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

Posts Tagged ‘Mushtaq Hussain


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?: 4266 Post No.: 15492

Today’s song is from an old film Baghbaan-1938. There was one more film Baghbaan made in 2003, but the story was different. One film having similarity in name was film Baadbaan made in 1954. This too was a different one.

Baghbaan-38 was the first film of A R Kardar as a Director in Bombay, after his very successful foray in to the Calcutta Film world. This film was made by General Films, Bombay.The music was by Mushtaq Hussain, who had a young, ambitious and talented assistant for this film, whose name was Naushad. Yes, he is the same Naushad, who paired with Kardar in later years and gave us unforgettable music from many films.

The name of Music Director Mushtaq Hussain may not be known to today’s music lovers. Mushtaq was famous as a Classical singer and was called a Ustaad. He started giving music to films in 1933. His first film was Aurat ka pyar-33. He gave music to few films only, like Sauteli Maa-35, Balaa ki raat-36, Jaljalaa-36, Bhedi Trishul-38, Baghbaan-38, Pati patni-37, Kanyadaan-40, Baadal-42, Chhed chhad-43, Do or die-44, Daasi ya Maa-46 and his last film was Bombay- 49. After this, perhaps he realised that the public taste was changing and he left films. During the period of 1938, Naushad worked as his assistant in his struggle days and learnt few things.

The cast of the film was Bimla Kumari, B.Nandrekar ( one of the most handsome actors of Hindi films ), Sitara Devi, Yasmin, Putlibai, Ashraf Khan, Lala Yakub, K N Singh, R Wasti and many others. The 11 songs of the film were written by Hafiz Jallundhari and Mirza Musharraf, who wrote with a Pen name of Mirza Shauq. He had also acted in this film as a comedian. His typical style of mixing Urdu dialogues with English words was very popular in those days. Comedian of the 70s-Ram Avtar made his Debut with this film.

The film was a roaring success and brought many lucrative directorial offers to kardar from big banners like Ranjit and Circo etc. This also gave Kardar a confidence that he can himself own and start a studio and production company in Bombay. He had his pioneering small production company in Lahore, but that was for Silent films. Making Talkie films in Bombay was entirely different.

!942 was an year in which many ambitious and talented artistes established their own companies. There was Mehboob Khan, V.Shantaram, Homi Wadia, and the splinter group from Bombay Talkies also established Filmistan company. Abdul Rashid Kardar too plunged into the flowing river and established his own Kardar Studios. His first film was Sharda-42, which released on 23-1-1943. It was a Hit film. That way, Kardar’s life was full of adventures.

Abdul Rashid Kardar (1904–1989), often abbreviated as A.R. Kardar, was an actor and film director/film producer. He is credited as establishing the film industry in the Bhati Gate locality of Lahore, British India (now in Pakistan).

Kardar was born on 11-10-1904 at Lahore in a rich family. He was provided with all facilities and put into a very good school. Kardar was more interested in bunking school and seeing films and dramas than his studies. As a result he failed in his Matriculation examination. By the time he was 18 year old, he came to Bombay in 1922 to join films. He met director Homi Master in Kohinoor film company. With his good looks and good manners, he was employed as an extra, but there was no work. he used to visit the sets where shootings were taking place in the studio. One day the Cameraman Narayan Devre found him meddling in the shoot and he asked the owner Dwarkadas Sampat to throw him out of the company.

Dejected, he returned to Lahore and studied Calligraphy and Painting, in which he soon gained excellence. Kardar started as an arts scholar and a calligraphist making posters for foreign film productions and writing for newspapers of the early 1920s. His work would often lead him to meet filmmakers around India.

In 1924, the first silent film, The Daughters of Today was made and released in Lahore at a time when the city only had nine operational cinema houses. Most of the films shown in theatres in Lahore were either made in Bombay or Calcutta, besides ones made in Hollywood or London. The Daughters of Today was the brain-child of G.K. Mehta, a former officer with the North-Western Railway, who had imported a camera into the country for this very project from London. He asked Kardar to assist him as an assistant director on the project and ended up giving Kardar his début role in his film as an actor. Muhammad Ismail, his friend and fellow calligraphist, accompanied Kardar in the making of the film.

In 1928, with no work left after their maiden venture, Kardar and friend M. Ismail sold their belongings to set up a studio and production company under the name of United Players Corporation, the foundation stone for the film industry in Lahore. After scouting for locations, they settled for their offices to be established at Ravi Road. Although, the dim-lit area presented with much difficulties after the studios were established. Shootings were only possible in the day-light but nevertheless the area had some very important landmarks like the Ravi Forest and the tombs of Mughal emperor Jahangir and his wife Nur Jahan.

It is reported that the team working at the studios would commute on tangas and even lost equipment once while travelling on the bumpy roads on the horse-drawn carriage.However basic and crude their working conditions, Kardar believed in his work and in 1930 he produced the first film under the studio’s banner.

With this film, Husn Ka Daku a.k.a. Mysterious Eagle, Kardar made his first directorial début. He also cast himself as an actor in the male lead opposite Gulzar Begum with Ismail in a supporting role. The film featured an American actor, Iris Crawford, as well. The film had mild success at theatres but prominently established Lahore as a functioning film industry. Kardar vowed on not acting in any other film and instead focusing on direction.

Immediately afterwards the studio released the film Sarfarosh aka Brave Heart, with Gul Hamid playing the lead role with more or less the same cast as in the previous film. This production proved equally appealing but was able to stir noise about this industry in film production circles throughout India. Kardar made 12 silent films at Lahore.

When the Talkie era started, he closed down making silent films and produced his first Talkie film ” Heer Ranjha” in 1932 , with Rafiq Ghaznavi and Miss Anwari in the lead. Ghaznavi was the MD also. The film was a big flop.

Kardar shifted to Calcutta after this; and joined the East India Film Company, where he made about seven films for them. He acted in a costume drama-Aab E Hayat-33, as a Hero. Later he directed 6 films for this company. Almost all films were successful. After the company closed down in 1937 he moved to Bombay and joined Film City (in Tardeo) where he made one film Baaghban-38, for General Films, Bombay. It won the Gohar Gold Medal starring Bimla Kumari, B. Nandrekar and Sitara Devi.

Subsequently he joined Ranjeet Movietone towards the end of 1937 and made only three movies with them. He also made film Pooja-40 for National Studios. From here he moved to Circo Productions Ltd., and made 2 films for them .But just one year later, in 1942, when Circo Productions Ltd. went into liquidation, Kardar bought out the company and started Kardar Productions. In the same compound, he also started Kardar Studios and started making movies under the Kardar Productions banner from 1942 onwards. His first film was Sharda-42, which released on 23-1-1943. Kardar Studios was one of the best equipped studios in those days and also the first to have air-conditioned make up rooms.

In 1946, Kardar gave a commercially successful film with K. L. Saigal and composer Naushad, Shahjehan (1946).Claimed as a “masterpiece”- the film songs became all hits.

Following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. In this connection Journalist and author of several books, Ambarish Mishra writes, ” when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in film industry – which was totally wrong and only a rumour. He wanted to take an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and next day Mehboob also died !

Kardar went back to film making and directed Dard (1947), which starred Suraiya and had music by Naushad. Dillagi (1949), a romantic tragedy, was a commercial success at the box-office. Inspired by Wuthering Heights (1939), Kardar later used the plot in Dil Diya Dard Liya (1966). Dillagi’s music by Naushad became extremely popular, especially Suraiya’s song “Tu Mera Chand”. Dulari (1949) had equally popular music, with a memorable Mohammed Rafi song “Suhani Raat Dhal Chuki”.

Dastan (1950) a tragic melodrama, was inspired from the film Enchantment, and was cited as “one of the biggest commercial hits”. Jadoo (1951) and Deewana (1952) marked the parting of ways between Kardar and Naushad. Dil-E-Nadaan (1953) had popular music by Ghulam Mohammed. He made three more films before starting Dil Diya Dard Liya (1966), which again had music by Naushad. Kardar’s last film was Mere Sartaj (1975)

He introduced many artists to the Hindi film industry who went on to become renowned in their own right, such as Naushad, Majrooh Sultanpuri, Suraiya. The legendary singer Mohammad Rafi got his first hit from the song, ‘Suhani raat dhal chuki’ – from Kardar’s film Dulari. He also started the Kardar-Kolynos Contest, to find new talent and through this contest he discovered and introduced to the industry, Chand Usmani and Mahendra Kapoor.

kardar was popularly called as Miyan ji. He directed in all 37 films in his career. He had acted in one film Aab E Hayat-1933.

Mehboob Khan’s wife Sardar Akhtar was the sister of Bahar, Kardar’s wife. Kardar was the step-brother of Pakistan’s famous cricketer A. H. Kardar (Abdul Hafeez Kardar). Kardar’s marriage to Bahar has an interesting story.

Sardar Akhtar and Bahar were sisters and were singers and dancers in Lahore’s famous Heera Mandi. They were known as Daari and Beharo. Bahar was very good looking. Kardar selected her as a Heroine for his film, opposite himself as a Hero and the shooting started. Kardar fell in her love, but Bahar was guarded closely by her escorts and sister Sardar Akhtar. Kardar was wondering how to go about. He opened his mind to friend M.Ismail. a 6 feet tall,and hefty friend. Ismail went to Bahar’s residence and lifted her on shoulders and brought her to Kardar. They hurriedly got married. Meanwhile Sardar Akhtar came to know this and made a Police complaint. The police came , arrested kardar and all shooting artistes. He spent 2 days in Police custody. Then it was Bahar herself who gave in writing that she was an adult and she married Kardar by her consent only. Kardar and others were released then. Few years later Sardar Akhtar married Mehboob Khan and Kardar became his Co-brother.

Kardar, who lived in Marine Drive, died at the age of 85 years, on 22 November 1989, in Mumbai, Maharashtra.

Kardar supported and helped composer Naushad in his struggling times. Naushad was in a contract with Kardar studio, even when he had become famous, but he never left Kardar on his own. Kardar also took advantage of Naushad. Kardar also helped directors S U Sunny and M Sadiq. Sunny was working as a gatekeeper in Maadan Theatres of Calcutta. That time Kardar took him as an assistant. M.Sadiq’s father was a Tailor and he was looking after Kardar Studio’s costume department. He requested that his son may be taken by Kardar. kardar took him also. Both were initially paid Rs. 300/-. Slowly it became Rs.3000/- and then they learnt the art of direction and became independent.

Film Baghbaan (Gardener, Maali) was slated to be released on 16-7-1938, but just one week prior to its release date , Prabhat Film Company filed a case against film’s hero B Nandrekar and applied for a stay on film’s release. B Nandrekar aka Baba Saheb Nandrekar had acted in Prabhat’s famous film “Sant Tukaram-36″ (Marathi Version. Its Hindi version came only in 1948). That time Prabhat had signed a 3 year contract with him. But after Tukaram, Nandrekar was not given any film, so he acted in film Baghbaan. The case came up in the court on 13-7-1938. His advocates were Jinnah and Setalwad. He won the case and the court refused to give a stay. The case was summarily dismissed. The film released and became a Hit film. Nandrekar was a very popular actor. The chappals he used in film Baghbaan became famous as ” Nandrekar Chappals” and sold hundreds in market.

The story of film Baghbaan -38 was…..

SARUP (Nandrekar) is a disciple of Sadhu Bhagat Ram(Ashraf Khan). One day the Sadhu starts singing a devotional love song, but Sarup, without understanding its real meaning gets lost in thoughts of love. Seeing his condition, the Sadhu sends him to a janmashtami fair. In the fair also Sarup walks thinking about love, not knowing where he is going or what he is doing. The police suspect him, arrest him and he is sent to jail.

In the jail, Sarup is given the gardener’s job at the Superintendent’s bungalow. In one jail riot, he is injured. Seeing this,Durga ( Bimla Kumari),the jail Superintendent’s daughter, along with her friend Shanta(Sitara Devi) takes Sarup inside the house and Dr. Hansraj, father of Shanta is called. On arrival Dr. Hansraj suspects that Sarup is his long lost son, feared drowned, after marriage to Durga. Since then Durga is treated as a widow, but no one knows this. Durga takes care of Sarup, who is now a free man also. Slowly they develop love. The parents of Durga want to remarry Durga to somebody now. Ranjit (Yakub),a spent young man, wants to marry Durga. he spreads the news that Durga is a widow, so that no one will marry her.

As expected his marriage is fixed with Durga, much to the ire of his earlier lover kammo (Yasmin). Durga asks Sarup to go back. Sarup comes to Sadhu Bhagat Ram and tells everything. The Sadhu reveals that actually Sarup is Durga’s long last Husband and son of Dr. Hansraj.

They hurry up to Durga’s house, where the marriage ceremony has started. The Sadhu enters the mandap and utters Bollywood’s famous Dialogue- ” Yeh shaadi nahin ho sakti “. There is a great commotion. Then the Sadhu explains that Sarup is the long lost husband of Durga. As a proof, he produces the locket which Sarup had in his childhood.

Suddenly Kammo enters the mandap and shoots at Ranjit, killing him. She then kills herself also.

The long lost Husband and wife reunite and all are happy !

Today’s song is the 3rd song from this film to appear on this Blog. It is sung by Sitara Devi and Bimla Kumari.

(For this article, information has been culled from ” Music and arts in Hyderabad Deccan”-Kamlakar pasupuleti, ” Ateet ke Sitare’-Nand kishore, “सुंदर ती दुसरी दुनिया ” – Ambarish Mishra, ” Asli nakli chehere’ – Vithal Pandya, wiki, muVyz, HFGK, Film India-Sept-40 issue and my notes. Thanks to all)


Song-Aao mil jul ke (Baaghbaan)(1938) Singers-Sitara Devi, Bimla Kumari, Lyricist- Not mentioned in HFGK, MD- Mushtaq Hussain (Asst-Naushad )

Lyrics

Aao gale mil ke
Aao gale mil ke
jhoolen
padat phuhaar sajani ee ee
ae aao mil jul ke
aao mil jul ke
lotten fasle bahaar sajani ee ee
ae aao mil jul ke ae
aao mil jul ke

rut barsaat ki
rut barsaat ki re
rut barsaat ki
aayi ?? malhaar sajani
ae ae
kaali kaali badali ye
kaali kaali badali
chaaayi man mein ?? sajani
piya bina naahin re
piya bina naahin

?? zulfon ka ?? sajani
ae ae
piyaa binaa naahin te
piyaa bina naahin

jiya lalchaave
jiya lalchaave ae
jiya lalchaave ae
jiya lalchaave ae
jiya lalchaave
ke jiya lalchaave
?? charan piya sajani
ae ae
jiya lalchaave te
jiya lalchaave

man mandir mein ae
man mandir mein ae
man mandir mein ae
man mandir mein ae
man mandir mein
ke man mandir mein
aao karo upkaar sajani
ae ae
aao gale mil ke
aao gale mil ke
jhoole padat phuhaar sajani
ae ae
aao mil jul ke te
aao mil jul ke
looten fasl e bahaar sajani
ae ae
aao mil jul ke
aao mil jul ke


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 : 3558 Post No. : 14269

Today’s song is from the film Baadal-1942. The film was made by Eastern Pictures, Bombay. It was directed by Zahoor Raja. It had music by Mushtaq Hussain.

Zahoor Raja made his debut as a Director with Baadal-42. besides directing the film, Zahoor did the main Hero’s role and also sang 6 of the 11 songs that the film had.

Though the film was not successful at the Box office, Zahoor’s direction attracted the attention of critics. Seven of the 11 songs were written by Lyricist Tanveer Naqvi, and remaining 4 were penned by Shamim Bhairavi.

Tanveer Naqvi was born on 6-2-1919 in Lahore. His real name was Syed Khurshid Ali. After his education, he came to Bombay and met Abdul Rasheed Kardar- who at that time was making the film Swami-1941. Tanveer was given an opportunity and he wrote just one song which was composed by Rafiq Ghaznavi. However, when Kardar directed “Nai Duniya”-42, for CIRCO, Tanveer wrote 9 out of 11 songs for this film. Naushad was the composer. His songs included the famous Debut song of Baby Suraiya, ” Boot karoon main polish, babu….”

Tanveer’s best period was 1946-47, when he wrote for block busters like Anmol Ghadi, Jugnu and Nadaan-48. He was on top amongst Lyricists, but he chose to migrate to Pakistan after one more film, ” Parda”-49. For next 4-5 years he struggled in the Pak film inductry and then came back to India in 1954 and started writing songs till “Zameen ke taare”-60. Then he went back to Pakistan for good. There he wrote songs in Urdu and Punjabi films till 1971. he died at Lahore on 1-11-1972.

In India, he wrote 224 songs in 48 films.

The Music Director for Baadal was Mushtaq Hussain. This name may not be known to today’s music lovers. Mushtaq was famous as a Classical singer and was called a Ustaad. He started giving music to films in 1933. His first film was Aurat ka pyar-33. he gave music to few films only like Sauteli Maa-35, Balaa ki raat-36, Jaljalaa-36, Bhedi Trishul-38, Baghbaan-38, Pati patni-37, Kanyadaan-40, Baadal-42, Chhed chhad-43, Do ro die-44, Daasi ya maa-46 and his last film was Bombay 49. After this perhaps he realised that the public taste was changing and he left films. During the period of 1938, Naushad worked as his assistant in his struggle days and learnt few things.

The cast of film Baadal-42 was Zahoor Raja, Radha Rani, Urmila, A.R.Pehelwan, S.nazir, Radha kishen ( who left Prabhat after Padosi) etc.etc.

ZAHOOR RAJA (Born 7 July 1918 Abbottabad – Died 1992 England) Pre Partition Hindi/Urdu Film Actor, Producer, Director, Editor, Writer, Singer, Lyricist & Music Composer. He graduated from editing and story writing to become a producer-director in 1943.

Zahoor Raja was born in a wealthy family in Abbottabad, Pakistan. After schooling , he studied BA from Rawalpindi but could not complete his graduation as he was more interested in sports than in studies. His father, a Police Inspector, was keen in admitting him in Dehradun for a career in the army. But he ran away from home and landed in Bombay with a letter of introduction to Film maker A R Kardar. Since he was very handsome and well built man, getting into the Bombay film industry was not difficult. At that time, Kardar was directing ‘Mirza Sahiban’ (1939) for Ranjit Movietone and . Kardar took Zahoor Raja in the film. Within a year after the release of the film, V Shantaram invited him to join Prabhat Films and was taken on a contract of 3 years. His association with V Shantaram was not beneficial and he did not get much work. Kardar once again came to his rescue and got him employed in National Studios and got him a role in ‘Pooja’ (1940). Thereafter, he got a role in Minerva Moveitone’s ‘Sikandar’ (1941). During the making of the film ‘Sikandar’ (1941), he fell in love with his co-star Meena (Meena Shourie) and married her. The marriage did not last long and Meena later married another handsome actor, Al Nasir in the mid 1940s.

Zahoor Raja later worked as a Hero in ‘Sewa’ (1941). During this time, while looking for a change from his acting career, he got a chance to direct the film ‘Badal’ (1942) produced under Eastern Pictures where he also acted in the lead role. Though the film failed at the box office, his direction was appreciated by the critics. In 1943, he floated his own film production company, Raja Movietone and made its maiden film ‘Mazaq’ (1943) which he also directed, acted in a negative role and composed its music. His banner produced ‘O Panchhi’ (1944), ‘Ghazal’ (1945) and ‘Dhadkan’ (1946). In most of the films in which he acted, Zahoor Raja was paired with Radha Rani. He also sang the song ‘Bhulaane waale hamen bhi na yaad aaya karo’ along with Naseem Akhthar in the Movie ‘Ghazal’ (1945) composed by Gyan Dutt. His last Movie in India before moving to Pakistan was ‘Anmol Ghadi’ (1946)

After partition, Zahoor Raja returned to Pakistan in 1950 and he was active in Pakistani film industry until 1966. After 1966, he migrated to England, married an English lady and later died in 1992 in England.

Hindi film industry is full of ‘Same Name Confusions’ cases, especially for the decades of the 30s and the 40s. The Heroine of this film-Radharani was also one such case. There were two actresses, with same name and same active period. One was from Bombay and the other was from Calcutta. In film Baadal, Bombaywali Radharani had acted.

She was the daughter of a Military Officer. Born at Quetta, Baluchistan, in or around 1920-21, she had a British father and Indian mother. She had total Indian looks. Her initial education and schooling was done in Bombay. She became an expert in Horse Riding, swimming, cycling, driving and skating. She was very beautiful and attractive. At the age 15, she looked quite grown up with distinct features. While in school final itself, she got offers from films. Her first film was Romantic India-36. Being an expert singer, she started singing in films. Next she acted in Badhe Chalo-37.

She was called to Calcutta to act in film ‘ Swaraj ke Sipahi ‘-37. From Calcutta, she went to Madras to do a role in a Telugu film ‘ Bhakta Jaidev ‘-38. Returning to Bombay, Radha Rani acted in Sunehra Baal-38 and then joined Wadia movietone. Here she did 7 stunt/action films.

After this she became a freelancer and acted in 18 more films of different banners. She also acted in Punjabi film ‘ Kurmai’-41. Her achievements in films were amazing. Stepping directly from school classroom onto the Silver screen, in her first 5 years of career itself, she had bagged 15 feature films. This was mainly due to to her striking screen beauty, linguistic dexterity and histrionic versatility. She was a consummate actress, singer and dancer. She was very fond of reading English literature and would spend time reading books during shooting breaks.

She made a good pair with actor Zahoor Raja in 8 films. She acted in 3 films of his production company and in film Badal-42, he directed her. her last film was Rasilee-46. After this film she got married and went to England.

Filmography- Romantic India-36, Badhe Chalo-37, Swaraj ke sipahi-37, Bhakta Jaydev-38(Telugu), Sunehra Baal-38, kahan hai manzil teri-39, Hind ka lal-40, Diamond queen-40, Jai swadesh-40, Bambaiwali-41, Manthan-41, Safed sawar-41, Seedha Rasta-41, Darpan-41, Kurmai-41(Punjabi), Swami-41, Badal-42, Motorwali-42, Sewa-42, Suhagan-42, Jungle Princess-42, Mazaq-43, Mr.Jhatpat-43, Paraya Dhan-43, Sawal-43, Bhai-43, O Panchhi-44, Ghazal-45, Laaj-46 and Rasilee-46.

An interesting thing about the film title Baadal is that there were films made with this Title 5 times. The first time was in 1942 ( today’s film), then it was made in 1951, 1966, 1985, and in the year 2000. I have not seen this film Baadal-42, but from whatever I read in Film India about this film, it was a social film with a novel theme. As the film’s review was not available,I can not guess what the novelty was in the film story. However, in spite of very flattering, encouraging and excellent comments in the magazine, the film was not successful at all. After this debacle, Zahoor Raja floated his own company Raja Cinetone and made a few films, before migrating to Pakistan.

( Thanks for information used from Dhunon ki yatra, Hindi filmon ke geetkar, pakmag.com, HFGK and my notes )

Film Baadal-42 makes its debut on this Blog with this song.


Song-Aao chalen us paar (Baadal)(1942) Singers-Amirbai Karnataki, Zahoor Raja, Lyrics-Tanveer Naqvi, MD-Mushtaq Hussain
Amirbai Karnataki + Zahoor Raja
Amirbai Karnataki + Chorus
Amirbai Karnataki + Zahoor Raja +Chorus

Lyrics

aao chalen us paar
aao chalen us paar
aao chalen us paar
khevaiyya
khevaiyya

jahaan hawaa matwaali ban kar
gaati raag malhaar
neelam ka aakaash mahal ho
neelam ka aakaash mahal ho
aur taaron ki chahal pahal ho

chandralok mein chal kar dekhen
pariyon ka singaar
pariyon ka singaar
pariyon ka singaar
khevaiyya
khevaiyya

thehro
thehro
thehro thehro jaane waalon
jaana hai bekaar
jaana hai bekaar
pal pal dol rahi hai naiyya aa aa
padi huyi manjhdhaar
padi huyi manjhdhaar
?? ki maari ??
sata rahi hai aas
aao un ko jeewan de den
taras rahen mohtaaj
taras rahen mohtaaj

hansi khushi is paar chhod kar
sab jaayen us paar
sab jaayen us paar
sab jaayen us paar
khevaiyya
khevaiyya

andhe ko aankhen din tumne
bada kiya upkaar

bada kiya upkaar
ek jhande ke neeche ham sab
chalne ko taiyyaar

chalne ko taiyyaar
chalne ko taiyyaar
khevaiyya
khevaiyya
aao chalen us paar
aao chalen us paar
aao chalen us paar
aao chalen us paaaar


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.

What is common among Sulochana (real name: Ruby Mayer), Rose (Rose Musleah), Pramila (Easther Victoria Abraham), Sabita Devi (Iris Gasper) and Ramola Devi (Rachel Cohen)?

They all were Jews (almost all of them being Baghdadi Jews) hailing from Calcutta (Kolkata) and were star actresses in Hindi films during 1930s and 40s. Barring Ramola Devi, all of them started their filmy career with silent films. It is surprising that those days when oriental women were mostly relegated to the four walls of their homes, how these Baghdadi Jew actresses found their way to the film industry which was not regarded as a respectable profession even in their Middle-East culture. To understand this, it is necessary to go into the genesis of Baghdadi Jews in India.
Read more on this topic…


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.

“Sultaana”(1934) was directed by A R Kardar for “East India Film Company”. This by now forgotten movie had Mazhar Khan, Zarina, Indubala, Nazir, Gul Hameed etc in it.
Read more on this topic…


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.

While at school, he was nicknamed ‘Matinee Show’ by his classmates. And here is why. One or more times a week, he would play truant from his home. Climbing down from his first floor room, after he had been sent to bed, and the rest of the family was asleep or getting ready to sleep. He would make a beeline to a nearby cinema theatre, and watch the night shows of the films then currently showing. Sometimes it would also be films from Hollywood. The next day at school, he regaled his classmates with the stories of the films he saw. And not just simply the stories, he would play act some of the scenes to the delight of his friends. And so they nicknamed him ‘Matinee Show’.

This young boy went on to become one of leading producer-director in the Hindi film industry.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Baaghbaan means Baghwaan or a Gardener, one who tends the Gardens. To most readers, the name will remind of a film of same name, released in 2003.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie and a regular contributor to this blog.

A few months back, I came across a thumri ‘ro ro nain gawaaun sajanwaa aan milo’ sung by Ashraf Khan. I liked this thumri and assumed it to be a traditional thumri bandish rather than from a Hindi film. I marked it in my play list and forgot about it. It was only when I read an article on actor-singer Ashraf Khan written by Arun Kumar Deshmukh as part of a series of his articles on some lesser known singers for this blog that I realised that the thumri sung by Ashraf Khan which I referred to earlier was in fact a thumri based song from the film ‘Baaghbaan’ (1938).
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“Sultaana” (1934) is one of the earliest Hindi movies. It was producer under the banner of “East India Film Company”. A R Kardar was the director. This by now forgotten movie had Mazhar Khan, Zarina, Indubala, Nazir, Gul Hameed etc in it.
Read more on this topic…


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 more than 15500 song posts by now.

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

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(© 2008 - 2020) 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.

Total number of songs posts discussed

15505

Number of movies covered in the blog

Movies with all their songs covered =1195
Total Number of movies covered =4273

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Active for more than 4000 days.

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