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

Posts Tagged ‘Lata Mangeshkar


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

First order of the day – a thousand congratulations to Atul ji, on the completion of 9 years of this blog. And congratulations to all us members of the bandwagon, together making this such a pleasurable journey.

Today’s song is from film ‘Shin Shinaki Boobla Boo’ (1952). It is sung by Lata Mangeshkar and chorus. The music director is C Ramchandra.

The film’s name was very strange, unusual and for many people, it may be a mystery. The film is a fantasy love story just like Shirin-Farhad, Laila-Majnu etc. The only difference is it is imaginary and ends happily. The name entwines the girl’s name Shin Shinaki  with the lover boy’s name of Boobla Boo. The film was conceived, produced and directed by PL Santoshi, especially for the film’s heroine, Rehana (real name Mushtar Jehan). Santoshi’s obsession for Rehana was a matter of ridicule in the industry, because in spite of Santoshi spending lakhs on her, she never responded to him he became a pauper.

The film’s Hero was Ranjan. Now this persona was a unique phenomenon in the industry. When one learns about his achievements and multiple skills, one wonders if such a man could exist in this world ! Born on 2-3-1918 in a Tamil Brahmin’s family Ranjan (real name Ramnarayan Venkataramana Sarma), he was an expert violinist. He was a qualified dancer in Kathak, Kathakali and Bharat Natyam. He was an expert driver, swimmer and a swordsman of Olympic standards. He graduated in physics. After MSc he did his Doctorate too. Ranjan knew 12 Indian  and 4 foreign languages. He edited a dance and drama magazine and wrote several books on it. He earned a Fellowship of New York University.

Ranjan learnt and became an A grade flyer. He was the first to buy a Rolls Royce car and a Tiger Moth Aircraft, in the Indian film industry (later Motilal also owned an aircraft). He was a good painter and a Trained magician. He became Magician’s Association president for Bombay. P C Sorcar was All India president then. He was often invited by European and American Universities for lectures. Ranjan owned two big Hotels also. Ranjan was a good shooter. He played cricket and soccer frequently. Ranjan was a regular singer on Madras AIR.

In his first Tamil film, his heroine was Vasundhara Devi- mother of Vijayantimala. Ranjan entered Hindi films through his blockbuster film ‘Chandralekha’ (1948). He did 45 Hindi films in 50s and 60s. He was a script writer also. He wrote story and screen play of film ‘Munimji’ (1955). He was a choreographer also. In the 50s decade the quartet of Raj, Dev, Dilip and Ashok kumar was ruling Hindi film industry. Ranjan was not given any importance here. He was not even invited for the golden jubilee of talkie film celebrations in Bombay. He lived in his bungalow in Chembur Union Park.

Such an outstanding personality- he died in New York on 12-9-1983, where he had gone to deliver a lecture in New York university.

Another remarkable performer of international standards worked in this film. Her name is Sadhona Bose, granddaughter of Brahmakesari Keshab Chandra Sen. She was born in a prosperous Brahmo family on 20-4-1914 and received education as was common with Brahmo girls of those days. Her father was Saral Chandra Sen and she was the second of his three daughters. Her elder sister Binita was married into a royal family of Chittagong (now Bangladesh) and settled to household life, while the youngest Nilina pursued a career in Indian Classical music and earned herself a position of eminence and was known in record circles as Naina Devi.

Sadhona married Modhu Bose, film maker working in Bengal, British India, at a young age, and joined the Calcutta Art Players, a theatrical company owned by her husband. She took part as heroine in the plays produced by the unit. Later on Sadhona joined films and played Marjina in ‘Alibaba’ (1937), made in Bengali under the banner of Bharat Lakshmi Pictures. This film was a runaway hit and is remembered well by film enthusiasts. Modhu Bose had earlier directed a number of films but he tasted real success with ‘Alibaba’. For Sadhona this film meant a permanent place in the history of Bengali films. This was followed with ‘Abhinoy’ (Bengali-1938), another major success for the couple. They migrated to Bombay and again created history with the immensely popular ‘Kumkum’ (1940), made in two languages, Hindi and Bengali and thereafter went on to create the first triple version (English, Bengali, Hindi) film of India, ‘Raaj Nartaki’ (1941). Her other Hindi films were ‘Meenakshi’ (1942), ‘Vishkanya’ (1943), ‘Shankar Parvati’ (19430, ‘Paigham’ (1943), ‘For Ladies Only (1951), ‘Bhola Shankar’ (1951), ‘Shin Shinaki Boobla Boo’ (1952) and some uncredited films in her later years.

Sadhona did come back to Calcutta for a double version Bengali movie ‘Meenakshi’ (1942) opposite to the handsome Jyoti Prakash as the hero. Going back to Bombay soon after the completion of this film where she starred in major films like ‘Shankar Parvati’, ‘Vishkanya’, ‘Paigham’ and others and firmly established herself as a heroine in her own right without the backing of husband Modhu Bose. In fact they had fallen quite apart by the mid forties and most unfortunately Sadhona started indulging in much too abandoned a life heavily engaged in drinks, parties and men and slowly lost her carefully earned position. She came back to Calcutta after a reconciliation with her husband, but by this time she had lost her magic hold over the audiences and acted in films again directed by her husband like ‘Shesher Kabita’ and ‘Maa O Chhele’, without any remarkable success.

Sadhona was a dancer in the first place and all her film successes were in dancing roles, although she was also a very fine actress and sang her own songs in some of her films including her first film ‘Alibaba’. With film offers becoming infrequent, she formed a dance troupe of her own and made all India tours with plays like ‘Whither Now’, ‘Hunger’ and others and met with success again as she was bound to be as a persona trained in dancing. She passed into oblivion slowly. Even in retired life she could not part with the bottle and without any income worth the name she found herself in the most difficult financial conditions. Modhu Bose was ill and it was difficult to get treatment for him.

She lost her husband in 1969 and had no money to sustain herself and thereafter came the greatest tragic period of her life when she had to resort to begging in the streets, in and around Park Street of Calcutta. It was during this phase of her life that passers by and street walkers came across an old lady, looking distinguished, dressed in clothes that were expensive at one time but now showing the wear and tear asking for help. Some recognised her and gave her enough to go on for some days while some others gave her a rude rebuff. She took all that with a smile.

Just before her death she got appointed as dance trainer in Calcutta’s prestigious Star Theatre, courtesy her one time boy friend Timir Baran. She trained junior artistes for the play ‘Janapad Badhu’ and once again her name featured in the newspapers in the advertisements of the play. However, the end had come very near and she passed away on 3rd September,1973. A very tragic and unfortunate way indeed for an all India star who at a time had captured the heart and imagination of millions. (Adapted and edited from a note by Dr. Jyoti Prakash Guha ji ).

Yet another less known actress, who started as a heroine, was Veera – one of the cast of this film. Not much information is available on Veera. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town (now), in Gujarat. She started her career in films as a heroine opposite Nasir Khan in film ‘Mazdoor’ (1945). Then came ‘Shikari’ (1946) and later ‘Eight Days’ (1946), both having Ashok kumar as the hero. Both the films were from Filmistan. Her last film as heroine was ‘Tohfa’, opposite to Rehman, and ‘Leela’ opposite to Agha, both films from 1947. Then she stopped getting heroine roles and shifted to side roles. In all she did 22 films.

Her other films were ‘Veena’, ‘Ziddi’, ‘Chanda Ki Chandni’ – all in 1948, ‘Saanwaria’ (1949),  ‘Hamara Ghar’ and Hamari Beti’ (1950), ‘Hamari Shaan, ‘Ram Janma’ and ‘Sagar’ – all in 1951, ‘Aasmaan’, ‘Izzat’, ‘Moti Mahal’, ‘Sanskar’ and ‘Shin Shinaki Boobla Boo’ – all in 1952, ‘Dana Pani’ (1953), ‘Boot Polish’ and ‘Sheeshe Ki Deewaar’ both in 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi (Begum Mirza). After the marriage, both migrated to Pakistan in 1955. There is no news about her after that.

Film ‘Shin Shinaki Boobla Boo’ is an entirely the fruit of the fertile imagination of writer PL Santoshi. The names were also invented by him. However the story was not liked by most of the audience. The film ran into difficulties at the time of production itself. Rehana used to take undue advantage of Santoshi’s obsession for her. Once she left after shooting with all the real jewellery, which had been borrowed from the market for sake of authenticity, and went home. Santoshi had to pay 50000 rupees to the jeweller.

The film’s plot revolves around Shin Shinaki (Rehana) who dreams of killing the man, Taishi, who had killed her parents. When the villain dies, she transfers her vengeful energies on to the man’s son. The story involves a fortune­teller, Chiang, who only surfaces publicly one day per year. The other key figure is her lover, the bandit Boobla Boo (Ranjan), who eventually falls in with her plans.

This orientalist fantasy with one of the most peculiar film titles was based on the modern dance ballets Sadhona Bose had been associated with on stage. Shin Shinaki Boobla Boo was one of the first films experimenting with Jazz and Latin American rhythms by PL Santoshi’s regular composer, C Ramchandra.  Classic songs include “Ye Khilti Kalee Koi Lai, Ye Hanstee Kalee…Haan Dayi, Takaa Lai (Lata and C. Ramchandra) in a kind of question-answer mode using a fast-paced chorus, Shin’s number “Arey Baba, Ye Hansi Baba, Ye Khushi Baba” (Lata) and her duet with Boobla, “Kuchh Chuhale Hon, Kuchh Charche Hon” (Lata and Kishore Kumar).

This film was the unlikely first victim of the central government’s authority to overrule the censor board, an action enabled by the Indian Cinematograph Act passed that year. Given a ‘U’ (Universal) certificate by the censors, the Ministry of Information and Broadcasting banned the film because of its ‘low moral tone’ and because it `throws the glamour of romance and heroism over criminal characters, treats sacred subjects irreverently and is, in consequence, opposed to the interests of public decency and morality’. The ban was later revoked but ruined the film’s commercial chances.

Lyricist/Director PL Santoshi who directed this film was so infatuated with Rehana, that one cold night he spent the entire night outside her door. Rehana did not reciprocate his feelings. The disheartened and dishevelled Santoshi went home and penned one of his most memorable songs based on this experience – “Tum Kyaa Jaano Tumhaari Yaad Me Hum Kitna Roye” (You wouldn’t know how many tears I shed remembering you…), one of the finest thumris sung by Lata.

Out of 7 songs of the film today’s song is the 5th song on our blog. The songs and the music was based on western Jazz and Latin style. The title song of the film was based on Western style. It was a Lata – Chitalkar duet. For the first time Kishore Kumar sang for C Ramchandra in this film. Later of course,they worked together in films like ‘Lehren’ (1953), ‘Pehli Jhalak’ (1954), ‘Asha’ (1957), ‘Dal Mein Kaala’ (1964) and ‘Paayal Ki Jhankaar’ (1968). Today’s song is a fun song by Lata and chorus.


Song – Arey Baba. . Ye Hansi Baba. . Ye Khushi Baba. . (Shin Shinaki Boobla Boo) (1952) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – C Ramchandra
Unidentified Male Voice (possibly C Ramchandra himself)
Chorus

Lyrics

arey baba
arey baba
ye hansi baba
ye khushi baba
sab kuch hai mojud yahaan
phir kyon ye bebasi baba

arye baba
arey baba
ye hansi baba
ye khushi baba
sab kuch hai mojud yahaan
phir kyon ye bebasi baba
arey baba
arey baba
arey baba re baba re baba re baba re baba re baba re baa..bbaa

ishq ke bandon ne
kahaa kha ke ye kasam
aji ishq ki sharaab
kabhi hoti nahin kam
ishq ke bandon ne
kahaa kha ke ye kasam
aji ishq ki sharaab
kabhi hoti nahin kam
pee lo pee lo ek baar
mitey laakhon gham
pee lo pee lo ek baar
mitey laakhon gham
arrey bandhu isi liye to
haan baba
abi baba
aba baba
hans le baba
sab kuch hai mojud yahaan
phir kyon ye bebasi baba

arey baba
arey baba
ye hansi baba
ye khushi baba
sab kuch hai mojud yahaan
phir kyon ye bebasi baba
arey baba
arey baba
ye hansi baba
ye khushi baba
sab kuch hai mojud yahaan
phir kyon ye bebasi baba
arey baba
arey baba
arey baba re baba re baba re baba re baba re baba re baa..bbaa

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

अरे बाबा
अरे बाबा
ये हंसी बाबा
ये खुशी बाबा
सब कुछ है मोजूद यहाँ
फिर क्यों ये बेबसी बाबा

अरे बाबा
अरे बाबा
ये हंसी बाबा
ये खुशी बाबा
सब कुछ है मोजूद यहाँ
फिर क्यों ये बेबसी बाबा
अरे बाबा
अरे बाबा
अरे बाबा रे बाबा रे बाबा रे बाबा रे बाबा रे बाबा रे बा॰॰ब्बा

इश्क़ के बंदों ने
कहा खा के ये कसम
अजी इश्क़ की शराब
कभी होती नहीं कम
इश्क़ के बंदों ने
कहा खा के ये कसम
अजी इश्क़ की शराब
कभी होती नहीं कम
पी लो पी लो एक बार
मिटे लाखों ग़म
पी लो पी लो एक बार
मिटे लाखों ग़म
अरे बंधु इसीलिए तो
हाँ बाबा
अबी बाबा
अबा बाबा
हंस ले बाबा
सब कुछ है मोजूद यहाँ
फिर क्यों ये बेबसी बाबा

अरे बाबा
अरे बाबा
ये हंसी बाबा
ये खुशी बाबा
सब कुछ है मोजूद यहाँ
फिर क्यों ये बेबसी बाबा
अरे बाबा
अरे बाबा
ये हंसी बाबा
ये खुशी बाबा
सब कुछ है मोजूद यहाँ
फिर क्यों ये बेबसी बाबा
अरे बाबा
अरे बाबा
अरे बाबा रे बाबा रे बाबा रे बाबा रे बाबा रे बाबा रे बा॰॰ब्बा

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

Today is the 5th remembrance day of Rajesh Khanna – the first and only Superstar of Hindi cinema. Today I present on our blog, another lovely nice – hummable song from the movie ‘Bundalbaaz’, sung by Kishore Kumar and Lata Mangeshkar.
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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.

Today, July 7, 2017 is the 103rd birth anniversary of Anil Biswas (07/07/1914 – 31/05/2003) who defined the Hindi film music at its incipient stage in Bombay film industry. It is a double celebration for him as the song to be discussed today will be his 300th song on the Blog.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Last of the Music Moguls. Not that there have not been more prolific artists and music directors after him. One can readily name a few – Anu Malik, AR Rahman, Ilayaraja. But me, personally speaking, will not put the follow on ‘champs’ in the same bracket. Something ended when he left us, twenty three years ago. Times were-a-changing even as the 1960s played itself out. And he himself was singularly instrumental in that transformation.
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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.

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Wishing our Dear Atul ji, a very Happy Birthday. May this day be celebrated on this blog many, many, many more times.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

अब क्या मिसाल दूँ में इस प्यारी आवाज़ की
इन्सान बन गई है तरंग वीणा के तार की

वीणा, माँ सरस्वती के हाथ की वीणा – जो सब ज्ञान का स्रोत है, जो समस्त सृष्टि के संगीत का उद्गम स्थान है, जो वाणी और ध्वनि का आरंभ है।

Veena, that is in the hand of Goddess Saraswati; veena, that is the source of all knowledge and all that is music in this creation.

Yes, the voice of Lata ji. A voice that is adorned in many a thousand ways, a voice that lives in the minds and memories through many a thousand songs, in Hindi films, in films of other regions, and songs that don’t belong to films. The legacy is a treasure. Quite so much has been written about this voice, my adding more would simply be repeating what has been said before. And much of that discussion is an overbearing analysis of the phases and careers, that are after all moot points, when arrayed against the qualities of the voice itself. That discussion is like ‘गूंगे की शक्कर’ – the description of the sweetness of sugar as expressed by a person who cannot speak. He would place the sugar on your palm, and tell you silently, to taste it, to eat it. After that tasting, no words are necessary, to discuss what sugar is. 🙂
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
With this post, the blog now carries 700 songs by Laxmikant Pyaarelal.

The story of Laxmikant Pyaarelal reads like a dream rags-to-riches story. But it is also a story of hard work and persistent effort. Laxmikant, the senior partner in the team, was three years elder to Pyaarelal. Interestingly, both were born on 3rd of the month, Laxmikant in November and Pyaarelal in September. Pyaarelal is the son of the renowned musician Ram Prasad Sharma. Although active in the film industry since the latter part of 1930s, Ram Prasad did some films independently from 1947 to 1950. Not adept with commercial acumen, his financial status was poor most of his life. Pyaarelal, his eldest son, had to start working as a musician in recording studios at the age of 12, to support his family. The story of Laxmikant’s childhood is even more depressing. He was raised in the slums of Vile Parle in Bombay. His father passed away when he was just a toddler. A friend of his father supported him and guided him towards learning music. With time, his talent shone through, and he too started working as a musician in the film industry.

Remembering Laxmikant Shantaram Kudalkar on the 19th anniversary of his passing away today (25th May).
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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.

रोक सकता हमें ज़िन्दान-ए-बला क्या मजरूह
हम तो आवाज़ हैं दीवार से छन जाते हैं

Rok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.

[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].

This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was  associated with the Progressive Writers Association (PWA), a left-oriented ideological group.  Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA  to a lyricist in the film industry.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.
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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 more than nine years. This blog has over 13400 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13466

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Movies with all their songs covered =1014
Total Number of movies covered =3696

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Blog Start date: 19 july 2008

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