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

Posts Tagged ‘Mera Gaaon


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 :

3920 Post No. : 14983 Movie Count :

4097

Today’s song is from a film, which is not only a rare but also an obscure film, about which not much is known. The film is Mera Gaon-1942.

1942 was an important year in the Independence struggle of our country. The historical ” Quit India ” (चले जाव) movement was launched by Gandhiji. He had also appealed to Indians to march towards the villages, where the real India lay, according to his philosophy. Due to unemployment and frequent dry spells in the countryside, the farmers started an influx to the cities leaving their farms. His appeal was towards such people to go back to their villages.

Impressed with Gandhiji’s clarion call, even film makers were eager to make patriotic films and songs. One such patriotic song from film Kismet-43 came under the scan of the British empire and its writer-Kavi Pradeep- had to go underground for some time to avoid arrest. Film Mera Gaon-42 was also one such patriotic film. Though I have not seen this film, I have seen its photos and comments thereon in Film India issues of 1942. A lot can be guessed from it.

The film was made by laxmi productions, Bombay and was directed by a popular and veteran Bangla director Profull Roy. Music was also by a veteran Bangla composer-K C Dey. Bengal’s respected, popular and skilled actress Chhaya Devi also acted in this Hindi film. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career from silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat Laxmi Pictures, Calcutta.

After New Theatres became well established and made films in Bangla and Hindi competition came up. Calcutta’s New Theatres was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were many Production houses in Calcutta alone. Some of them were- Arora Film Co..,Shri Bharat Laxmi Pictures, Chitramandir RBS Prodn, Dev-Dutt films, East India F.Co., Indua Movietone, Kali Films, Kamala Talkies, Madan Theatres, New Popular Pictures, Moti mahal Theatres, Murli Pictures, Quality Pictures, Radha F.Co., Sonoray Picture Syndicate, Sunrise F.Co., M and S.F.D. Company, and Tollywood studio. ( interesting point is, Bombay film industry came to be known as Bollywood decades after this Calcutta studio-Tollywood- which continued till today for Bangla Film industry). Only few of these were regular film production houses with own facilities. Most others were formed to produce occasional films, using facilities at the regular production houses.

One of the major production house was Bharat Laxmi. Established in 1934 by Babulal Choukhani in Kolkata, Shree Bharat Lakshmi Pictures became a force to reckon with in Bangla cinema and churned out many important productions in the coming two decades. In the very same year, Choukhani sets up Bharat Lakshmi Studio in Tollygunge and gets industry stalwarts like Ahindra Chowdhury, Jahar Ganguly and Dhiraj Bhattacharya to collaborate with him on some major projects of this decade. Prolific, resourceful and immensely enterprising, Shree Bharat Lakshmi Pictures holds a key position in the history of Bangla cinema.

This Bharat Laxmi Pictures had taken Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.

Chhaya Devi, who was a very well known name in Bangal, came to Bombay for this film, only on the special request of Prafull Roy. Same reason for K C Dey also for this film.

Chhaya Devi – one of the greatest actresses to have ever graced the cinema screen. At a time when women were few in acting, this lady dedicated herself wholeheartedly to the art of cinema and music. Quite less is known of Chhaya Devi about her early life.

Chhaya Devi was born in Bhagalpur in the year 1921 in a very educated and aristocrat family. Her father was Haradhan Gangopadhay. Chhaya Devi was known as “Kanak” in her childhood. Chhaya Devi started her primary education in Mikkhoda Girls School of Bhagalpur. Then her father shifted to Delhi. There she was adimitted in the Indraprastha Girls School. As per her family regulations she was married to Buddhadeb Chattopadhay at the age of only 11. In her early years of marriage, she suffered domestic violence from her husband who was the head master at the Zila School in Ranchi. In an effort to escape the torture and lead a more independent life, She came to Kolkata with her father, when she was a student of tenth standard.

In Kolkata she started taking lessons in music from legendary singer Krishna Chandra Dey. She was introduced to Upen Goswami of East India Film Company by her cousin Suresh Chandra. Suresh Chandra was a theatre enthusiast and a close friend to Upen Goswami. East India Film Company engaged Chhaya Devi for their film “Pather Seshe” in lien of a low remuneration of Rs. 750/-. There after Debaki Basu gave her a chance in “Sonar Sangsar”. This film was released in the year 1936 and it brought fame to Chhaya Devi. She then acted in films like “Rajani”, “Chhinna Haar”, “Pratisodh” and Devika Basu directed Hindi film “Bidyapati”. Suddenly she left film acting and went back to Bhopalpur. There she started taking lessons on classical music from Damodar Mishra. She used to sing Khayal and Thumri from Radio Station. She learnt classical dancing from Shanku Maharaj and Bela Aruab. After few years on request of director Sushil Majumdar and others Chhaya Devi again returned to the film industry. She acted in “Abhayer Biye”. She also sang a few songs in that film.She acted on multi-version (Bengali-Hindi-Tamil) film “Ratnadwip”. Apart from Bengali films she simultaneously acted in many Hindi films in this second phase. Her remarkable films were “Dada Thakur”, “Raja Ram Mohon”, “Arogyo Niketan”, “Sapta Padi”, “Apanjan” etc.

Though Chhaya Devi debuted in Bengali movie Sonar Sansar in 1936, she acquired fame for the outstanding acting in the role of Queen Lakshmi in the movie Bidyapati in 1938.From lead female roles in her early days to character roles in her later years, Chhaya Devi had shown her creative ability in acting. In Atal Jaler Ahwan (1962), she stole the heart of the viewers with her soft and loving acting as mother of Soumitra Chatterjee. In Deya Neya (1963) she acted as the helpless mother of the aspirant singer Prashanta (Uttam Kumar). In the movie Saat Pake Badha (1963) she was the heartless, rude and indifferent mother of Suchitra Sen opposing the affair of her daughter with Soumitra. Chhaya Devi played the role of the mother of Uttam Kumar in many films. In Anthony Firingee (1967), Chhaya Devi was mother of Hensman Antony (Uttam Kumar). Apanjan, an outstanding film directed by Tapan Sinha in 1967, which won the National Film Award for Best Feature Film in Bengali, as well as several BFJA Awards, was considered having one of the best of the performances of Chhaya Devi. In Podi Pisir Bormi Bakso (1972), a children’s movie made from a story written by Leela Majumdar and directed by Arundhati Devi, Chhaya Devi played an unforgettable lead comic role of Podi Pisi, the widowed elderly aunt.

Chhaya Devi acted in only 8 Hindi films, namely Vidyapati-37, The Rise-39, Mera Gaon-42, Shri Ramanuj-43. Uttara Abhimanyu-46, Jogi aur Jawani-75, Aalaap-77 and Rang Birangi-83. Chhaya Devi died on 27-4-2001.

The cast of the film was Hansa Wadkar, Chhaya Devi, Jairaj, K C Dey, Majid, Agha, Moti, Kashinath etc. There were 10 songs in the film, all written by Kavi Raghunath Bramhabhatt. Raghunath Brahmbhatt was born on 13-12-1892. He was a famous Gujarati poet and also a popular playwright. He was aptly called ‘Rasakavi’ or ‘Poet of rasa’. He began his career by writing erotic poems that became very popular. His plays mainly tackled mythological and historical subjects, such as Buddhadev i.e. ‘The God Buddha’, Sringi rishi i.e. ‘Mountain Sage’, Ajatsatru, Saraswatichandra, Sneh mudra i.e. ‘Ring of Affection’. He followed Sanskrit dramaturgy i.e. a novelty when Shakespearean adaptations ruled the Gujarati stage. His adaptations of Nanalal Kavi’s verse plays and Govardhanrams novel, Saraswatichandra, were highly appreciated by audiences. He is accepted in literary circles as a major dramatist, a rare recognition for a writer of the old professional theatre. His autobiography Smaran manjari i.e. ‘Cluster of Memories’ in 1955 traces the history of Gujarati theatre over three decades beginning from 1910.

Darpana’s productions of his play Kalyan rajya i.e. ‘Benevolent Kingdom’ in 1962 points to his ability to attract the experimental theatre. Raghunath Brahmbhatt died on 11-7-1983. He wrote lyrics for just 6 Hindi films- Do deewane-36, Baaraat-42, Mera Gaon-42, Ashirwad-43, Bhakta Bilwamangal-48 and Roop sundari-49.

Here is the rare song, sung by K C Dey, an unknown female and chorus.


Song-Nandrani ki kasam, Thakurani ki kasam (Mera Gaaon)(1942) Singers- K C Dey, unknown female voice, Lyrics- Kavi Raghunath Bramhabhatt, MD- K C Dey
chorus

Lyrics

Nandrani ki kasam,
Thakurani ki kasam
kanhaiyya saamne ho
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

bansi ke bajaane
?? ke laal
kanhaiyya saamne ho
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

kahaan se aayi
kaun bulaayi
kahaan se aayi
kaun bulaayi
aa kar raar kyon machaayi
aa kar raar kyon machaayi

jaa re tori chaturaayi ?? re
jaa re tori chaturaayi ?? re
ho
kanhaiyya saamne ho
ho
kanhaiyya saamne

bansuri ?? kanhaayi
kanhaayi
apni baansuri bajaayi
bajaayi
toone ?? karaayi
mohe neend se jagaayi
baansuri ?? kanhaayi
apni baansuri bajaayi
toone murli chalaayi
mohe neend se jagaayi

koi haath ke kangan
aaha
koi haath ke kangan
aha
koi kangan ke ratan
bhool aayi re
gori haath ke kangan
gori haath ke kangan
koi rang ke ratan
bhool aayi re
ho kanhaiyya
saamne ho
kanhaiyya saamne

giridhaari ee ee ee ee
giridhaari natwar shyaam
giridhaari natwar shyaam
har dil mein tera dhaam
har dil mein tera dhaam
hriday kunj mein
mohan teri
murli baje aviraam
hriday kunj mein
mohan teri
murli baje aviraam
giridhaari natwar shyaam
giridhaari natwar shyaam

baja le prem se
ho baja le prem se
baja re prem se
ho baja re prem se
prem ki ye bansari
gopal
baja le prem se
prem ki hai bansari
?? kunj mein gopal baja le
prem se
baja le prem se
ho baja le prem se

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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.

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