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

Posts Tagged ‘Manohar Khanna


This article is written by nahm, 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.

Blog Day :

4928 Post No. : 16767

Rafi Sahab’s Legendary Associations – 08
———————————————–

14 Jan – Remembrance Day of Chitragupta

Chitragupta has recorded 260 plus songs with Rafi Sahab for Hindi and Bhojpuri films during the period 1950 to 1980.  Having gone through the whole list of these songs, I have come to the conclusion that I am a creature of radio.  The songs heard on radio long back ring a bell and I am drawn to them.  There are other well-known songs, which I had not heard on the radio as a child, they don’t make this short list of my personal favorites.

Chal Ud Ja Re Panchhi Ke Ab Ye Des Hua Begaana

Chali Chali Re Patang Meri Chali Re

Laagi Chhoote Na Ab To Sanam

Deewaana Aadmi Ko Banaati Hain Rotiyaan

Teri Duniya Se Door Chale Ho Ke Majboor

Koi Bata De Dil Hai Jahaan

Mujhe Dard e Dil Ka Pata Na Tha

Jaag Dil e Deewaana Rut Jaagi Vasl e Yaar Ki

Ye Parbaton Ke Daayera Ye Shaam Ka Dhuaan

There are some songs, which I have discovered in recent years and written posts for them too.  But since I can’t recall the tune and the lyrics and the feel of the song, by just looking at the mukhda, is not the songs fault.  So, if some people find their personal favorites missing from the above list of Rafi Sahab’s solos and duets under Chitragupta, they can blame me.

 Today is the 31st death anniversary of veteran music director Chitagupta, who has composed 1000 plus song in his long career from 1940’s to 80’s. In commemoration, I am discussing a Rafi solo, composed by Chitragupta and written by Manohar Khanna for the film ‘Zindagi ke Mele’(1956). Only two songs from this film are posted in the blog.

Kar Le Ri Solah Singaar
Tu Meri Heroine Main Tera Hero

It is said that Chitragupta never reached the status of A grade music directors.  But from where I can see, it doesn’t make any difference in the long run.  Because his compositions have survived the test of time, just like most of the melodious and memorable work done by all the music directors of the golden era of Hindi film music.  The field was crowded in the 50’s with talented and established MD’s and also with new aspirants.  The songs of all the composers are equally appreciated and loved.  I have always found the unheard (by me) songs of Chitragupt, very melodious and likable, with a spirit of their own.  They make their mark and leave an impression, with their rustic flavor.  I always make it a point to listen to his songs whenever they appear in the blog, especially solo songs of Lata Mangeshkar.  500 of these songs are already posted in the blog, as can be seen in the table.

Chitragupta 500 139 movies (1057)
Manohar Lal Khanna 46

The song is lamenting the society and its remorseless, paralyzed state in the face of injustice.  ‘Duniya Waalon’ are the mute spectators of an unjust practice, which those suffering it do not deserve.  And those who standby and do nothing to stop the injustice, cruelty and ugliness in the society are to be equally held responsible, because they had the means to oppose the practice and should have raised their voices.  But they chose to do nothing, and there have been very few social reformers in India who have actively worked to stop this practice of ‘dahej’.  The experience of civilizational development has shown that making criminal laws, has not worked in reducing the crimes.  Crimes continue to increase, despite stringent laws.  The reforms have to stem from the value system in the society.   Like many other social evils, the ‘dahej’ and dowry system has become a part of the landscape in our enlightened society.  Here we think that we are the culture and we have learnt to turn the other way, in the name of civilized and appropriate behavior.

The truth camouflaged into lies and lies camouflaged as truth.

The movie title ‘Zindagi Ke Mele’ reminds me of the iconic song, this unforgettable Rafi solo :

ye zindagi ke mele
ye zindagi ke mele
duniyaa mein kam na honge
afsos ham na honge


Song – Saji Sajaai Dulhan Reh Gayi Baabul Neer Bahaaye (Zindagi Ke Mele) (1956) Singer – Mohammed Rafi, Lyrics – Manohar Khanna, MD – Chitragupt

Lyrics

dhan se baandhe..ea
preet ka bandhan..nn
yeh kaahe ki preet
roop na dekhe..ea
daulat dekhe..ea..ea
ye iss jag ki..ee reet

saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye

beh gaye armaan
aansoo ban ke
ho ooo ooo
phool bane angaaray
baap chhupaaye
munh beti se
aaj sharam ke maare
maiyya roye
sau sau aansoo
dwaar se doli
lauti jaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye

dhan ke liye
nirdhan ki beti
ho oo oooo
bin byaahi reh jaaye
duniyaa ki in rasmon ko
bhagwaan aag lag jaaye..ea..ea
bhagwaan aag lag jaaye
maathhe lagaa hai daag jo kaala
iss ko kaun mitaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye

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

धन से बान्धे॰॰ए
प्रीत क बन्धन॰॰न्न
येह काहे कि प्रीत
रूप न देखे॰॰ए
दौलत देखे॰॰ए॰॰ए
ये इस जग कि रीत

सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय

बेह गये अरमां
आन्सू बन के
हो ओ ओ ओ ओ ओ ओ
फूल बने अन्गारे
बाप छुपाये
मुँह बेटी से
आज शरम के मारे
मैय्या रोये
सौ सौ आन्सू
द्वार से डोली
लौटी जाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय

धन के लिये
निर्धन कि बेटी
हो ओ ओ ओ ओ ओ ओ
बिन ब्याही रह जाए
दुनिया की इन रस्मों को
भग्वान आग लग जाये॰॰ए॰॰ए
भग्वान आग लग जाये
माथे लगा है दाग जो काला
इस को कौन मिटाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय


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 :

4841 Post No. : 16628

Today’s song is from a Mythological film-Devyani-1952.

This was the story of Kach and Devyani from Mahabharat. I like the various stories from our Epics Ramayan and Mahabharat. There are hundreds of subplots and stories in both these Holy books, in addition to the main stories. However, I like stories from the Mahabharat more than Ramayan. The reason is stories from Ramayana are simpler and involve good virtues like Love, Cooperation, Loyalty, truthfulness etc etc. These are desirable but have no links to today’s social structure. The stories from Mahabharat are built around the practical difficulties in day to day life, defeat of the evil at any cost and use of tact, diplomacy, revenge, punishment etc etc which are more interesting to read.

As such, Mahabharat in itself or its stories seem to be closer to today’s values like ‘Tit for Tat’ and winning over the Evil with equally Evil remedies. The basic difference between Ram and krishna is, Ram was a character who was upright, just and straightforward, while Krishna is a character down to earth, who does not mind using unconventional methods to defeat the Evil. I always feel that in today’s world Krishna tactics are more relevant than Ram Rajya rules !

The story of Kach and Devyani, on which the film Devyani -52 was based was…..

There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason ? Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupitor) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.

Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.

The film ends here alright, but it raised a question in my mind as to how, then, the Gods ever won the battles with Demons ? The answer is, during the ” Samudra – Manthan ” a pot containing ” Divine Potion ” came up. It contained Amrit, which made the Gods immortal (Amar). In due course Shukracharya also died, without parting with the Sanjivani mantra and thus the Demons were defeated in the ensuing wars by Gods.

The film Devyani-52 was produced by Madhukar Harihar under the banner of Madhav Pictures, Bombay. It was directed by Vasant painter and the Music Director was S.Purushottam, assisted by Shamrao Kamble. These names are rather not commonly seen or heard and the readers may not be knowing about them, as they did only few films compared to others and without any famous film either. Let us first know about Vasant Painter.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.

Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak.. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.

And now something about Shamrao Kamble….

Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.

What does an Arranger do ?

A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.

Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.

Arranger must know the Notations, so that it can be written and given to the players.

How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspects, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.

The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.

Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.

His career started as an assistant to music director H N Sharma.

Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’

While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.

Chitralekha’s background music was liked by Hemant kumar very much.

After Roshan, Kamble worked for his son Rajesh Roshan also.

Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”

From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.

The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.

In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.

Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.

Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.

Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.

In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale Madhu Meelanat ya, Yuwati Mana etc).

Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.

The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.

Truly, they are the brains behind good music in films !

(Thanks to Subhashchandra Jadhav and mrs. Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)


Song- Prem ki maala meri kahin toot na jaaye(Devyani)(1952) Singer- Asha Bhonsle, Lyricist- Manohar Khanna, MD- S Purushottam

Lyrics

aa aa aa aa aaa

prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jao
pyaar ka madhuban mera
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

tum huye aankhon se ojhal
deep saare bujh gaye ae
deep saare bujh gaye
meri jholi mein thhe jitne
phool angaare baney
phool angaare baney
bhagya ka tha ?? mera kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri ee
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

kaisi yogan baawri tujhko pukaare har ghadi
tujhko pukaare har ghadi
man mein aasha ki ??
aankhon mein saawan ki jhadi
aankhon mein sawan ki jhadi
dolti naiyya meri kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jaao


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 :

4471 Post No. : 15970

Today’s song is from the film Alakh Niranjan-1950. This film is based on a story from Nath – Puran. In India, the Nath Sampraday (Sect) is spread over the whole country. In every place it has its local name and own folk lores. Now, what is this Nath Sampraday ? Few years ago, in one of posts, i had given all detailed information about it. To refresh your memory and for the benefit of new readers, here is a short note again on Nath Sampraday.

In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath. The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath
Naag Nath

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or NavNath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath.

Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made.

Film Alakh Niranjan-50 is a story from Bengal, where Raja Gopichand was ruling. Alakh Niranjan is the call, which a Gosavi gives, when he visits a house for his daily Bhiksha. These Gosavis do not accept cooked food. They take only the raw material, as they are supposed to cook and eat. I remember, when I was a kid and used to visit my Nanihal ( a small village in Marathwada, Maharashtra), few Gosavis used to visit the house and call out loudly “Alakh Niranjan”.It was my duty to give them the wheat or Jowar flour, which they would smilingly store in their multi-pocketed Zolis. Nowadays, even in the remotest villages, one cant find these Gosavis.

The film was directed by a veteran of the silent films – Dada Gunjal. The younger generation is unlikely to have even heard about him, because he ended his career in 1959 only. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur on 25-1- 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry. Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.

When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films ( 30 Talkie and 7 Silent). Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc. His last film was Ek Armaan mera-59. Dada Gunjal died on 16-11- 1968.

The music director of this film was Premnath….a case of ‘ Same Name Confusion’ . He is often confused with actor Premnath and his films are credited to the actor’s filmography.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala,Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.

After marriage,he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film ,a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47,Chandrahas-47,Sagar’s Pehla pyar-47. He then produced a film ” Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh,Lata and Geeta Roy sang in it. In the film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana kadam and Rajkumari.

Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.

His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.

He died on 27-4-1993 at the age of 75 years.

The cast of the film was Nirupa Roy, Trilok Kapoor, Durga Khote, Ulhas, Sapru etc etc. There were 10 songs in the film. Today’s song is the third song here. It is sung by singer Mohammed Faruqi. In fact today’s song is the last song that he sang to end his singing career.

Mohammed Hussain Farooqi,the singer may not be known to many of our readers.

Mohd.Farooqi was born on 17-8-1915 at jhunjhunu in Rajasthan. He was keen on Music from childhood,but his religious Haji father was against it,as he wanted him to become a Teacher.

In 1945,Farooqi came to Bombay with a letter for Khemchand Prakash(originally from Rajasthan).He stayed in old khar with a friend.After an year KP called him to his house.When Farooqi went there,K.L.Saigal was also sitting there.KP asked him to sing a song.He sang Saigal’s ‘So ja rajkumari so ja’.Saigal was impressed and he was employed by Ranjeet Movietone on a princely monthly salary of 200 rupees.
He got his first break with ‘Chcheen lo Azaadi-1947.His song ‘kamzoronki nahi hai duniya’ was popular with freedom fighters.
He sang 15 songs in 12 movies, all with Bulo.C Rani and Hansraj Behl only. His voice and style became very popular,but he had to return to Rajasthan to look after ailing father and his huge property there. He never came back after 1950 and died on 8-2-1990 peacefully.

Filmography

Chheen le azadi (1947)
Duniyan ek sarai (1947)
Lakhon mein ek (1947)
Pehli pehchan (1947)
Piya ghar aja (1947) Acting only
Neel kamal (1947) Acting only
Bichhde balam (1948)
Jai hanuman (1948)
Mitti ke khilone (1948)
Pardesi mehman (1948)
Bhool bhulaiyan (1949)
Alakh niranjan (1950)

( courtesy- Dr.Surjit Singh ji’s site, with thanks.)

The story of the film shows how Raja Gopichand changes his mindset about the Nath Sampraday, to which his mother also belongs, how he renounces his Throne and how he joins as a Gosavi of the Nath Sampradaya.


Song- Alakh Niranjan Alakh niranjan (Alakh Niranjan)(1950) Singer- Mohd. Farooqi, Lyricist- Manohar Khanna, MD- Premnath
Chorus)

Lyrics

alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan

jai satguru jai dukh bhanjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan )
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)

o o o o o(alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
)
o sansaari har ko jap le (alakh niranjan alakh niranjan)
saari uski maaya hai (alakh niranjan alakh niranjan)
o sansaaari har ko jap le(alakh niranjan alakh niranjan)
saari uski maaya hai(alakh niranjan alakh niranjan)
wo tera hai tu jan ??ka (alakh niranjan alakh niranjan)
jisne tujhey banaaya hai(alakh niranjan alakh niranjan)
tod de saare jhoothe bandhan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan )
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan

o o o o o o o o(alakh niranjan alakh niranjan)
o o o o o o o o(alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
tujhmein mujhmein yahaan wahaan (alakh niranjan alakh niranjan)
ghat ghat mein hai wo basa hua(alakh niranjan alakh niranjan)
tujhmein mujhmein yahaan wahaan(alakh niranjan alakh niranjan)
ghat ghat mein hai wo basa hua(alakh niranjan alakh niranjan)
antar ke pat khol ke moorkh apne man mein jhaank zara (alakh niranjan alakh niranjan)
sukh ka sthaan hai ye tera man (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan


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 :

3989 Post No. : 15080

Today’s song is from a less known film – ‘Zindagi ke Mele’ (1956). The reason for selecting this song is that it is a duet of Shamshad and Rafi and is composed by my favourite composer Chitragupt – The King of Melody. For this film, his assistant was Dilip Dholakiya.

This was the last film of producer-director KB Lall (1911 – 25.8.1975). The other films he directed were, ‘Lal Haveli’ (1944), ‘Samrat Ashok’ (1947), ‘Lal Dupatta’ (1948), ‘Hanste Aansoo’ (1950) and ‘Angaarey’ (1954).

The cast of this film consisted of Chitra, Jagirdar, Dulari, Chandrashekhar, KN Singh, Kum Kum, Rashid Khan, Jankidas and many others. There were 3 lyricists – Manohar Khanna (father of music director Usha Khanna), Shevan Rizvi and Tanvir Naqvi. Today’s duet is written by Manohar Khanna.

The title of the film ‘Zindagi Ke Mele’ is actually very apt for the film industry. Film Industry is the only association of people which is truly secular from the beginning. Like a mela has all types of people, the film industry too has people from all over India, males and females and even a transgender. All religions merge into One Community – Community of Artistes, in this industry.

The film industry worked like a magnet, from the day it started. People of all religions, regions and colours joined here. Some made their mark, others just came, survived and left. The magnetism of film industry attracted people from all walks of life – doctors, engineers, architects, dentists, teachers, police officers, military persons etc. – all came here to try their Luck. One such person was music director Chitragupt Shrivastav, double MA, lecturer in a Patna College. It is worthwhile to take a  look at his life story again here.

Chitragupt was born on 16-11-1917 at village Karmaini in Gopalganj district of Bihar. He was brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done double MA in Economics and Journalism from Patna University and also taught for few years. He came to Bombay in 1945 and  having learnt classical music wanted to become a composer. He started as an assistant to SN Tripathi. His first break came in 1946 with ‘Lady Robinhood’, with the help of its director Ramnik Vaidya. Initially he got only stunt and devotional films to do. In 1952, film ‘Sindbad The Sailor’ songs became famous. In 1955, Dada Burman recommended him to AVM for ‘Shiv Bhakta’. This was a landmark film for Chitragupta, because he used Lata for the first time. Later Lata and Chitragupt had very good relations, till the end.

Actually Chitragupt should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten because like Madan Mohan, Roshan, S-J, C. Ramchandra or SD Burman, he never got big banner films (at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupt always got only B and C grade films, which were not famous, but he was in no way less capable of composing good tunes for Lata.

Chitragupt was a very homely family man with a middle class mentality. He had a fun group comprising of  Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupt. They used to have lot of fun at the home of Chitragupt. Lata liked their food very much. Chitragupt Shrivastav was a Kayastha (‘Lalaji’ as they are called in Bihar ) and their non veg food was excellent.

In the late 1980s, I came in personal contact with Chitragupt, when my close friend’s daughter married his elder son. When Chitragupt learned that I liked ‘sattu ki poori‘ (a Bihari veg dish) very much, he called me to his house and we ate sattu puris and aaloo sabji, to our heart’s content !

His house in Prabhat building on Khar Road, Bombay had a music room on the ground floor, where he composed most of his tunes during 1959 to 1990. During the early 1960s up to 1965, he was so busy with work that – according to his son Anand – at one time 4 lyricists were writing lyrics in his home, Anand Bakshi in the garden, Majrooh in a room, Rajendra Krishna in the music room and Prem Dhawan under a palm tree and Chitragupt would visit one by one to see their progress !!

Chitragupt was such a simple person that when S-J demanded 5 Lakhs per film, he hesitated to ask for 50000 !

He remained a typical gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the MD of the first Bhojpuri film ‘Ganga Maiyya Tohe Piyari Chadhaibo’ (1962). His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He had sung 29 songs in 16 films in his career. Most songs were for SN Tripathi, who was his guru in film music. He gave music to 149 Hindi films, composing 1036 songs-  from ‘Lady Robinhood’ (1946) to ‘Shiv Ganga’ (1987).

He suffered a heart attack in 1968 and a paralytic stroke in 1974. He died on the 14th of January 1991. His children, Anand and Milind (who can forget their song from QSQT, “Papa Kahate hai Bada Naam Karega” which launched Amir Khan into incredible stardom!), the composer duo have also made an impact on the film world.

One can understand that people in India, with whatever vocation they followed, were attracted to film industry. But even a person with exceptional achievements at international levels, one who represented India 3 times in international games and established records –  he too? Yes, surprisingly one gentleman of this description and calibre, was keen to join films. His name was JANKIDAS MEHRA.

Jankidas was born on 14th June 1916. He completed his MA from Punjab University. He was an athlete and a cycling champion. By the age of 22 years, he represented India in 3 international meets and in 1938 had established a record for 1/2 mile race. He was the first and the only Indian to win the British Empire Games Distinction Medal.

Jankidas was also an author. He wrote and published books like, ‘Mahatma Gandhi In His Own Words’, ‘Extinction of Tasmanian Race’, ‘From Brothel To Victory Stand’, and ‘My Sports Ventures’. He was described as “. . . a rare combination of student, sportsman, idealist, aristocrat and democrat” by Australia’s leading weekly ‘Smith Weekly’, dated 22nd January 1938!

Jankidas was keen to join film industry. His first role was in Pancholi’s ‘Khazanchi’ (1941). On coming to Bombay, he found that his high qualifications and achievements were deterrents for most illiterate producers, to get him roles. Frustrated, he told a lie to a producer that he was illiterate and he got a role in film ‘Her Highness’ (1946), but he was not credited. Disgusted on some friend’s advice, he contacted V Shantaram. Here he got a role in film ‘Jeevan Yatra’ (1946) and ‘Dr. Kotnis Ki Amar Kahani’ (1946).

Jankidas went on to do 344 films in his career of 60 years. In the later stage of his career he became India’s first ‘Production Designer’. (Nowadays, this is a very important post in the industry). Jankidas always remembered what his dear friend Dalsukh Pancholi told him, just minutes before his death, he had said, “Jankidas, never put your children in film industry”. Pancholi died on his shoulders in the car itself.

Jankidas expired on 18th June 2003.

Another interesting, but less known actor in this film was Rashid Khan. Senior readers will surely remember this thin, short but talented actor. I always remember his comic role in film ‘Ek Phool Chaar Kaante’ (1960) (by the way, there came a movie ‘Ek Phool Teen Kaante’ in 1997!).

Born on 5-7-1915 at Baroda, Rashid Khan, a Sulemani Muslim, studied upto BA, LLB and came to Bombay to become either an advocate or an actor. Instead he joined All India Radio as an announcer. Balraj Sahni was after him that he should act in their drama, but he initially refused and then joined them. Balraj gave him a break in the film ‘Dharti Ke Laal (1946). Then came ‘Hasrat’ (1946), ‘Gudiya’ (1947), ‘Aaj Aur Kal’ (1947), ‘Anjuman’ (1948), ‘Aarzoo’ (1950), ‘Afsar’ (1950) etc. He acted in total 95 films.

He was a fixture in Navketan films, Guru dutt films and Hrishikesh Mukherjee films. He was loved by all directors and actors. Being a Gujarati, initially he had a problem with Urdu, which he learnt quickly and mastered it.

In 1953, he married one Suraiya. His son Fazal is a photographer and daughter Heena married into Fida Hussain family.

Rashid Khan rarely got long and big roles, but he made his small roles also memorable. He was not typecast. He did roles as villain, comedian and character artiste as father, brother or friend of the hero. While shooting at Famous studio, on 7-11-1972, he got massive heart attack and died while working (just like Gope). (Thanks to Harish Raghuwanshi ji for info on Rashid Khan)

So, here is the duet of Rafi and Shamshad Begum from film ‘Zindagi Ke Mele’ (1956), composed by the King of Melody – Chitragupt.

 

Song – Tu Meri Heroine Main Tera Hero (Zindagi Ke Mele) (1956) Singer – Mohammed Rafi, Shamshad Begum, Lyrics – Manohar Khanna, MD – Chitragupt

Lyrics

tu. . . . . .
meri heroinnn. . .

tu meri heroine
main tera hero
dil hai tumhaara
chaahe kaato chaahe cheero
tu meri heroinnn. . .

main teri heroinnn. . .
main teri heroine
tu mera hero
oyy dil hai tumhaara
chaahe kaato chaahe cheero
ae ji main teri heroinnn. . .

zulfon mein teri
dil mera atka
pyaar ka kaanta
mere dil mein hai khatka
zulfon mein teri
dil mera atka
pyaar ka kaanta
mere dil mein hai khatka
tadpun main tere liye
pal pal chhinn chinn
tadpun main tere liye
pal pal chhinn chinnn
main teri heroinnn. . .
main teri heroine
tu mera hero
arrey tumse kya darr hai
mere hero number zero
ae ji main teri heroinnn. . .

ho oo oo oo oo
holi diwali beeti
beeti hai eid bhi
tu ne na bheji raja
dil ki raseed bhi
tu ne na bheji raja
dil ki raseed raja
dil ki raseed bhi
pyaar ki duniya meri
sooni hai tere bin
pyaar ki duniya meri
sooni hai tere bin
main teri heroinnn. . .
main teri heroine
tu mera hero
tum se kya darr hai
mere hero number zero
haa haa haa
main teri heroinnn. . .

kirkit kabaddi tujhe
haaki khilaaungi
baaksing bataaungi
main kushti sikhaaungi
din mein dikhaaun pyaare taare tujhe gin gin
in mein dikhaaun pyaare taare tujhe gin gin

main teri heroinnn. . .
main teri heroine
tu mera hero
haaaye dil hai tumhaara
chaahe kaato chaahe cheero
hoy main teri heroinnn. . .

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

तू॰ ॰ ॰ ॰ ॰
मेरी हीरोइन॰॰न॰॰

तू मेरी हीरोइन
मैं तेरा हीरो
दिल है तुम्हारा
चाहे काटो चाहे चीरो
तू मेरी हीरोइन॰ ॰ ॰

मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
ओय दिल है तुम्हारा
चाहे काटो चाहे चीरो
ए जी मैं तेरी हीरोइन॰ ॰ ॰

ज़ुल्फों में तेरी
दिल मेरा अटका
प्यार का काँटा
मेरे दिल में खटका
ज़ुल्फों में तेरी
दिल मेरा अटका
प्यार का काँटा
मेरे दिल में खटका
तड़पूँ मैं तेरे लिए
पल पला छिन्न छिन्न
मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
अरे तुमसे क्या डर है
मेरे हीरो नंबर ज़ीरो
ए जी मैं तेरी हीरोइन॰ ॰ ॰

हो ओ ओ ओ ओ
होली दिवाली बीती
बीती है ईद भ
होली दिवाली बीती
बीती है ईद भ
तूने ना भेजी राजा
दिल की रसीद भी
तूने ना भेजी राजा
दिल की रसीद राजा
दिल की रसीद भी
प्यार की दुनिया मेरी
सूनी है तेरे बिन
प्यार की दुनिया मेरी
सूनी है तेरे बिन
मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
तुमसे क्या डर है
मेरे हीरो नंबर ज़ीरो
हा हा हा
होय मैं तेरी हीरोइन॰ ॰ ॰

किरकिट कबड्डी तुझे
हाकी खिलाऊँगी
बाक्सिंग बताऊँगी
मैं कुश्ती सिखाऊँगी
दिन में दिखाऊँ प्यारे तारे तुझे गिन गिन
दिन में दिखाऊँ प्यारे तारे तुझे गिन गिन

मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
हाय दिल है तुम्हारा
चाहे काटो चाहे चीरो
होय मैं तेरी हीरोइन॰ ॰ ॰


Look what song I have discovered today ! Here is a song from an old and obscure movie called “Bade Bhaiyya” (1951). It appears a B grade movie starring Suresh, Nirupa Roy, Agha and Yaaqoob.
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 THIRTEEN years. This blog has over 16700 song posts by now.

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