Posts Tagged ‘Maharana Pratap’
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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 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.
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Today’s song is from the film ‘Maharana Pratap’ (1946).
All those who know a little bit of Indian history, know about Maharana Pratap – a brave king who fought with the mighty Mughals, with meager support from other Indian kings from his region. He is one who never lost any battle. The names of Maharana Pratap and his famous horse Chetak are well known to us.
Pratap Singh I, popularly known as Maharana Pratap (c. 9 May 1540 – 19 January 1597), was a Hindu Rajput king of Mewar from the Sisodia dynasty. He fought several major battles against Akbar including the Battle of Haldighati in 1576 to resist the expansionist policy of the Mughal empire. Pratap became a folk hero for his military resistance through guerrilla warfare which proved inspirational for later rebels against Mughals including Malik Ambar and Shivaji. Chetak is the name given in traditional literature to the horse ridden by Maharana Pratap at the Battle of Haldighati, fought on 18 June 1576 at Haldighati, in the Aravalli Mountains of Rajasthan, in western India. Though wounded in the battle of Haldighati, Chetak ran fast and took Maharana Pratap to safety, before dying.
Film ‘Maharana Pratap’ (1946) was made by Jayant Desai Productions, Bombay. The Producer and the Director was Jayant Desai. Jayant Jhinabhai Desai was born in Surat, Gujarat, on 28-2-1909, in a well-to-do family. He graduated from Bombay University and entered the film line as an exhibitor in Surat. Later on he started writing screenplays for London Films, Rangoon and then for Krishna and Sharada studios. He joined Chandulal Shah’s Ranjit Studios in 1929, as his assistant for the silent film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt (‘Nagin’, ‘Taj’, ‘Champakali’ etc.) was another assistant in Ranjit.
When Nandlal left Ranjit to go to Europe, Jayant completed his film ‘Pahadi Kanya’ (1930)’. At Ranjit, Jayant directed 12 silent films. He was with Ranjit till 1943 and Directed 33 talkie films, while in Ranjit. Some of these films were ‘Chaar Chakram’, ‘Bhool Bhulaiyan’, ‘Nadira’, ‘Toofan Mail’, ‘College Girl’, ‘Matlabi Duniya’, ‘Toofani Toli’, ‘Billi’ ( a copy of a Hollywood film, based on PG Wodehouse’s novel “A Damsel in Distress” ), ‘Sant Tulsidas’, ‘Diwali’, ‘Shaadi’, ‘Chandni’, ‘Bhaktaraj’, ‘Tansen’ (with KL Saigal), ‘Zaban’ etc.
After leaving Ranjit, Jayant Desai established his own studio, Jupiter Films Studio, Jayant Desai Productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s, he operated as a distributor with his Jupiter films.
While in Ranjit, he had Directed KL Saigal in the film ‘Tansen’ (1943). Sardar Chandulal Shah had called Saigal on a contract of 60 days. Jayant completed ‘Tansen’ in flat 51 days. Kidar Sharma then used those 9 days to make a quickie – ‘Bhanwara’ (1944), with Saigal.
C Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C Ramchandra for use in films. It was also Jayant Desai who was responsible for the rise of C Ramchandra in a major way. After leaving Ranjit, Jayant started his own company. In his new company, Jayant had hired C Ramchandra as a paid composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like ‘Zaban’, ‘Lalkar’, ‘Manorama’, ‘Chandragupta’ etc. and all films became popular. C Ramchandra was proud of his achievement. Under the banner Jayant Desai productions, one more Saigal film – Tadbeer’ (1945), with Suraiya in the lead was made. Jayant Desai directed 65 films in all. His last film was ‘Zamana Badal Gaya’ (1961). He died in Bombay on 19-4-1976.
The cast of the film ‘Maharana Pratap’ was Khursheed, Ishwarlal, Kantilal, Mubarak, D S Salvi, Noorjehan Sr., Reva Shankar, Bhagwandas, Sati Devi and many others. We do not know the story of this film, but from the type of songs this film had, it seems to be a mix of Pratap’s life story consisting of his fights and family life. The period from 1945 to about the early 50’s was the time when most of the old actors and actresses coming from the early era and those who were a part of the spill over from the silent film era saw their last lap of career and they all disappeared during this period. Today’s film is the best example.
Khursheed – last film in India- ‘Aap Beeti’ (1948).
Ishwarlal – Stopped singing in 1945. Last film ‘Badi Maa’ (1945).
Kantilal – Last film ‘Jai Shiv Shankar’ (1951). Last song ‘Bhaktraj’ (1943).
Sati Devi – Last song ‘Door Chalen’ (1946).
Noorjehan sr. – Last song- ‘Aadab Arz’ (1943). Last film – ‘Anarkali’ (1953).
Reva Shankar – Last film ‘Jai Mahadev’ (1951). Last song – ‘Mahasati Tulsi Vrinda’ (1947). Last film as MD ‘Matrubhumi’ (1949).
Bhagwandas – Last film ‘Jalpari’ (1952).
For two artistes, this film was a landmark film.
1. For Music Director Ram Ganguly – this was his first film as a Music Director. It was his debut film. There are cases in history, where talent alone has not helped. The luck factor plays a vital role in one’s life. But then, what is luck ? Call it opportunity, recognition, fame, money. . . call it what you may like to, but luck is a factor.
Otherwise, so many talented actors, singers, composers, directors or even producers would not rot in the film industry. The case of the film ‘Jai Santoshi Maa’ (1975) can be quoted in this connection. If it was not for luck, how come a low budget film, made by a repeatedly failed producer Satram Rohra, became one of the top blockbusters of all time ? Surprisingly, after this movie, the next ventures of Satram Rohra were again failures. Though he was benefited by ‘Jai Santoshi Maa’, neither the Music Director C Arjun nor the film’s director Vijay Sharma got any benefit from the film. Probably they were not as lucky.
I do not want to dwell upon examples and a lengthy claim in favor of luck, but let us not forget that many talented artistes, who showed great promise with their initial achievements failed inexplicably, later in their career. At least two examples can be quoted, of composer Ram Ganguly and singer Mubarak Begum (RIP).
Unfortunately, Ram Ganguly has no identity beyond his most famous film ‘Aag’ (1948) (his only 3rd film), making many people think that this was the only film that he did. Sometimes he is mistaken even for composer Ramlal (Choudhari).
Born on 6-8-1916, Ram Ganguly soon achieved expertise in playing violin, at the age of just 10 years. He was most appreciated when he played violin at the All India Congress Party Session at Calcutta in 1933. Listening to his violin, composer RC Boral offered him a job in New Theaters immediately. He remained 7 years in New Theaters. First he was assistant to Timir Baran for film ‘Devdas’ (1935), then assisted RC Boral and finally assisted Pankaj Mallick for film ‘Dushman’ (1939). There he met Prithviraj Kapoor and they became friends. Following Kapoor, Ram too proceeded to Bombay. He started a Dance and Music school in Khandala, in 1946. In 1943, he joined Prithvi Theaters as a music director for stage dramas. His music for the famous drama ‘Deewar’ in 1945 became popular. Raj Kapoor had sung a song in that drama, for which HMV took out a record also “Hum Babu Naye Niraale Hain“.
Ram’s first film as a film MD was Jayant Desai’s ‘Maharana Pratap’ (1946). He did one more film for Desai, ‘Maha Tulsi Vrinda’ in 1947. When Raj Kapoor made his first film, ‘Aag’ (1948), selection of Ram Ganguly as its MD was natural, because Raj knew him very well from the Prithvi days. Ram Ganguli took tabla player Shanker and harmonium player Jaikishen as his assistants, having known them earlier. Little did he know at that time that this pair would edge him out from Raj camp and establish themselves there. Ram Ganguli gave excellent songs for the film ‘Aag’ (1948), sung by Shamshad, Mukesh and Sailesh Mukherjee.
Inspite of his good performance, he was thrown out by Raj Kapoor for his next venture ‘Barsaat’, for 2 reasons. One – Ganguly being an old guard did not fit into the future plans of Raj Kapoor, who wanted to innovate and bring in new ideas. And two, he was told that Ganguly was trying to use ‘Barsaat’ tunes for outside producers. While the first reason seems to be plausible, the second reason seems to be an excuse. God only knows the truth, but S-J were capable of anything – if one knows what they did in the coming years to win awards and contracts.
In all, he gave music to just 14 films with 146 songs and 1 unreleased film. His films were ‘Maharana Pratap’ (1946), ‘Maha Tulsi Vrinda’ (1947), ‘Aag’ (1948), ‘Jalsa’ (1948), ‘Banvaasi’ (1948), ‘Anmol Moti’ (1949), ‘Ram Darshan’ (1950), ‘Deepak’ (1951), ‘Sangam’ (1954), ‘Gawaiya’ (1954) (this film also saw the end of Surendra’s singing career), When Prithviraj Kapoor decided to make his famous drama ‘Paisa’ into a film (in 1957), he called only Ram Ganguly. Originally, for the drama too he had been the MD. He gave good songs but they were not popular. Then came ‘Ten O’clock’ (1958) and then the next film was ‘Saaya’ (1961). His last film was ‘Suhaani Raat’ (1974). In between, a film ‘Postmaster'(1955) remained unreleased.
Slowly Ram Ganguly was forgotten . He stopped getting films. No one came to him. Finally, frustrated, he left for Calcutta and died there sometime in 1983.
2. DS aka Dada Salvi – This was his last Hindi film. Dinkar Shivram Salvi (04 December 1904 – 29 October 1980) better known as screen name “Dada Salvi”, was an actor of the silent and talkie era of Indian Cinema. He was a part of the first Indian talkie film ‘Alam Ara’ (1931). He has acted in 20 silent movies. He has worked in Hindi & Marathi movies.
Dinkar Shivram Salvi aka Dada Salvi was born on 04 December 1904 in a village Phansob in Ratnagiri, Bombay Presidency, undivided India, now in Maharashtra. After completing his education, he joined the Police Department. During service period, he was taking part in plays. Shri Tipnis, a well known play master saw Salvi and advised to come to Bombay. Acting in plays became a part of his life, so he decided to leave the job and came to Bombay.
In Bombay, Tipnis introduced Salvi to KB Athawale, working as manager, actor, director in Excelsior Film Company owned by Seth Wazeer Aziz. The company was searching for talented actors and Athwale offered Salvi to join Excelsior Film Company on a monthly salary of ₹ 25. Salvi accepted the job & joined Excelsior Film Company.
Salvi’s first silent film was ‘Khoon-e-Nahaq’ (1928) and became very popular. Looking at his potential in acting, the Imperial Film Company offered Dalvi work with higher monthly pay. After joining Imperial Film Company, Salvi acted in 20 silent films like ‘Madan Manjri’, ‘Indira BA’, ‘Bhola Shikar’, ‘Cinema Girl’, ‘Hamara Hindustan’, ‘Raat Ki Baat’, ‘Khuda Ki Shaan’ and many more. It is said, while working with Imperial Film Company, Salvi fell in love with his co-actress Sakhubai & later they married. Probably it was the first love marriage of the first Maharashtrian acting couple of Hindi films.
Salvi worked with Jayant Desai in the film ‘Poladi Pahelwan – Iron Man’ (1931) for Paramount Films. He also acted in Marathi films like ‘Aut Ghatkecha Raja’, ‘Bhakta Prahlad’, ‘Chatrapati Sambhaji’, ‘Thaksen Rajputra’ under Dadasaheb Torne of Saraswati Cinetone. Salvi’s role in ‘Chatrapati Sambhaji” as Sambhaji’s evil advisor Kalusha Kabji won him great acclaim. Impressed with the acting of Salvi as Kalusha Kabji, Hans Pictures, Kolhapur, invited him to join them on a three figure salary. Salvi left Imperial and joined Hans.
‘Premveer’ (1937) was Salvi’s first film with Hans Pictures. This was a turning point in his career where he came to be associated with Master Vinayak and Marathi Films. Their team led to many wonderful performances. He was then seen mostly in Marathi Films with an occasional Hindi film. In ‘Brahmchari’ (1938), Salvi played the role of the father of the heroine. Salvi acted in Marathi films like ‘Savangadi’, ‘Brandi Chi Batli’, ‘Devta’ and many more.
Later Hans Pictures changed to Navyug Chitrapat and made ‘Amrut’ (1941). Salvi then worked in many Hindi and Marathi films with Master Vinayak, V Shantaram. After 1947, Dada Salvi mainly worked in Marathi films. He acted in 23 Hindi films and even sang a song in the film ‘Awara Shahzada’ (1933).
Dada Salvi died on 29 October 1980 in Poona (Pune), Maharashtra.
Today’s song is sung by Khursheed as a solo. HFGK mentions one duet having the same mukhda, sung by Zohra Bai and Reva Shankar. However, this duet is not available on YouTube. Today’s song is very pleasant. Enjoy. . .
Song-Hamaari gali aana humse akhiyaan milaana (Maharana Pratap)(1946) Singer- Khursheed Bano, Lyricist- Swami Ramanand, MD- Ram Ganguly
Lyrics
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jana
tumhe yaad rahe
yaad rahega pyaar tumhaara
yaad rahega pyaar tumhaara
bhool na jaana haan
bhool na jaana khayaal humaara
bhool na jaana khayaal humaara
kabhi bhoole se phir bhi aana
haan aana
kahin bhool na jaana
tumhen yaad rahe
kabhi bhoole se phir bhi aana
haan aana, kahin bhool na jana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhe yaad rahe
dil mein leke yaad suhani
raaja yaad suhani
dil mein leke yaad suhani
raja yaad suhaani
dagmag dole, dagmag dole
haaye mori mast jawaani
dagmag dole, dagmag dole ae ae
mori mast jawaani
mast jawaani ki tumko kasam
mast jawaani ki tumko kasam
humko na tarsaana
kahin bhool na jaana
hamko na tarsaana
kahin bhool na jaana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milana
kahin bhool na jaana
tumhe yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
याद रहेगा प्यार तुम्हारा
याद रहेगा प्यार तुम्हारा
भूल ना जाना हाँ
भूल ना जाना खयाल हमारा
भूल ना जाना खयाल हमारा
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
दिल में ले के याद सुहानी
राजा याद सुहानी
डगमग डोले
डगमग डोले
हाए मोरी मस्त जवानी
डगमग डोले
डगमग डोले॰॰ए
मोरी मस्त जवानी
मस्त जवानी की तुमको कसम
मस्त जवानी की तुमको कसम
हमको ना तरसाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
Aayi deewaali deepon waali
Posted on: November 13, 2012
Today (13 november 2012) is Deewaali, easily India’s biggest festival and a festival which also happens to be the time when Indians do their major shoppings of the year because this is supposed to be the most auspicious occasion for such activities. This festival in fact is celebrated as Laxmi Puja, Laxmi being the goddess of wealth and the consort of Vishnu, one of the three major Gods. Of course this festival is also celebrated as the day when Lord Ram (one of the reincarnations of Vishnu) returned back to Ayodhya with Sita and Laxman after completing his period of Vanwas.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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