1948), respectively for the first time.

Kidar Sharma’s last box office successful film as a producer-director was ‘Baawre Nain’ (1950) with Raj Kapoor and Geeta Bali in the lead roles. All his subsequent films like ‘Shokhiyaan’ (1951), ‘Gunaah’ (1953), ‘Chhora Chhori’ (1954) and Rangeen Raaten’ (1956), did not fare well at the box office. All his films in the 1960s and thereafter numbering 6 either failed miserably at the box office or did not get released. I guess, ‘Sehme Huye Sitaare’ (1994) was his last film which remained unreleased in the theatres.

I have watched selectively a few films of Kidar Sharma from 1940s to 1960s. In most of his films, the story is based on a village or a small town and he tries to depict the intricate human relationships. All his films gives an impression that he had not come out of the Bengali mode of film making which were losing stream in Hindi film industry in the later 1960s where films were seen more as a medium of entertainment to fill the coppers of producers and distributors in terms of profits than covering the social issues concerning the society at large. Kidar Sharma did not fit in this milieu. So, the last 5-6 films produced and directed by him became obscure to such an extent that most of the us do not even remember the title of the films.

‘Pyaase Nain’ (1989) was one of the obscure films produced and directed by Kidar Sharma. The star cast included Kanan Kaushal, Yuvraj, Madhup Sharma, Naaz, Anant Marathe, Gauri Varma, Veena Sood with Shyama, Dev Kumar Gajanan Jagirdar, Hiralal and Maruti as guest artists. The film had 6 songs (including one song re-used from ‘Chhora Chhori’ (1954). Kidar Sharma wrote the lyrics which were set to music by Snehal Bhatkar.

The film was certified by the Censor Board on December 5, 1989. I am not aware whether the film was released in the theatres. I also do not find the gramophone/CD version the songs. Fortunately, the VCD of the film is available on one of the video sharing platforms. After watching the initial part of the film, I lost interest in watching the rest of the film. However, I have watched the picturisation of 3 songs in the film. My take on this film is as under:

1. Kanan Kaushal in 1989 was 50. But in this film, she looks much younger. Incidentally, Kanan Kaushal made her debut in Hindi film in 1969.when she was 30.

2. Of the 6 songs, one song is rendered by Mohammed Rafi with Suman Kalyanpur. The voice of Rafi sounds like his voice of the 60s. There is another duet in which Rajkumari Dubey sings for Kanan Kaushal. There are two songs by ghazal singer, Mahesh Chandra who had also sung in ‘Maikhaana’ (1967) for Kidar Sharma.

3. The treatment in the film in terms of cinematography, costumes and dialogues give an impression that this film was shot in the 60s through early 70s.

My own hunch is that the film was majorly shot between 1970 and 1975. Kanan Kaushal had become a well sought-after actress for mythological films after the tremendous success of her film ‘Jai Santoshi Maa’ (1975). In the wake of her success, I do not think that she would have agreed to act in ‘Pyaase Nain’ post 1975. Going by the style of film making by Kidar Sharma in his later years, during which time he used to shoot the film as and when he could raise finance, this film must have been delayed for want of finance. By the time the film got completed, it was terribly out of date. Probably, the film got released only on Television.

One of the six songs which I liked the most from the film ‘Pyaase Nain’ (1989) is ‘aao aawaaz se aawaaz milaakar gaayen’ sung by Mohammed Rafi and Suman Kalyanpur which I am presenting here. The song is written by Kidar Sharma which is set to music by Snehal Bhatkar. When I said earlier that Rafi’s voice sounds like that of his voice in the 60s, I remember his voice in the song dil-e-betaab ko seene se lagaana hoga from ‘Paalki’ (1967). Incidentally, this song is also sung by Mohammed Rafi and Suman Kalyanpur.

With this song, ‘Pyaase Nain’ (1989) makes its debut on the Blog.

Video Clip:

Song-Aao aawaaz se aawaaz milaakar gaayen (Pyaase Nain)(1989) Singers-Rafi, Suman Kalyanpur, Lyrics-Kidar Sharma, MD-Snehal Bhatkar
Both

Lyrics

aao aawaaz se aawaaz
milaakar gaayen en en en
aa aa aa aa
aao aawaaz se aawaaz milaakar gaayen en en
aa aa aa aa aa

kamse kam kaan mein itna to main keh sakti hoon oon
kamse kam kaan mein itna to main keh sakti hoon oon

itna to tu keh sakti hai
dhadkanen aap ki
seene mein
dhadkanen aap ki seene mein pirona hai mujhe ae ae
aa aa aa aa

aao aawaaz se aawaaz milaakar gaayen en en en
aa aa aa aa

meri aankhon mein nazar aayi tumhen wo tasweer eer
meri aankhon mein nazar aayi tumhen wo tasweer eer
nazar aayi mujhe wo tasweer
nazar aayi mujhe wo tasweer

laaj se soyi kali simti huyi baahon mein ae ae
aa aa aa aa
aao aawaaz se aawaaz milaakar gaayen en en en
aa aa aa aa

neend aaye to teri saans jagaa deti hai ae
neend aaye to teri saans jagaa deti hai ae

meri saans jagaa deti hai
meri saans jagaa deti hai
wo jawaan khwaab ke parda hai jinhen mardon se ae ae ae
aa aa aa aa

aao aawaaz se aawaaz milaakar gaayen en en en
aa aa aa aa

laakh parda ho magar maan bhi jaao na wo baat
laakh parda ho magar maan bhi jaao na wo baat
kaho kaun si baat
hmm
kaho kaun si baat

dil jigar sharabati aankhon ke nazar karne do
aa aa aa aa
aao aawaaz se
aawaaz milaakar gaayen en en en en
aa aa aa aa
aao aawaaz se aawaaz milaakar gaayen en en en en
(hmm hmm)
aa aa aa aa
aao aawaaz se aawaaz


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 : 3887 Post No. : 14917

Today’s song is from film Gauri-1943. It was a film made by Ranjit Movietone. The Lyrics, Story and Screenplay as well as the Direction was by Kidar Sharma. The cast of the film was Prithviraj Kapoor, Shamim, Monica Desai, Rajkumari Shukla, Brijmala, Amarnath etc etc.

The making of film Gauri-1943 had a big story behind it. This is described in great details by Kidar Sharma himself, in his autobiography ” The one and Lonely Kidar Sharma”. We will,however, discuss this in an abridged version here.

Kidar Sharma left New Theatres, Calcutta and shifted to Bombay, for a new chapter in his life and career. His close friend from Calcutta, Prithviraj Kapoor, who was in Bombay earlier, had arranged for his meeting with Ranjit’s chief Chandulal Shah. Even before Sharma reached Bombay, Shah had known about him and had become his fan.He saw film ” Chitralekha “-41, made and directed by Kidar Sharma, several times,in his own Theatre-Opera House in Bombay, mostly with his consort Goharbai Mamajiwala. He was very much impressed with Sharma ji’s work. Shah and Goharbai both, were actually eager to employ Kidar Sharma. Therefore, without any hitch, he was hired at a very lucrative salary of Rs. 3000/- pm and an advance of Rs. 5000/- to bring his family from Calcutta.

Kidar joined Ranjit on 3rd October 1941. His first film here was ‘ Armaan’-42. During this film, he became very friendly with actor Motilal, whom Sharma regarded as a very good artiste. During his next film, ‘Vish kanya’, Kidar took Raj Kapoor as his third assistant. His close friend Prithviraj was worried about the future of Raj, hence Sharma took him under his wings so that he will learn the making of films in all aspects. In effect Raj was only a Clapper Boy here, but he was a keen observer of everything. He was a little childish still. In one of the outdoor shootings of the film, Kidar Sharma got so much irritated with Raj Kapoor’s irresponsible behaviour that in anger, he slapped Raj kapoor on the sets, in front of all the staff. Later Sharma felt bad about the incident and decided that one day, when he would become a Producer, he would make Raj Kapoor his Hero in that film (Neelkamal-47…earlier started as ‘ Bechara Bhagwan ‘ as its Title). More about this film some other time.

In 1943, Sharma wrote a story “Gauri”- set in Calcutta and woven around the Durga Pooja in Bengal. It was a very touching human story and very emotional too. During the story session, both Chandulal Shah and Goharbai could not control their emotions and wept openly. Shah liked the story so much that he volunteered to sent a team to Calcutta for shooting during the Pooja Festival days.

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

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

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

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

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

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

One of the cast in the film was Rajkumari Shukla. At that period of time, there were 3 Rajkumaris working in Hindi films. One and the most famous was Rajkumari Dubey-Banareswali. The second was Rajkumari-Calcuttewali. Her real name was Pullobai. And the third was this Rajkumari Shukla. She was known as the ‘ mother of the Indian screen’.

Rajkumari Shukla was born in Benares in 1903. She joined films to earn her livelihood. She was married but got bad treatment from her in laws. After the death of her husband, her torture incresed. One Nana Baba, her neighbour was kind enough to help her and get her a job in Madon Theatres, where he was working. Rajkumari had no issues or parents. She treated Nana Baba as her father. She entered films with Uljhan-42. She started getting mother roles and she excelled in that. She worked only upto Nai Maa-46. But she acted in Bangla and Gujarati films too.

In all she did more than 60 films. Hindi films were 31 only. Some of the more known films that she did were Ek raat-42, Vakil sahib-43, School master-43, Sanjog-43, Paraya Dhan-43, Panghat-43, Namaste-43, Najma-43, Gauri-43, Aage kadam-43, Rattan-44, Mann ki jeet-44, Dr,Kumar-44, Sharbati aankhen-54, Hamara sansar-45, Gaon ki gori-45 and nai maa-46. She sang only 1 song in film Panghat-43.

Today’s song is sung by singer actress Shamim. She was variously credited as Shamim, Shameem, Miss Shamim, Shamim Akhtar. She was born in Lahore and died in Lahore, where she migrated after Partition. Her biodata was given on 17-1-2019 in a post on film ‘Return of Toofan Mail’-42.


Song-Majboor hai is dil se (Gauri)(1943) Singer- Shamim (Akhtar), Lyrics- Kidar Sharma, MD- Khemchand Prakash

Lyrics

Majboor hain is dil se ae
ye kaisi pilaayi hai
Majboor hai is dil se
is dil se
ye kaisi pilaayi hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai

duniya se niraala hai
jaanaan tera deewaana
jaanaan tera deewaana
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai

hans den jo zara
dekh ke
khil jaaye kali dil ki
khil jaaye kali dil ki
halka sa tabassum tera
gulzaar khilaaye hai
halka sa tabassum tera
gulzaar khilaaye hai
tum saamne baithho ke main
jee bhar ke tumhen dekhoon
jee bhar ke tumhen dekhoon
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
majboor hai is dil se
is dil se
ye kaisi pilaai hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

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

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

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

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

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

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.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee


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

Blog Day : 3697 Post No. : 14614

In the early 1930s, New Theatres (NT) of Calcutta (Kolkata) had become the ‘sanctuary’ for Hindi film artists from Bombay (Mumbai), Lahore and for upcoming artists for better prospects. Some of the prominent Hindi film artists who had joined NT were K L Saigal, Prithviraj Kapoor, Durga Khote, Mazhar Khan, M Kumar, Jagdish Sethi, Kidar Sharma, Aarzoo Lucknowi, K N Singh, Bikram Kapoor Hiralal, Sitara Devi among many others.

Between the end of the 1930s and the beginning of 1940s, almost all of the above mentioned artists left NT to join the Bombay film industry. At the outset, it would appear that they had shifted to Mumbai for better opportunity and prospects in their filmy careers as the number of Hindi films produced in Mumbai far exceeded that from Kolkata. However, there was one more reason for the artists leaving NT and it had something to do with the way the system of film making in NT worked.

Most of the films produced in NT were simultaneously made in Bengali and Hindi based mostly on the Bengali stories. So the film was shot scene by scene first in Bengali with actors for Hindi version being asked to copy the way the Bengali actors acted and delivered dialogues. There was not much of creative freedom for Hindi actors. The same was true for the screen-play and dialogue writers for Hindi version as they only had to provide verbatim translation from the Bengali version.

Kidar Sharma who worked with NT as screen-play and dialogue writer in addition to writing lyrics for the Hindi versions, left NT sometime in 1939 due to creative differences with director Debaki Bose. Also he had an ambition to become a director which was not possible in NT as they preferred directors well versed in Bengali literature for the reason that most of their films were based on Bengali stories. After directing films ‘Aulad’ (1939) and ‘Chitralekha’ (1941) for Film Corporation of India, Kolkata, Kidar Sharma joined Ranjit Movietone on 3/10/1941.

‘Armaan’ (1942) was first film of Kidar Sharma for Ranjit Movietone. Apart from directing the film, Kidar Sharma also wrote the story, screen-play, dialogues and lyrics. The star cast included Motilal and Shamim Bano in the lead roles supported by Nagendra Majumdar, Meera, Bhagwandas, A Shah Shikarpuri, Nazir Bedi, Reva Shankar, Rajendra Singh etc.

There are a couple of interesting trivia while selecting the lead actors for the film. Kidar Sharma wanted to cast Motilal as the lead actor who was not attached to any studios. But he used to work in Ranjit Movietone’s films with an understanding that he would choose the director. Motilal agreed to work with Kidar Sharma on three conditions. First, he would work with a fixed schedule from 9.00 A.M. to 6.00 PM. Second, he would not work on Sundays. And lastly, he would not attend rehearsals. Since Kidar Sharma had fixation about Motilal for his natural acting, he agreed with all his three conditions. However, during the shooting of the film, Motilal himself broke two of his three conditions, rehearsing the scenes and working beyond 6.00 p.m.

When Kidar Sharma selected Shamim Bano (niece of Khurshid Bano, the top actress of Ranjit Movietone) as the lead actress for the film, Chandulal Shah, the boss of Ranjit Movietone had warned him that Khursheed Bano would never work with him as she was jealous of her niece. However, Kidar Sharma not only went ahead with his choice of heroine for the film, he also directed Khursheed Bano in one of his Ranjit Movietone’s films ‘Mumtaz Mahal’ (1944). These are anecdotes which have been mentioned in Kidar Sharma’s autobiography ‘The One and Lonely Kidar Sharma’ (2002).

The gist of the story of ‘Armaan’ (1942) based on the review of the film appeared in October 1942 issue of ‘Filmindia’ is as under:

Prince Kanwal (Motilal) the son of a big zamindar of Ballabhgadh travels to a nearby village to commission the renovation of old paintings to village artist Vyas (Nagendra Mazumdar) who lives with his only daughter, Meera (Shamim). Meera who has seen the Prince in the village with his big car, falls in love with him but Prince is not aware of it. The prince has also given Vyas the task of decorating his palace hall with murals.

Prince has a scientific bend of mind and is doing research in his laboratory of a magical ray that registers the feelings of pains and pleasure. One day during his experimentation of rays, Prince becomes blind. In the meanwhile, Vyas, the artist and his daughter, Meera visit Ballabhgadh for commencing the work of decorating palace with murals. Meera accidentally meets Prince in his palace garden and enters into conversation with him without realising that the Prince has become blind. When she come to know about his blindness, she becomes romantically close to him which Prince reciprocate.

The romance progresses to the dislike of Prince’s uncle (Bhagwandas) who is also the Diwan of Ballabhgadh. He pressurises the King to separate the two by sending Prince out of Ballabhgadh on some pretext. Meera is heart-broken. Meera’s conditions make Vyas worrisome and one day in the fit of depression, he commits suicide. Meera is now orphan. She decides to devote her entire life to the service of God.

One day, Meera meets a Sadhu whose asceticism is shattered after seeing Meera. Very soon, Sadhu starts making some indecent advances. Hearing the story of the blindness of Prince, Sadhu promises Meera that his medicine would restore the eye sight of Prince. But Meera has to pay the cost (in terms of her submission to him). She agrees provided the eye-sight is restored. When the medicine is ready, Meera kills Sadhu and runs away with the medicine to the palace only to find that Prince has become the King after the death of his father.

Meera is not allowed to enter the palace. However, she is compelled to hand over the medicine to one of the dancing girl so that if successful in restoring the eye sight of Prince, Diwan can claim credit for the same. Prince’s eye sight is restored only to see Meera being brought to the palace as a killer of Sadhu. All evidences are against Meera. However, when Meera reveals to the King all the background, Prince recognises the voice and the lovers are united.

The film was released on 22nd August 1942 at Royal Opera House but had to be withdrawn within one day due to communal disturbances. It was once again released after a few weeks at Royal Opera House. The film was regarded as a box office success bringing Shamim Bano into the mainstream cinema.

‘Armaan’ (1942) had 9 songs, all written by Kidar Sharma and set to music by Gyan Dutt. I am presenting the first song ‘Laao To Zara Dil Ko Isey Dil Mein Chhupaaun’ sung by Shamim Bano who was paired with Motilal in the lead role.

From the wordings of the lyrics, it appears that this song was picturised in the palace garden where Shamim meets Motilal without realising that he had become blind. When Shamim comes to know about his blindness, she says ‘Let your heart be with my heart. Let my eyes become your eyes to see the whole world’.


Song – Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon (Armaan) (1942) Singer – Shamim Bano, Lyrics – Kidar Sharma, MD – Gyan Dutt

Lyrics

laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
baitho meri aankhon mein
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
 
kasturi hai in mein
jinhen khud soongh rahen hain
kasturi hai in mein
jinhen khud soongh rahen hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain

seedhe hain ke sadhe se lagey
door khade hain
seedhe hain ke sadhe se lagey
door khade hain

aur jugnu hari jhaadion mein heere jade hain
aur jugnu hari jhaadion mein heere jade hain

aakash ke kuchch taaren hain
wo  jhaank rahe hain
aakash ke kuchch taaren hain
wo  jhaank rahe hain

aur jal mein bechaare hain jo wo
jal mein bechaare hain jo wo
kaanp rahe hain

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

लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ

कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं

सीधे हैं के सधे से लगे
दूर खड़े हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं

और जुगनू हरी झाड़िओं में हीरे जड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं

आकाश से कुछ तारे हैं
वो झांक रहे हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं

और जल में बेचारे हैं जो वो
जल में बेचारे हैं जो वो
काँप रहे हैं


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.

“Neki Aur Badi” (1949) was an Oriental Pictures presentation. It was directed by Kidar Sharma. The movie had Geeta Bali, Pesi Patel, Nazira, Madhubala, Kidar Sharma, Uma Dutt etc in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16587

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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