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

Posts Tagged ‘Madholal Damodar Master


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 :

3921 Post No. : 14984 Movie Count :

4098

Wadia Movietone has been known for producing films in the genres mainly of stunts, actions, fantasies and costumes. The banner was set up in 1933 by Wadia Brothers – J B H Wadia (1901-1986) and Homi Wadia (1911-2004). ‘Laal-E-Yaman’ (1933) was its first sound film produced under the banner and directed by J B H Wadia which became a box office success. With this film, the name of Fearless Nadia who had a small role in this film and Wadia Movietone became inseparable in the 1930s and 40s.

From the list of films produced under the banner of Wadia Movietone, mainly during 1930s and 40s, one can categorise the films as ‘Rail Films’, ‘Jungle Films’, ‘Arabian Nights Films’ etc.

Wadia Brothers were pioneer in producing films based on the railway themes. Their first ‘rail’ film was ‘Toofaan Mail’ (1932- Silent) which became box office success. In the talkies’ rail films, ‘Miss Frontier Mail’ (1936), ‘Flying Ranee’ (1939), ‘Punjab Mail’ (1939), ‘Return of Toofaan Mail’ (1942) etc were produced by Wadia Movietone. They were also pioneer in ‘Jungle’ films such as ‘Toofaani Tarzan’ (1937), ‘Jungle King’ (1939), ‘Jungle Princess’ (1942) etc.

As far as I know, Wadia Movietone produced the first Hindi film ‘Naujawaan’ (1937) without having any songs. It was an action-oriented film. But the film had to be withdrawn from a Delhi theatre when riots broke out. The audience screamed that Wadias had cheated them as they felt that a film was incomplete without songs. The film flopped at the box office.

Wadia brothers had been raised in westernized culture. Hollywood films were their role models. But sometime in the mid-1930s, J B H Wadia, the elder brother and the main brain behind Wadia Movietone was attracted towards ongoing nationalist movements. He got associated with Indian National Congress. With this association, he felt that it was his duty to produce the socially relevant films with some social messages for the masses. A few of his subsequent stunt films conveyed social messages like women’s emancipation, evils of caste system, need for education etc. For instance, in ‘Hurricane Hansa’ (1937) it has been shown as to how a ‘harijan’ girl Hansa transforms into ‘hurricane’ Hansa to take revenge on those who had destroyed her family.

The year 1938 played a definitive role in the life of J B H Wadia as he came into contact with Manabendra Nath Roy (M N Roy) one of the founders of the Communist Party of India. Later, he left his Marxist ideology and adopted the philosophy of Radical Humanism. Both were briefly associated with Indian National Congress but left Congress in 1938 to form a new party called Radical Democratic Party of India. His friendship with M N Roy remained intact until the latter’s death in 1954. Many years after his death, J B H Wadia wrote a memoirs of his years with M N Roy and got it publish as a book – M N Roy, The Man: An Incomplete Royana (1983).

This association had a far reaching impact on J B H Wadia in terms of film productions in Wadia Movietone. He started spending more time in his political activities than in Wadia Movietone. Most of the films were either directed by his younger brother, Homi Wadia or other directors. He just wanted to ensure that the films’ screen-plays and dialogues cover some social themes more than the stunts. He had also become the conscious of the Hindustani classical music.

As contributions towards socially and culturally responsible film-maker, he started making short films like Netaji Subhash Chandra Bose’s speech at a Congress Committee meetings, on classical musicians like Mallika Pukhraj, Kumar Gandharva, Feroze Dastoor, (some of them are available on YT). These short films were given to exhibitors free of charges to be shown before the feature films of Wadia Movietone were screened.

Around the same time, J B H Wadia seems to have felt that having established successfully Wadia Movietone, he was looking for some kind of establishing his intellectual credibility as a producer-director of repute ( I guess, JBH Wadia may have been influenced by the name and fame which his compatriot directors like V Shantaram and P C Barua had earned in the Hindi film industry). With this background, he took upon himself an ambitious project ‘Raj Nartaki’ (1941) which was to be produced in three languages – Hindi, English (Court Dancer) and Bengali.

‘Raj Nartaki’ (1941) was a prestigious project for J B H Wadia. Wadia Movietone spend a lot of money on the elaborate and expensive sets. Top stars like Prithiviraj Kapoor and Sadhana Bose were part of the film’s cast. While the film established J B H Wadia as an intellectual film maker, the film in all the three languages together could barely recover the cost of productions. In a way, it can be said that the film was a final straw in a already stained relationship between the partners of Wadia Movietone which was running into the losses.

In any partnership firm, when chips are down, the disagreements between partners come to the fore. Homi Wadia, 10 year younger to his elder brother, J B H Wadia was so far been a junior partner. With losses mounting due to some films not faring well at the box office, the differences between the Wadia Brothers came into forefront. While J B H Wadia wanted to make films in the social genre, Homi Wadia and another partner, Billimoria wanted to make box office hit films irrespective of genres. The irreconcilable differences between the brothers led to the split with Homi Wadia going separate to set up his own Basant Pictures and Basant Studio. As a part of dissolution of partnership and settlements, Wadia Movietone had to sell its studio located at Parel to V Shantaram which was renamed as Rajkamal Studio.

After the split, Homi Wadia slicked to producing stunts films at a shoe-sting budget such as ‘Hunterwali Ki Beti’ (1943), ‘Sher-e-Baghdad’ (1946), Flying Prince’ (1946), ‘Stunt Queen’ (1947, and ’11 o Clock’ (1948) with Nadia and John Cawas as main actors. Despite the split, Homi Wadia and J B H Wadia jointly produced about 16 films during 1950-70, the latter now being a junior partner.

‘Kahaan Hai Manzil Teri’ (1939) was one of those ‘out-of-the-box’ films from Wadia Movietone which was directed by S M Yousuf. The star cast included Ila Devi, Harishchandra Rao, Radharani, Shah Nawaz, Urmila, Master Chhotu, Nazira, Agha, Dalpat, Sayani Aatish etc.

A summarized version of the story of the film given in the review of the film published in December 1939 issue of ‘Filmindia’ magazine is set out below:

The story goes back to old times when sacrificing of a virgin at the altar of god to please him was practiced. In a Santhal village, the annual sacrifice of a virgin is under preparation with the high priest of the temple supervising the event. In reality, the high priest, Balraj (Shah Nawaz) has arranged to keep unscrupulously these virgins in a hidden room as unwilling victims of his lust.

Paras (Harishchandra Rao) protests against this rituals and this time it is his sister’s turn for the sacrifice. His resistance to the ritual earns the wrath of the high priest. Paras escapes from the village with the help of Godavari (Radharani) who is the daughter of Balraj. She is also in unrequited love with Paras.

Paras goes to the capital of an Aryan king, Satluj who is determined to root out the primitive practice of sacrificing of virgins. In the kingdom, Paras becomes affectionate of Princess Ragini (Ila Devi). Paras reciprocates her affection. But he has little time for love as his aim is to avenge the death of his father and the ‘sacrifice’ of his sister.

In the Aryan capital, Naru, the prime minister of the kingdom is planning to overthrow the king with the help of Balraj for realization of his own ambitions. The king is killed. Princess Ragini is kidnapped and handed over to Balraj for ‘sacrifice’. Paras goes to save Princess Ragini from this trap. Once again, it is Godavari who helps him at the cost of sacrificing her life at the hands of her own father.

At last, Paras becomes successful in exposing Balraj as scoundrel under the grabs of religious activities and the superstitions. Santhals and Aryans are united in a bond of brotherhood. Paras wins the hands of Princes Ragini.

One can guess from the story of the film as to how J B H Wadia has been influenced by the M N Roy’s ideology of Radical Humanism which worked for the eradication of social evils, women’s emancipation, education etc.

The film had four songs – all written by Wahid Qureshi who also wrote the story and dialogue for the film. Songs were set to music by Madhavlal Damodar Master.

Here is the first song – a title song – ‘kahaan hai manzil teri musaafir’ from the film to appear on the Blog. The song is sung by Ila Devi and Chorus.

Acknowledgement: In writing this article, especially for the period during which J B H Wadia’s political association, his passion for humanist ideology, his yearning for name and fame as an intellectual producer-director, I have been greatly benefited by a scholarly article by Rosie Thomas on Nadia and Wadia Brothers which appeared in a book ‘Bollyworld: Popular Indian Cinema Through A Transitional Lens (2005) – Edited by Raminder Kaur and Ajay J Sinha.

Audio Clip:

Song-Kahaan hai manzil teri (Kahaan hai Manzil teri)(1939) Singers-Ila Devi, Unknown male voice, Lyrics-Wahid Qureshi, MD-Madholal Damodar Master
Chorus
Ila devi + chorus

Lyrics

kahaan hai manzil teri
kahaan hai manzil teri
kahaan hai manzil teri musaafir
kahaan hai manzil teri ee

bhor bhayi sab panchhi jaage
bhor bhayi sab panchhi jaage
apne apne kaam ko bhaage
apne apne kaam ko bhaage
tu bhi chala chal aage aage
raste ko mat bhool

kahaan hai manzil teri

chalne hi kaa naam hai manzil
chalne hi kaa naam hai manzil
chalne se mat ho tu gaafil
sone se kya hogaa haasil
sone se kya hogaa haasil
apne mann se poochh musaafir
apne mann se poo….chh

chalna teri reet puraani
chalna teri reet puraani
sunn dariya se apni kahaani
jeewan tera behta paani

chalne ko mat bhool musaafir
chalne o mat bhoo……ol

kahaan hai manzil teeeeeri eeeee

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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.

Blog Day : 3531 Post No. : 14182

Today’s song is from film Taj Mahal (1941).

In the last few months, I have written articles on films of the early cinema i.e. from the decade of the 1930s. In these articles, I have introduced few unknown or less known heros and heroines of those times, to our readers. Some of these are Vijay Kumar, Ram Singh, Shankar Rao Vazare, Gul Hamid, Prakash and heroines like Menaka, Radha Rani, Meera Mishra, Meera Devi etc. Today also we will learn about yet another less known hero of the silent and early talkie films – Master Khalil Ahmed.

From the lot of the “brought forward” actors and actresses from the silent to the talkie films, two heros were the true super stars. Master Khalil and Master Vithal. Since they had started their careers from the silent era of the 1920’s, they did not go beyond the 1940’s, when their competition increased and the newer breed of heros took over with ease!

Though world’s first first feature film, originally presented as a talkie ,’The Jazz Singer’, released in October 1927, it took about 4 years more for talkie films to come to India. When it did come in March 1931, there was tremendous enthusiasm amongst the film makers. Initially, however, there was scepticism in the minds of well established silent film makers. Famous film makers like Dadasaheb Phalke and even V Shantaram are on record having expressed their views that talkie films will not survive. However, the same people later on, not only supported the talkie, but V Shantaram became one of the best proponents of Hindi talkie films. Even Dada Saheb Phalke ended his career by making his only Talkie, ‘Gangavataran’ in 1937. (Leela Mishra had acted in it.)

The coming of sound to films changed the film making for ever. Till then what was a fragmented production activity, slowly became an industry. Earlier, silent films were made at a cost of 8 to 10 thousand rupees. Now the talkie needed 15 to 25 thousand per film. Automatically, the hobbyists and poorer film makers disappeared. So did the acting crew who could not speak Hindi fluently or sing a song.

One finds that suddenly, there was a deluge of talented, creative and enterprising people from various professions and different backgrounds to take up the challenges of this new industry. The changing society in India is partly responsible for this deluge. Due to education and attraction to cities, many people were rapidly getting uprooted from their traditional occupations and they were looked forward to these opportunities. For example a motor mechanic Sarvottam Badami became a sound recordist (and later, a director too) and a traditional carpenter like S Fattelal became the great set designer in Prabhat films. An ordinary poster painter, Baburao Painter became a director. Many such examples are available. The deluge was made up of producers, directors, sound recordists, writers, lyricists, singers, technical staff and of course the actors and actresses.

Among the first generation of heroes, namely Khalil, Sandow, Sohrab Modi, Master Nissar, Chandramohan, Prithviraj Kapoor, Motilal, Ashok Kumar, Master Vithal, Jal Merchant, Bilimoria brothers and Saigal emerged as the main players. Among actresses Mehtab, Bibbo, Kajjan, Gauhar, Sitara, Sita Devi, Zubeida, Cooper sisters, Sabita Devi, Leela Chitnis, Durga Khote, Devika Rani, Naseem, Jamuna, Kanan Bala etc. became popular.

Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.

He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline. Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘ Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.

He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and travelled often to Bombay to do films there.

Khalil did different roles, including Hindu Gods. He never changed his name. in those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘ The Mill’ (1934) (this latter film was banned and was released later in 1936 as ‘ Ghareeb Parwar’). The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 27 Talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. he left behind one wife with 5 children.

Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).

In Bombay, he did 14 films in Bombay – ‘Draupadi’ (1931), Daulat Ka Nash’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), Typist Girl (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidamadgar’ (1937), ‘Kiski Pyaari’ (1937), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayada’ (1940) and ‘Taj Mahal’ (1941).

Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan- 6 films, Mushtari – 3 films (She died too young, in her teens only), Miss Rose – 2 films, Violet Cooper – 2 films, Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermelin and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.

A Muslim by birth, he performed are variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech- “I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.” Indian Film Industry is perhaps the only industry which is truly a secular one, since its inception. Master Khalil Ahmed was an example of that.

The film has 17 songs listed in the Geet Kosh. 3 songs are already posted. This 4th song is sung by Faqir Mohammed. With this song, he makes a debut on this blog. The film was directed by Nanubhai Vakil. His wife Sarojini was one of the heroines in this film, along with her sister Indurani. This Mohan Pictures presentation had Madholal D Master as its music Director (he was murdered on 18th June 1990, in his flat in Shivaji park, Dadar, Bombay. His murderer was never caught). The film was released in Minerva Talkies, Bombay, after Master Khalil’s death. His name in the credits said “Late Khalil Ahmed”. This was the debut film of Baby Suraiya as a child star. What a coincidence! Master Khalil was the hero in the films in which two legends, Noorjehan and Suraiya made their debut as child stars!

Though the song is sung in old style, the song tune is very sweet. Enjoy.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Hero-I’ by Ashok Raj, ‘Cinerang’ by Isak Mujawar, Wikipedia, CITWF.com, MuVyz.com, Dr. JP Guha, Calcutta and my own notes.]


Song-Muraliya prem ka geet sunaaye (Taj Mahal)(1941) Singer-Faqir Mohammad, MD-Madholal D Master

Lyrics

muraliya
aa aa aa
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye
jag ko preet sikhaaye ae
jag ko preet sikhaaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

sukh dukh do hain
prem ke raag
sukh dukh do hain
prem ke raag
ek hai paani
ek hai aag
dhan dhan us premee ke bhaag
dhan dhan us premee ke bhaag
dukh se na jo ghabraaye
dukh se na jo ghabraaye
jag ko preet sikhaaye
jag ko preet sikhaaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

jhoom rahi hai
ae ae ae ae
jhoom rahi hai
roop ki bagiya
jhoom rahi hai
roop ki bagiya
bhanwara jiya lehraaye
bhanwara jiya lehraaye
baithha hai maali
aas lagaaye
baithha hai maali
aas lagaaye
vasant ritu kab aaye
vasant ritu kab aaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

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

मुरलिया
आ आ आ
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये
जग को प्रीत सिखाये ए
जग को प्रीत सिखाये
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये

सुख दुख दो हैं
प्रेम के राग
सुख दुख दो हैं
प्रेम के राग
एक है पानी
एक है आग
धन धन उस प्रेमी के भाग
धन धन उस प्रेमी के भाग
दुख से जो ना घबराये
दुख से जो ना घबराये
जग को प्रीत सिखाये
जग को प्रीत सिखाये
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये

झूम रही है
ए ए ए
झूम रही है
रूप की बगिया
झूम रही है
रूप की बगिया
भँवरा जिया लहराए
भँवरा जिया लहराए
बैठा है माली
आस लगाए
बैठा है माली
आस लगाए
वसंत ऋतु कब आए
वसंत ऋतु कब आए
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये


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.

“Taj Mahal” (1941) is a by now forgotten movie. One rare song from this movie has been discussed in the past. while discussing that song, Mr Sadanand Kamath, the contributor of that article had provided information about the movie too. Here is what he had to say about the movie:
Read more on this topic…


“Jungle Princess” (1942) was a Wadia Movietone Production. This movie had Nadia playing a female version of Tarzan. Unlike Tarzan, who gets raised by monkeys, here Nadia (playing Mala) is raised by Lions, no less. :). She has two lion cubs as her companions at childhood and then all three grow up. Watching a grown up Nadia flanked by two grown up lions is a great sight to behold. Our beloved Memsaab has written a wonderful review of this movie here and I keep revisiting this page every time I have to discuss a song from this movie.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The history of Tarzan films in India springs some surprises.
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 TEN years. This blog has over 14900 song posts by now.

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

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