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

Posts Tagged ‘Master Mohammed


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 : 3619 Post No. : 14422

Today’s song is from a really unknown and unheard of film of the early era – ‘Fauladi Mukka’ (1936).

So far 3 films with this title are made in Hindi. The other two films were made in 1965 and 1985. The 1965 movie was a regular C grade action stunt movie of actor Aazad and the 1985 movie was a Tamil film dubbed in Hindi. It starred Rajinikant. I call him a sophisticated stunt actor, although he is known to have worked in serious social films too. But generally, in the world beyond Tamilnadu, Rajinikant is equivalent to unimaginable, logic-basher, nature-defying stunts which make you not only wonder but also bring you a smile.

It is a wonder that such an actor is treated like a God in south. But then, South has always been like that. Adoring the actors beyond acceptable norms, deifying them and even building temples for them. Once when I was travelling in Tamilnadu, I had seen a Temple for actress Khushboo (it was promptly destroyed by the same fans, when Khushboo made some sensible, practical and logical remarks during an AIDS awareness campaign). Now I hear there is a Temple for actress Namitha !

Forget about actors, but some typical film titles shout loudly about it being patently a stunt film. Can you ever imagine that films like Khooni Darinda, Khoon Ki Pyaasi Daayan, Khooni Jaadugar, Guru Ghantal, Atom Bomb, Bhedi Bungla, Khooni Laash, Madame Zapata, Daryayi Lutera and similar scary but funny title film, being a social meaningful film, showing a dedicated wife, dutiful son and disciplined children serving their grandparents?

The fun is, there is a fixed set of producers, directors and actors in an action film. Moreover, such films used to be shown in some obscure, dilapidated, old cinema houses. When I was young, I remember having seen stunt films in theatres of old city part of Hyderabad, having names like Taj, Delite and Moosa. Yes, a theatre on the banks of river Moosa was named as Moosa Theatre !

Ok, Ok, to make the matter short and sweet, today’s film too was a C grade stunt/action film, made by Wadia Movietone famous for such films. Low Budgets-No Publicity-Big Profits. This sure shot formula of Wadia Movietone prompted them to promote a foreign, daring girl, who was ready to any stunts in films. She overtook all the then prevailing stunt kings like Baburao Pehelwan, Kamran, Dalpat, Prakash and the likes of them and in a flash became famous as Fearless Nadia.

So, again coming to the point, ‘Fauladi Mukka’ was also a stunt film featuring well known action artists like Harishchandra Rao, Husn Banu, Sayani Atish, Dalpatram, Master Chhotu, Shahjehan etc. The MD was the usual stunt film specialist Master Mohammad. The leading lady Husn Banu’s story is very interesting.

Her mother Sharifa was an actress in the 20s and the 30s. She hailed from the Central Provinces and joined the Corinthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper (the actor singer Minu Cooper, the mystique, of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For a year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka  Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta (just like her mother), by working in New Theatre’s film ‘Daaku Mansoor’ (1934). After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working  only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios. However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film ‘Dhandora’ as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as the lead actress. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspi Irani. Husn Bano worked in films till 1977; her last film was ‘Akhari Sajda and then she retired. She had a big house ‘Shareefa Manzil’ in Dadar, Bombay. On 23-11-1986, her husband Aspi Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 1940s. Leela Chitnis was the first to feature in this ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee have also featured in these ads.

Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did his early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did cycle repairing work and completed his matriculation by age of 18 years. He joined a touring film company. Once, while in Bombay he was watching the film shooting in Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. from 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ‘Bambai Ki Mohini’ (1934). He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company – Harishchandra Productions. He continued to work as actor, director and producer. He sang few songs also.

Some of his films were ‘Daulat’ (1937), ‘Naujawan’ (1937), ‘Rangila Mazdoor’ (1938), ‘Rangila Jawaan’ (1940), ‘Sukhi Jeevan’ (1942), ‘Lehri Jawaan’ (1935), ‘Inaam’, ‘Sone Ki Chidiya’ (1934), ‘Durbaan’ (1946), ‘Laat Sahib’ (1946), ‘Tamaasha’ (1942) etc. He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his own company – Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

The film ‘Fauladi Mukka’ had only 5 songs. Listen to today’s song. There are some dialogues in the beginning. If you recollect, there was a famous song by Surendra and Bibbo, from film Manmohan-36, which had a prose line by Bibbo- क्या मै अंदर आ सकती हुं ?. This made the song very popular. In today’s song also similar lines are there and these songs were recorded earlier than Manmohan-36, as per record numbers.  may be this song perhaps had been an inspiration for the ‘Manmohan’ song. Just a thought !

The film and singer Harishchandra Rao make their debut on the blog today.

( Credits- Stages of Life-Indian Theatre Autobiographies by Kathryn Hansen, All India Film Directory (1946), HFGK, MuVyz, www.chiloka.com, Isak Mujawar, Vithal Pandya and my notes.)

 


Song – Prem Mandir Mein Manmurakh Yeh Har Ki Kundi Khole (Faulaadi Mukka) (1936) Singer – Husn Bano, Harishchandra Rao, Lyrics – Munshi Gyan, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

prem,
aaj ka lesson to khatm hua
aur is ke baad

behan,
prem ki pariksha to kar li
ab prem pariksha bhi kar lo

chandrakanta,
tumhaare bhai chhotu ne vaakai ek mushkil sawaal hamaare saamne pesh kar diya hai

haan,
sawaal, ye aisa sawaal
jiska jawaab siwaye zindagi ki sunehri kitaab ke aur kahin nahin mil sakta

o ho
aap (??) bhi hain
bhala bataaiye aap ki kitaab e zindagi
prem ke baare mein kya kehti hai

prem mandar mein
mann murakh ye har ki kundi khole
prem mandar mein
mann murakh ye har ki kundi khole
kaa..aath ki bansi
prem raag mein
har dam tu ru boley
kaa..aath ki bansi
prem raag mein
har dam tu ru boley

prem ki duniya kitni badi hai

ek hi bindu prem ki duniya
ek hi bindu prem ki duniya
saagar laakh samaate hain
saagar laakh samaate
prem naiya mein
prem nagar se
prem ke moti doley
prem naiya mein
prem nagar se
prem ke moti doley

aur prem ki shakti

prem nagar mein
mann mastaana
amrit ka deewaana
prem nagar mein
mann mastaana
amrit ka deewaana
vi..eesh ka pyaala
le kar paagal
amrat amrat boley
vi..eesh ka pyaala
le kar paagal
amrat amrat boley

prem mandar mein
mann murakh ye har ki kundi khole

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

प्रेम
आज का लेस्सन तो खत्म हुआ
और इस के बाद

बहन
प्रेम की परीक्षा तो कर ली
अब प्रेम परीक्षा भी कर लो

चंद्रकांता
तुम्हारे भाई छोटू ने वाकई एक मुश्किल
सवाल हमारे सामने पेश कर दिया है

हाँ
सवाल, ये ऐसा सवाल
जिसका जवाब सिवाय ज़िंदगी की सुनहरी
किताब के और कहीं नहीं मिल सकता

ओ हो
आप (??) भी हैं
भला बताइयेआप की किताब ए ज़िंदगी
प्रेम के बारे में क्या कहती है

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले

प्रेम की दुनिया कितनी बड़ी है

एक ही बिन्दु प्रेम की दुनिया
एक ही बिन्दु प्रेम की दुनिया
सागर लाख समाते हैं
सागर लाख समाते
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले

और प्रेम की शक्ति

प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले

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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 : 3541 Post No. : 14215

Today’s song is from the film ‘Asiai Sitara’ (1937) aka ‘Star Of Asia’.

The film was made by Harshad and Jagtap. It was distributed by Wadia Movietone. The director was Haribhai Desai, the music was by Master Mohammed and the lyricist was Pt. Anuj. The film cast was master Vithal, Jenabai Pawar, Minoo the Mystique, Vasant pehelwan, Master Dhulia etc.

After the initial surge of the films made on mythology, parsi fantasies and folk tales, the adventurous film makers moved on to make films on social issues, comedy, stunts, social reforms, history, love stories and religious personalities. From 1935, the rise of stunt films in talkie version (thanks to Fearless Nadia) gave rise to a genre, which lasted till the 1950’s. After that, it faded to a natural death. Nowadays, all the heroes do the stunts themselves, but their films are not called stunt films.

However, the audience, which was accustomed to films of fantasy, costume and folk tales, still existed, so on and off such films too were made by older film makers. The film ‘Asiai Sitara’ was also one such costume film. This was a film originally made by Haribhai Desai of Surya Film Company, Bangalore, as a silent film in 1932. In those days, Bangalore was the main city in South Circuit, so many big film distributors (mostly Gujaratis) had their offices in Bangalore. After the demise of silent films, most of them closed their distribution offices and jumped into talkie film making in Bombay. Some prominent distributors were, Dr. Ambalal Patel and Chimanlal Desai (started Sagar Movietone), Ramniklal Shah (started Mohan Pictures, Ramnik Films etc.) and Haribhai Raghunath ji Desai (started Surya Film Company in Bangalore itself).

The story of Haribhai Desai is very interesting. He was born in a very wealthy family of a village near Kutch area of Gujarat. He was very intelligent and completed his graduation in Bombay. The silent film industry was developing very fast. Haribhai decided to jump into it. To get his fundamentals strong, he went to America and did his graduation from New York Institute of Cinematography. Coming back to India, he took up a job as a manager in Laxmi Pictures and later in Suvarna Pictures of Poona. With this experience and few distribution contracts, Haribhai landed in Bangalore and set up his shop as a distributor.

Very shortly, in 1929, he established his own film production company – Surya Film Company at Bangalore, which was his main aim in life. He went to Kolhapur, hunting for talent. Kolhapur was an important film making centre in those times. There, he found Ganapatrao Baakre (गणपतराव बाकरे) –  a very handsome, well built wrestler and a daredevil stunt actor working in Baburao Painter’s  Maharashtra Film Co. He also noticed another very good looking young man, with good physique, working in stunt films for free (he was from a rich family). He was Zunzar Rao Pawar  झुंझार राव पवार). His real name was DK Pawar, but was called by this name after his role in a successful company. Haribhai needed  good and well known actors. He lured them with higher salaries and brought them to Bangalore. Ganpat Rao was paid Rs.1000 pm in those days.

Production of silent films started rapidly. Their first film was ‘Raj Hriday’ (1929). It was released in four theatres in Bombay in October 1929. The publicity of this film was handled by Kikubhai Desai (father of Manmohan Desai). Film pamphlets were showered on Bombay city from an aeroplane, as an advertisement gimmick! No doubt the film ran to houseful audiences in all theatres. In a very short time both actors from Kolhapur became very popular and famous. Surya Films made about 40 silent films.

Meanwhile Zunzar Rao Pawar fell in love with an Anglo-Indian girl – Jena Lawson, who was looking for an entry in films. They got married and she became Jenabai Pawar. Haribhai was not the one to lose such opportunities. He made two films with Jenabai Pawar as a heroine. The first was ‘The Hawk’ (aka ‘Baaz Bahadur’, 1931) and the other was ‘Asiai Sitara’ (1932). She did not work in more films. Soon Baakre and Pawar family returned to Kolhapur, after four years in Bangalore.

When the silent era ended and talkie films flourished, Haribhai closed Surya Films and went to Bombay. There, he remade his two successful silent films, made with Jenabai Pawar, as talkie films, with the same heroine. ‘Baaz Bahadur’ was made in 1936 and ‘Asiai Sitara’ was made in 1937. Now that these were talkie films, Jenabai also sang in the film. She sang four songs in each film. Considering she was not Indian, the songs were reasonably good. Earlier the silent films had Ganapat Rao Baakre as the hero, now in talkie films, Master Vithal was the hero.

Master Vithal (1906-1969) was the first superstar of silent films. He also has the credit of being the hero of the first talkie film of India ‘Aalam Ara’ (1931). He got this role only because of his un-paralleled popularity in silent films. He was the first ‘Angry Young Man’ of Indian cinema in the 1920s and the 1930s. His films were full of stunts, fighting and daredevil acts. Master Vithal was very handsome with a very muscular physique. He was the ideal of many aspiring young actors like Bhagwan.

So, when Bhagwan became stunt film hero and a director, his ardent wish was to act with Master Vithal or direct him. By 1940, Master Vithal was almost a gone actor, with very few Hindi films. So when Bhagwan got him to act in his film ‘Naghma e Sehra’ (1945), both Bhagwan and his close friend C Ramchandra were extremely excited. CR not only gave music to this film, but also did playback singing for Master Vithal and fulfilled his wish.

Today’s generation has no idea what position Master Vithal held in the minds of Indian audience in those days. Stunt films were very popular and Master Vithal, with his handsome looks, muscular physique and daredevil stunts was extremely popular. I am perhaps one of the very few remaining now, who has seen his film. I only remember one scene from that film, in which Master Vithal jumps from a tree onto an open car, fights with the goons and takes away the heroine, who promptly embraces him. I neither remember the name of the film nor of the heroine. She might be Zebunnisa.

Master Vithal (Vithal Raghunath Desai) made his début on the stage as a child artist with Raja Pur Natak Mandali. He then started his career as a film editor with Maharashtra Films, Kolhapur which was owned by Baburao Painter. His first film role was as a female dancer in ‘Kalyancha Khajina’, a silent era film directed by Painter. He continued to work as film editor and a dancer and played minor roles in films. His first break as a male lead was in the film ‘Ratna Manjari’ (1926) produced by Sharda Studios, which he had joined earlier in 1925. After ‘Ratna Manjari’, he was a permanent fixture in the role of a hero and he was the star attraction of the films from Sharda Studios.

Sharda Studios was owned by Nanubhai Desai, Anand Prasad Kapoor and Harshadrai Mehta.  Nanubhai Desai was the studio founder and director of many stunt films produced by the company in which Vithal appeared in swashbuckling roles with Zebunnisa as his heroine. A professional wrestler, he became a very popular fearless hero acting in films on historical themes related to Rajasthan and Maharashtra; thus giving him the title ‘the Indian Douglas Fairbanks, a title Vithal hated. Audience adored him in his stunt hero role, which became his ‘forte’. By 1930, he was the highest paid male star in Indian cinema industry.

In 1930, Vithal’s popularity in stunt films attracted Ardeshir Irani of Imperial Film Company to invite him to join his company to make India’s first talkie, though Mehboob Khan was also vying for the role. Vithal, who was quite excited by Irani’s offer, accepted and moved to Irani’s newly formed film company Sagar Studios in Bombay, breaking his contract with Sharda Studios, only by few days. Nanubhai Desai was furious and he kidnapped Master Vithal. He was kept a captive, forcing him to extend the contract with Sharda Films. When Irani came to know this, he went to the court against Sharda films. Eminent lawyers like Setalwad and Mohmmed Ali Jinnah were employed by the litigating parties.

When the case started in the court, the judge asked Master Vithal, where he would like to join. That time Sharada was paying him Rs. 300 pm. Master Vithal replied that whichever company gave him more salary, he would join them. After this, there was an auction in the court and sums were spelt for master Vithal. Imperial Film company won when they offered Rs. 1200 pm as salary. The judge gave his judgement and Master Vithal joined Imperial. Thus he became the first actor to get a four figure salary in Indian Films. He was also the first actor in the industry, to own a car. After losing Master Vithal, Sharada Film company wanted a replacement for him.  They appointed P. Jairaj, an upcoming handsome and muscular actor, on a salary of Rs. 100 pm!

The following year, Master Vithal played the hero in the first Indian talkie ‘Aalam Ara’ with Zubeida as the female lead. ‘Alam Ara’ was also the first film in which music was introduced, as many as seven music scores were part of the film. As his Hindi diction was poor, he could not deliver the dialogues properly; his acting quality in histrionic roles was also questioned. He was  shown mostly in a state of trance or semi consciousness in the film and hardly had any dialogue. It is said that Vithal could not adopt himself to the new genre of talking-singing films in Hindi as he was “reduced to a hero who is (was) magically struck dumb in Alam Ara”. In 1932, he did some more silent films, which were no longer preferred by the audience. The talkies led to the decline of his career in Hindi films. Vithal would never get a major role in Hindi films again. From 1934 onward, he started doing some Marathi films realizing his limitations. From the 1940s onward, he regularly appeared in films by Bhalji Pendharkar and those featuring Lalita Pawar and Durga Khote. He also played in a side role in the 1944 blockbuster film ‘Ramshashtri’Towards the end, he played only minor roles in Marathi films; his last film appearance was in 1966.

A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films.

However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 16 talkie Hindi films till 1946. He even gave music to a film ‘Kashmir Ki Kali’ (1946), and also acted in it. All this after ‘Aalam Ara’.

Master Vithal is in history books as the first hero of the first Hindi talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.

Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently as, he felt, this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died in 1969.

Haribhai Desai did not do anymore Hindi films. He was active in Gujarati films as a writer and director. He even made a Telugu film as a director. The film was ‘Bhaktimala’ (1941). It was made on the theme of Devdasi tradition of Maharashtra, where maidens are married to God. Actress P Bhanumathi did the main role. The film proved to be a great hit in south and remakes in southern languages were also made. This is considered a milestone movie in Telugu films.

‘Asiai Sitara’ has 8 songs. This song is sung by Master Dhulia, a famous Gujarati folk singer of repute. This song was composed as a parody of Saigal’s famous song “Balam Aaye Baso More Mann Mein” from film ‘Devdas’ (1935). The composer Master Mohammed, was famous for his patriotic songs. He had earlier composed another parody song, “Gaawo Gaawo Ae Mere Saadhu“, in the film ‘Miss Frontier Mail’ (1936), which was a parody of the KC Dey song ‘Jaao Jaao Ae Mere Sadho, Raho Guru Ke Sang‘ from film ‘Pooran Bhagat’ (1933).

The film ‘Asiai Sitara’ and singer ‘Master Dhulia’, both make a debut on the blog today.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from books by Shri Vithal Pandya, Isak Mujawar, Dr RK Verma, and from Harish Raghuwanshi ji, CITWF, MuVyz.com, HFGK, Encyclopedia of Indian Films and my own notes.]

 


Song – Aan Phanse Ab Ban Mein Bhaiya (Asiai Sitara) (1937) Singer – Master Dhulia, Lyrics – Pandit Sampat Lal Shrivastav ‘Anuj’, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

aan phanse ab ban mein bhaeee..yyaa
aan phanse ab ban mein bhaieee..yyaa
aan phanse
aan phanse
bhai..ee..ee..ee..yaaaaaaa

aan phanse ab ban mein bhaiya
aan phanse ab ban mein
bhai..ee..ee..ee..yaaaaaaa

ye kya kar raha hai

taan maar raha hoon

jhoothe ke laaye
saanche gawaaye
jhoothe ke laaye
saanche gawaaye
sach bin lutiaa kaun piraaye
sach bin lutiaa kaun piraaye
kaari badariya barsan laagi
kaari badariya barsan laagi
baitha gar saawan mein bhaiya
baitha gar saawan mein
bhai..ee..ee..ee..yaaaaaaa

suratiya kaisi bhai kaari
kaari
kaari
suratiya kaisi bhai kaari
ab to kamariya tootan lagi
tootan laagi
tootan laagi
reh gayi mann ki mann mein bhaiyyaaa
reh gayi mann ki mann mein
bhai..ee..ee..ee..yaaaaaaa

nainanwa paayo nirbhaagi
nainanwa paayo nirbhaagi
tab hi pawanva phootan laagi
phootan laagi
phootan laagi
dhool pari nainan mein bhaiyyaaa
dhool pari nainan mein
bhai..ee..ee..ee..yaaaaaaa

kaisi bhai ye harkat

kalaam le raha hoon

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आन फंसे अब बन में भईsय्याआ
आन फंसे अब बन में भईsय्याआ
आन फंसे
आन फंसे
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

आन फंसे अब बन में भइय्या
आन फंसे अब बन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

ये क्या कर रहा है

तान मार रहा हूँ

झूठे के लाये
साँचे गवाए
झूठे के लाये
साँचे गवाए
सच बिन लुटिया काऊ पिराये
सच बिन लुटिया काऊ पिराये
कारी बदरिया बरसन लागी
कारी बदरिया बरसन लागी
बैठा गर सावन में भइय्या
बैठा गर सावन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

सूरतीया कैसी भई कारी
कारी
कारी
सूरतीया कैसी भई कारी
अब तो कमरीया टूटन लागि
टूटन लागि
टूटन लागि
रह गई मन की मन में भइय्या
रह गई मन की मन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

नैननवा पायो निरभागी
नैननवा पायो निरभागी
तब ही पवनवा फूटन लागि
फूटन लागि
फूटन लागि
धूल परी नैनन में भइय्या
धूल परी नैनन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

कैसी भई ये हरकत

कलाम ले रहा हूँ


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.

Wandering into the world of movies of 1930s and 40s gives me immense pleasure. Digging for difficult to find information about old films, directors, music directors, singers or actors is an interesting challenge for me.While on a chase for such information, I frequently come to dead ends and then have to seek another road to gaining knowledge. It is very sad that in our country, documentation about films of 1930s and 40s is very poor.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

 

Wadia Brothers’s (JBH Wadia and Homi Wadia) last silent film was ‘Toofan Mail’ (1932) which was released after sound films came into being.  As far as I know, the first sound film with a prestigious train name was also ‘Toofan Mail’ (1934) produced under the banner of Ranjit Movietone. This was probably the first action-adventure-stunt film with a title of the film after a prestigious train which became a huge box office success.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity; and to promote among them all

FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

Greetings to all on the 67th Republic day of our country.
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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15261

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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