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

Posts Tagged ‘Madan Bharti


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 :

5176 Post No. : 17149

Today’s song is from the film Bhagwan Parshuram-1970. It was a Mythological film made by Mewad films, Bombay. Directed by Babubhai Mistry – The king of trick scenes and a highly respected cinematographer since the 30’s decade. The 6 songs of the film were written by Madan Bharati and the music was by Jaikumar Parte, for whom this was a Debut film as a Music Director. The cast included Abhi Bhattacharya, Jayashree Gadkar, Niranjan Sharma, Sulochana, Saproo, Jeevan, Trilok Kapoor and many others.

I immensely like Mythological and religious films for many reasons. First of all, I have been seeing such films since my childhood. I was the officially nominated ‘Chaperone’ in my family to accompany the group of elders going to see these Dharmik films. I liked the film’s costumes, big palaces, trick scenes and the final ‘triumph of the good over the evil’ stories.

When the Talkie films’ era came to India, the early filmmakers tended to make films on folk tales and Mythological stories in the first decade, i.e. 1931 to 1940. In the second decade of 1940 to 1950 many religious films were made-some of them like Ram Rajya-1943 being All India blockbuster- and the third decade from 1951 to 1960 achieved the peak for Mythological films made, worth calling it ‘ The Golden period of Religious films’. As many as 124 such films were made in this decade. From 1961 to 1970 1nd 1971 to 1980 were ok, but 1980 onwards there was a decline in such films and Mythological films became scarce except some dubbed films from the South, where such films are made even today regularly. The Television became a competition to this as many Dharmik serials were shown on TV.

The reason is not that such films do not bring profit, but where was the audience to see them ? The interest, respect and knowledge of our heritage, the glorious past and our culture has diminished to a depth. Due to lack of reading habits, children have no knowledge of our religion or interest in Mythological stories. Today if you ask the following simple questions to Boys and Girls of the age group of 15 to 25 years, you will be shocked with their guess work , ignorance or blank faces….
1.Can you name the 4 Yugas ?
2. Which are the 4 Vedas ?
3. Can you name the 10 Avatars of Vishnu ?
4. Who were the wives of Laxman, Bharat and Shatrughna ?
5. For how many years the Pandava went to Vanvas and why ?

The reason for this apathy is not just modern life or modern gadgets. The causes are deep, like lack of reading habit, Text Books not having religious stories, no ” Sanskars” from parents, treating such knowledge as ‘ backward ‘ etc etc.

Anyway, all this apart, the film Bhagwan Parshuram-1970 was based on Vishnu’s avatar of Parshuram. It was a very good Dharmik picture. As we know, there were 10 Avatars Vishnu had taken.Parshuram was also one of them.(Matsya, Kurma, Varah, Narsinh, Waman,Parshuram,Shri Ram, Shri Krishna, Buddha and Kalki- which is yet to take place.)

Parshuram is known in Puranas, as one who made the Prithvi-Nikhshatriya. That is, he killed all the kshatriyas on this Prithvi, 21 times . The reason was, the Kshatriyas had gone out of control. With their weapons and power, they looted and ruled very cruelly. To control their “atyachar”, Vishnu came down as Parshuram.

Parshuram was born to Jamdagni Rishi and his wife Renuka. They had Surabhi-daughter of Kamdhenu-a cow which gave what one wished. Rakhshas Sahasrabahu,who was granted a boon of strength of thousand arms(by God Dattatreya),had become very cruel. He wanted Surabhi, but when he could not get her, he abducted Renuka. Renuka escaped and returned, but Jamdagni gave her a curse of Leprosy. Narada advises her to go on pilgrimage. Meanwhile, Parshuram helps a damsel in distress and she happens to be Princess Gayatri, daughter of Sahastrabahu. When Sahasrabahu comes to know this, he kills own daughter. Parshuram kills him and makes Gayatri alive again.

The entire film is full of major Gods like Bramha ,Vishnu, Mahesh and Indra,in addition to many lesser gods. The credits have shown a loooong list of 18 puranas etc to claim authenticity of this story. It was very interesting to see the trick scenes and revise our knowledge about Puran kathas.

In this film Jeevan had done his pet role of Narad, perhaps for the last time. He did this role many times in his career. The number of his Narad roles varies from 49 to 84 films in different sources.

This was the first film of Music Director Jay Kumar Parte in Hindi. He is yet another case of a talented person without Luck. I my last post I had written about Shridhar Parsekar, today we will have details about Jay Kumar, MD. His name was Jai Kumar Parte. He was also known as Bal Parte. He was born on 14-10-1932 at Kolhapur. His father was a doctor. His mother and father played Sitar which made the family atmosphere musical. He learnt Harmonium from Gopalrao Gokakkar. Once when Prithviraj Kapur came to Kolhapur, he got introduced to his father and they became thick friends.

Prithviraj took his father’s family to Bombay and he became the official medical officer of Prithvi theatres. Jai worked in the dance troupe of dancer Hema Kasargod and travelled all over India. When Shankar- Jaikishen became independent composers, their vacancy in Prithvi Theatres was filled up by Jai Kumar as a Harmonium player. Dattaram was his friend and Jai assisted him in almost all of his films. For many years he worked as assistant to kalyanji-Anand ji. Though Laxmikant-pyarelal were their arrangers, K-A kept Jai kumar as their assistant. He prepared the background music of many films of K-A.

Lata Mangeshkar also stayed in the same building (Shankarshet mansion) where jai Kumar lived in Bombay. Due to her encouragement he learned western instruments from V.Balsaraand became an expert in Chords. Kalyanji called him ” The king of Chords “. jai Kumar worked as assistant to Usha Khanna and as an arranger with Sardar Malik, Avinash Vyas, Iqbal Qureshi, Hridaynath Mangeshkar, Yeshawant Deo, Mahesh-Naresh and Shridhar Phadke. Playing Chords with Chromatic scales and in Whampine systems, he was an acclaimed expert.

He was keen on becoming a Music director. Finally, he gave music to Bhagwan Parshuram-1970 for the first time. Then came Putlibai-1972, Jaan Hajir hai-1975 and finally gawah-1979. He gave music to just 1 Marathi film-Mangalsutra-1968. Jaikumar Parte was more or less like an introvert in his temperament. He never asked anybody for work. He used to feel insulted frequently due to perhaps his complex as he was not a successful music Director.

He started sitting at home without canvassing for work and work never came to him. He went the usual way and finally breathed his last on 9-4-1981 at the age of just 48. His son Tushar works as a lead Guitarist and an arranger in Hindi films. (adapted from Marathi Sangeetkar Kosh and Rahe na Rahe hum, with thanks.)

In this film actor Niranjan Sharma played the role of Sahasrabahu. he was an actor, director, story writer, a dialogue writer and even a lyricist. He started his career with film pandav kaurav-1933 as a story writer and film Sach hai-1939 as a dialogue writer. His first film as an actor was Sawaal-1943-a film which he directed also. in all he acted in 129 films, most of which were mythologicals and B grade films. Before film Bhagwan Parshuram was released he died due to heart attack. He is credited in this film as (Late) Niranjan Sharma. 2 more films were released after his death, in which he played roles.

His daughter Gayatri’s role was played by Jayashree Gadkar- a well known and famous Marathi actress. Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s. Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.

She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heroines in the history of the Marathi film industry.

Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema. Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.

Her film Saangtye Aika (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan). Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.

Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.

Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.

In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.

Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes)

Today’s song is sung by Mukesh. This is the second song from this film to feature here. This second song from the movie appears in the blog 11 years (3948 days)after the first song appeared in the blog on 28 november 2011.


Song- Koi roye koi gaaye kaisa tera sansaar maalik (Bhagwan Parshuram)(1970) Singer-Mukesh, Lyrics-Madan Bharti, MD-Jai Kumar Parte

Lyrics

Koi roye koi gaaye ae ae ae
kaisa tera sansaar maalik
kaisa tera sansaar
o o o o o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

ujad jaaye jab rain basera
panchchi sir dhun roye
ujad jaaye jab rain basera
panchchi sir dhun roye
koi na jaane dard kisi ka
sab matlab mein khoyen
ambar neer bahaaye ae ae ae ae
dharti kare pukaar
maalik
kaisa tera sansaar

din ke sang toone raat banaai
phoolon ke sang kaante
din ke sang toone raat banaai
phoolon ke sang kaante
jaane kahaan kis jagah baithh kar
tu ye sukh dukh baante
patjhad jahaan muskaaye ae ae ae ae
roye wahin bahaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe Kaashi mein tujhko
koi Rameshwar dwaar
sab teerath se paawan n n n n
teerath ganga dhaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar


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.

Blog Day :

3772 Post No. : 14748 Movie Count :

4032

Missing Films of 1960s – 84
– – – – – – – – – – – – – – –

Another very obscure and unfamiliar film; and another wonderful set of songs that probably have not seen the light of the day. The experience keeps reiterating itself.

The film is ‘Takht Aur Talwar’ from 1970. And the song – an exuberant challenge, rendered by Suman Kalyanpur.  The production company is titled as Kanchanganga Films, Bombay. And practically no other information available, as far as the producer, director and the star cast is concerned.

Five songs are listed for this film, with indication that there may be more. The music director is Avinash Vyas. Of the five songs listed, three are solo songs sung by Suman Kalyanpur and one is a solo by Asha Bhosle. The fifth song is a qawwaali in the voice of Krishna Kalle and Mahendra Kapoor. The qawwaali does not have a gramophone record no. listed, and so possibly it is still in the untraceable domain. The rest of the four songs are very much available. I present today, one of the solos by Suman Kalyanpur.

There are two songwriters listed for this film – Madan Bharti and Shamim Jaipuri, both having penned two songs each. This song is from the pen of Madan Bharti.

The four solo songs are very much available on the YT, however sometimes difficult to search and locate. I think there is an engineered deficiency in the search routines on YouTube. It has been my experience on multiple occasions, that even when you put in the exact matching words in the search box, the correct song is not returned. I have a feeling that YT’s search routines are designed to bring more of your patterns of earlier searches, and possibly paid upload items that crowd the top of the list. The song is very much existing in the system, but still that name simply does not come up in search results. Recently, another friend on the YT showed me a better way to reach such obscure songs. She suggested going to the hindigeetmala.net web site, and to call for the list of songs for the film. All songs of the film get listed. And if the song’s audio or video clip is available on the YT, then a special icon appears next to the song. We can then reach the YT address of that song, by clicking on this special icon. In recent past, I have resorted to this method. If the song is posted on YT, then going via the hindigeetmala.net is a much better method to locate the song.

And so, ‘Takht Aur Talwar’ from 1970, makes its debut on our blog today. Notching up the 84th episode, seems like we are well settled to score a century on this series. Coming up shortly – 🙂 . Meanwhile enjoy this solo by Suman Kalyanpur.

 

Audio

Song – Mere Saamne Na Aana  (Takht Aur Talwar) (1970) Singer – Suman Kalyanpur, Lyrics – Madan Bharti, MD – Avinash Vyas

Lyrics

mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor

hastiyaan laakhon ki mitti me mila di hum ne
hastiyaan laakhon ki mitti me mila di hum ne
hosh me aaya nahin jis ko pila di hum ne
hosh me aaya nahin jis ko pila di hum ne
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
main to qayaamat jaisi hoor hoor hoor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

waar nazron ka agar dil ke paar ho jaaye
waar nazron ka agar dil ke paar ho jaaye
shikaar karne waala khud shikaar ho jaaye
shikaar karne waala khud shikaar ho jaaye
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
kehti hai duniya mujhe noor noor noor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

meri mehfil mein jo aaye na sambhalne paaye
meri mehfil mein jo aaye na sambhalne paaye
meri zulfon me ulajh ke na nikalne paaye
meri zulfon me ulajh ke na nikalne paaye
aaaaaa aaaaaaaa aaaaaa
aaaaaa aaaa aaaa aaa
kis ki majaal dekhe ghoor ghoor ghoor
mere saamne na aana
mere saamne na aana
rehna door door
varna takra ke ho jaaoge choor choor
mere saamne na aana

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

मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर

हस्तियाँ लाखों की मिट्टी में मिला दीं हमने
हस्तियाँ लाखों की मिट्टी में मिला दीं हमने
होश में आया नहीं जिसको पीला दी हमने
होश में आया नहीं जिसको पीला दी हमने
आsssss आssssss आsssss
आsssss आsss आsss आss
मैं तो क़यामत जैसी हूर हूर हूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना

वार नज़रों का अगर दिल के पार हो जाए
वार नज़रों का अगर दिल के पार हो जाए
शिकार करने वाला खुद शिकार हो जाये
शिकार करने वाला खुद शिकार हो जाये
आsssss आssssss आsssss
आsssss आsss आsss आss
कहती है दुनिया मुझे नूर नूर नूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना

मेरी महफिल में जो आए ना संभलने पाये
मेरी महफिल में जो आए ना संभलने पाये
मेरी ज़ुल्फों में उलझ के ना निकलने पाये
मेरी ज़ुल्फों में उलझ के ना निकलने पाये
आsssss आssssss आsssss
आsssss आsss आsss आss
किसी की मजाल देखे घूर घूर घूर
मेरे सामने ना आना
मेरे सामने ना आना
रहना दूर दूर
वरना टकरा के हो जाओगे चूर चूर चूर
मेरे सामने ना आना


“Pujaarin” (1969) was a Mayur production movie. It was directed by Dhirubai Desai. The movie had Vijay Dutt, Rehana Sultan, Pratap, Shanaaz, Niranjan Sharma, Sadhana Khote, Monto,Bhagwan Sinha, Jay Kajaria etc in it.
Read more on this topic…


“Kailashpati” (1962) was a Prabha Pictures production. It was directed by Dhirubhai Desai. The movie had Mahesh Desai, Sumitra Devi, Jeevan, Niranjan Sharma, Padma Rani etc in it.
Read more on this topic…


“Saawan Ko Aane Do” (1979) was a Rajshree Productions movie. It was produced by Tarachand Barjatya and directed by Kanak Mishra. The movie had Arun Govil, Zarina Wahab, Amrish Puri, Rita Bhaduri etc in it.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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