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

Posts Tagged ‘Nazim Panipati


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 :

4967 Post No. : 16838

Today’s song is from the film Sahara-1943 – an almost 80 year old one !

Whenever I rummage through the pages of HFGK issues of the 30’s to 50’s for something,I see a lot of names of actors, actresses, directors, Lyricists, singers and composers. I find that names which are prolific in the beginning became rare and then disappeared. Like waves in the sea, artistes appear and disappear from time to time. Very few artistes have a longer career of more than 25 years. Similarly, some artistes have a very short career, say of just 3 or 4 films.

One type of artistes are those who join the industry and continue to work till they can work ,in different capacities like Heroes, side heroes, character artistes and finally as extras. Actors like Master Nissar, Master Shiraz, Parshuram, Sunder, Sajjan, Bharat Bhushan etc come in this category.

Another category is of those who leave the films and go back to their earlier vocations or fulfil their other ambitions. Artistes like Moti, B.A.-Lyricist, Laxmi Shankar, S D Batish, actor Arjun Bakshi,Child actor Shashi Kapur Sr., Child actor singer Ram marathe, Firoze Dastoor etc. fall in this category.

Yet another group consists of actresses or singers who stop working after they get married, as if that was their final goal in life. Artistes like Lalita Deulkar, Smriti Biswas, Nalini Tarkhud, Sardar Akhtar, Gohar Mamajiwala, Mehtab etc can be counted in this group.

Lastly there is a group of actresses-famous and popular- who actually joined films directly as Heroines only after they were already married and what’s more this fact was not hidden. Offhand I can name few such actresses – Nirupa Roy, Meenakshi Shirodkar, Renuka Devi, Shobhana Samarth, Neena etc. come in this category.

Until about 1950 or so, many of those who joined films were not much educated. In fact we have examples like Meena Shorey who was so illiterate that she could not even sign her name in any language, forget about reading,writing or speaking English. Similarly, singer Sitara kanpuri was also totally illiterate. Therefore a highly qualified educated person joining the films was unimaginable. In such times both the Hero and Heroineof film Sahara-1943 were the most educated, polished and from highly respected families. This itself was a wonder.

Heroine Renuka Devi, in first place she was already married before joining the film line and additionally, she was M.A.in English Literature from Aligarh University. The Hero-S.D.narang – was B.Sc., M.B.B.S., Ph.D, a research scholar and an author of 2 books. All this before joining the film line. Other such examples I remember now are actress Vanmala who was B.A.,B.T. and actor Ranjan who was a Ph.D and a fellow of New York university….before joining films.

While Renuka Devi kept her film career limited to only 9 films (1937 to 1947), Dr. Narang continued in films till his last days. Renuka Devi returned to continue as a Housewife-away from films. She engaged herself in Social work, was on TV talk shows in Pakistan and also wrote her autobiography in English.

It is unbelievable that people like Dr. S D Narang ever worked in the film industry. here in his short Bio for our New readers….

Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918,at Lyallpur,Punjab. He studied hard and got high education.First he did B.Sc., then completed M.B.B.S. and became a Medical Doctor. Later he submitted a Thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living,but he chose to join the uncertain Film World. True to his wont,he succeeded here too and became a Hero,Producer,Director,Studio owner , a Lyricist and a writer.

Yes, in the early era of the late 30s,when educated people were a rarity,this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, S.D.Narang.(18-6-1918 to 25-1-1986 ). Here are some highlights of his life,adapted from the site sdnarangsfan.com…With thanks.

1. During his life, from 1918 to 1986, he served the Indian Film Industry, at three Capitals of this industry, Lahore (1936 to 1946), Calcutta (l947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and Studio owner.

2. He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.

3. He had the credit of being the debut making leading man of ‘ Khazanchi’ which was The First Indian Film to celebrate the Platinum Jubilee.

4. He was the youngest leading man in Lahore, who played the lead in Khazanchi, Ravi Paar, Zamindar, Patwari, Gawandhi,Thekedar, Sahara,Yeh Hai Zindagi (his first venture as producer-director) and Kamini.

5. In Calcutta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced Nai Bhabhi, Ek Raat, Aparajitha, and Chiner Putul and also played the leading roles in these films. Apart from his own movies, he played the lead in Iran Ki Ek Raat and Kajari,which were produced by outside producers.

6. After partition, he had to leave Lahore, like a Refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and Studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city and entered the City of Dreams and the capital of Entertainment, Bombay, in 1952.

7. Being a passionate movie maker, Dr. S. D. Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself to the silver screen. Once again he arose alive from his own ashes, like a Phoenix.

8. He made his presence felt in a big way in the big City of Bombay. He produced and directed many films with big stars. In Tanhai and Darban he played the leading role himself. Some of the important films produced by him in Mumbai include, Arab Ka Saudagar, Yahudi Ki Ladki, Dilli Ka Thug, Sagai, Babul Ki Kaliyan, Do Thug, Ram Kasam, College Girl, Do Ustad, Kismatwala and Nishanebaaz. He had also produced Shehnai, which was India’s First Air-Force Film.

9. He was also the producer of Bombay Ka Chor, which was India’s First ‘Holiday-on-Ice’ movie.

10. He has also the credit of producing India’s First Under-water-movie, ‘Anmol Moti’ Jeetendra and Babita starrer.

11. The movie maker with Midas touch, Dr. S. D. Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen.(1936-86). He acted in 7 films and directed 14 Hindi films.

12, Before venturing into the film industry as the leading man, S. D. Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of medicines.

13, Apart from being the author of a novel ‘Hippy Aur Yogi’ and ‘Human Psychology’, he had written a most praiseworthy book, ‘An Introduction To The Theory Of ‘Bio-Economics. It was actually a new approach to diagnosis and cure of Inflation and poverty. If applied to the present Global financial crisis, it can change the face of the fiscal fate of the World.

14. In 1960 he got married to actress of his time Smriti Biswas,with whom he had played the lead in many films. After her marriage she stopped signing new films, and decided to play the roles of faithful wife and caring mother. Still she prefers to prepare food for her beloved sons Rajiv Narang and Satyajeet Narang.

Today’s song is sung by Zeenat Begum and an unknown male singer. It seems to be a funny song. Written by lyricist Nazim Panipati ( brother of Producer,Director and Lyricist author Wali Saheb- who was the husband of actress Mumtaz Shanti), it was musically composed by Music Director Pt. Govind Ram. This rare song was given to me by my friend from the US- Abhay Jain and uploaded by our Sadanand ji Kamath. Thanks to both.


Song- Main to lahenga nahin pahnoon (Sahaara)(1943) Singers- Zeenat Begum, Unknown male voice, Lyricist- Nazim Panipati, MD- Pt. Gobind Ram

Lyrics

Main to lehenga nahin een pehnoon
Main to lehenga nahin pehnoon
koi haaye laa de makhmal ki salwaar
o sainyya laade makhmal ki salwaar
o raaja
main to lahanga nahin pehnoon

?? waali
lehanga pahani
?? waali
lehanga pahani
tu isse bejaar

haan haan main isse bejaar
laa de makhmal ki salwaar
o sainyya laa de makhmal ki salwaar
o balma

mohe lahanga raas na aaye
mohe lahanga raas na aaye
dekh kamariya lachki jaaye
mohe lahanga raas na aaye
dekh kamariya lachki jaaye
ise pahan kar gir gir jaaun
sun o makkhi-maar
o
ise pahan kar gir gir jaaun
sun o makkhi-maar
sab dukaanen band padi hain
aaj to hai itwaar
sab dukaanen band padi hain
aaj to hai itwaar

kab laa doge tum
parson
arre bhaad mein jaaye parson warson
makhmal laa de kal ya parson
bade saab se tankha lekar
laa doonga sarkaar
bade saab se tankha lekar
laa doonga sarkaar

pehnoon makhmal ki salwaar
o sainyya
pehnoon makhmal ki salwaar
o raaja
main to lahanga nahin pahnoon
main to lahanga nahin pahnoon


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 :

4795 Post No. : 16555

Today’s song is from the film Actor-1951.

Four songs of this film are already discussed here, however I liked this funny song, so I selected this song for today’s post. The film made under the banner of Sarosh Pictures, Bombay was produced by H.M.Kerawala and Bhojani. The film was directed by Ramjibhai Arya. He came to Talkie films from silent films. After working as an assistant to a few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.

The music was by Aziz Khan and Ibrahim. In my last post, I had given Asha Bhosle’s song from the film ‘ Andhon ki Duniya’-1947 as an example how the film industry history adapts itself to make corrections in its earlier information. By sheer coincidence, even in this post also a film industry history adaptation example is present.

Ibrahim, the joint MD in this film as well as two other films- Utho Jaago-1947 and Bachelor Husband-1950 was considered to be the brother of Ghulam Mohd. MD. This Ibrahim worked as assistant to Naushad for a long time, after Ghulam Mohd. expired. For many years these 3 films were credited to his name. Even author Pankaj Raag, in his book ” Dhunon ki Yatra’ Mentioned the same thing.

However while working on the book on the Clarinet Expert Master Ibrahim, Dr. Surjit Singh ji had interviewed Iqbal Ajmeri-Master Ibrahim’s son, who had confirmed that the MD for these 3 films was Master Ibrahim and not Ibrahim, brother of Ghulam Mohd. After reading this in that book, just to confirm this, I wrote to shri Harmandir Hamraaz ji about my doubt. He promptly replied that he too had met and interviewed Iqbal Ajmeri- who was an expert in Music history of the Hindi films, had also confirmed that these films had music by Master Ibrahim only. Thus, one more correction in the history pages !

A lot has been written about Aziz khan on this Blog, by me as well as Sadanand Kamath ji, so I will not go into that again here. Instead, here is a note on Master Ibrahim, the expert Clarinet player who was the joint MD for today’s film.

Film critics and those who wrote in glossy magazines ignored stunt and action films, but a certain portion of the Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this type of film was also one such person – Master Ibrahim, who did only 2 films as independent MD. He, however, gave music, along with Aziz Khan to film “ Utho Jaago-1947″, Bachelor Husband-1950 with Sarswati Devi and film Actor-1951, with Aziz Hindi. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Ragas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played the Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnai etc is remembered even today. Every year Radio Ceylon pays tributes to him on his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphones. Its use is very frequent in films nowadays.

Recently, Dr.Surjit Singh ji has published an exclusive book on Master ibrahim.

( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The cast of the film Actor-51 was Ramola, Bhagwan, Indumati, Sundar, Murad,Sulochana Cuckoo and many others. It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost the same story and Bhagwan was the Hero in all 3 films – Actor-51, Damad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.

Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on the next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.

Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no mainstream Heroine was ready to work in his film and he could not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !

The Lyricist of all the 10 songs was Nazim Panipati, who was the brother of Wali Saheb, a producer and Director of the 40’s. Wali Saheb was the husband of actress Mumtaz Shanti. They both migrated to Pakistan, but Nazim Panipati stayed in India. In the cast one name Indumati is there. This is a less known name for most readers, I feel. INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.

Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.

Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.

While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), Actor-(1951), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.

Today’s song is a good one, sung by Sulochana Kadam and Chorus.


Song-Kalkatte se aaya jahaaz haay sakhi mere balam nahin aaye re (Actor)(1951) Singer- Sulochana Kadam, Lyricist- Nazim Panipati, MD- Aziz Hindi and Ibrahim
Chorus

Lyrics

kalkatte se
ae ji
kalkatte se aaya jahaaz
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

sabke balam aaye
mere na aaye
mere na aaye
ek ek se poochha sakhi
koi na bataaye
koi na bataaye
? ho ae ji
? ho mere mijaaz(?)
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

baalam jo aate to laate wo mundri
laate wo mundri
baalam jo aate to laate wo mundri
laate wo mundri
aur saath laate wo resham ki chundri
haaye resham ki chundri
mujhe sakhiyon mein
ae ji mujhe sakhiyon mein aati hai laaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kaise bhulaaungi kaise bhulaaaungi
main unke gham ko
haaye main unke gham ko
mere dil pe hai
ae ji mere dil pe hai beeta hai aaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se
ae ji kalkatte se aaya jahaaz


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 :

4715 Post No. : 16421

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 26
———————————————————————————–

This date ten years ago (15 June 2011) was a normal day for the blog when six songs from six different movies were were covered in the blog. Here are the details of the six songs that were covered on this day ten years ago:-

Blog post number Song Movie (Year) Remarks
4001 Dil neeke beete jaate hain Pooran Bhagat(1933) 6 songs so far covered out of 20
4002 Waah ri duniyaa waah re zamaane Grihasthhi(1948) 6 songs covered out of 8 by now
4003 Ae ishq hamen barbaad na kar Naach(1949) 9 songs covered out of 11 by now
4004 Thandi thandi hawaa jo aaye Sunehre Din(1949) 7 songs covered out of 10 by now
4005 Tum dekh rahe ho ke mite saare sahaare Sheesh Mahal(1950) All 9 songs covered. Movie YIPPEED
4006 Yahaan raat kisi ki rotey katey Jai Bhawaani(1961) 4 songs covered out of 8 by now

As many as five movies (out of six) are eligible for blog ten year challenge today on 15 June 2021.

“Naach”(1949) is one of the five eligible movies.

“Naach”(1949) was produced by Kuldeep Sehgal and directed by Ravibndra Dave for Kuldeep pictures, Bombay. The movie had Suraiyya, Shyam, Wasti, Om Prakash, Kuldip Kaur, Raj Mehra, Gulab, Yashodhara Katju, Sofia, Shyama, Urvashi, Sewak etc in it.

The movie had 11 songs in it. Nine songs have been covered in the past.

Today, as blog ten year chaallenge, here is the tenth song from “Naach”(1949) to appear in the blog. This song is sung by Zohrabai Ambalewaali, Shamshad Begam and Rafi. Nazim Panipati is the lyricist. Music is composed by Husnlal Bhagatram.

The two female singers sing together throughout the song and they never sing alone.

Only the audio of the song is available. I request iur knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.
With this song, Husnlal Bhagatram complete 300 songs in the blog as music directors.


Song-Namaste jee namaste jee (Naach)(1949) Singers-Rafi, Zohrabai Ambalewaali, Shamshad Begam, Lyrics-Nazim Panipati, MD-Husnlal Bhagatram
Rafi + Zohrabai Ambalewaali + Shamshad Begam

Lyrics(Provided by Prakashchandra)

namastejee namastejee
namastejee namastejee
hamraa tumhraa jeevan beetey
hamraa tumhraa jeevan beetey
hanstey hanstey jee
namastejee namastejee
namastejee namastejee..eee

subah se shaam tak
kyun gair ki galiyon mein rehte ho o o
khafa hotey hain jab hum phir
namastey hamko kehte ho
tumhaarey raaj mein kya hum
rahengey bas yoon rastey mein

namastejee namastejee
namastejee namastejee
hamraa tumhraa jeevan beetey
hamraa tumhraa jeevan beetey
hanstey hanstey jee
namastejee namastejee
namastejee namastejee…eeee

hamaarey dil ke kamarey mein
phataaphat aake bas jaao o
naheen is dil ki kuchch pagdi
chaley aao chaley aao
khulee hai dil ki building
saikadon hain isske raste jee
namastejee namastejee
namastejee namastejee
hamraa tumhra jeevan beetey
hamraa tumhra jeevan beetey
hanstey hanstey jee
namastejee namastejee
namastejee namastejee ..eee

mangaa do aaj hi maathey ka jhoomar hamko dehli se
mangaa do haar soney ka hamein phauran bareilly se

hai dekho kitni mehangaayee
hai dekho kitni mehangaayee
magar zevar hain sastey jee
namastejee namastejee
namastejee namastejee
hamraa tumhra jeevan beetey
hamraa tumhra jeevan beetey
hanstey hanstey jee
namastejee namastejee
namastejee namastejee eeee


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 :

4506 Post No. : 16048

Today (18 November 2020) has got to be an important day in the calendar of Hindi Film Song lovers, especially those who are interested in the history of HFM and its artists. It was on this day 69 years ago that Harmandir Singh Hamraaz, the man behind Hindi Film Geet Kosh (HFGK) was born on 18 November 1951.

We in this blog are very familiar with Mr Harmandir Singh Hamraaz. The fact that we now have the details of almost all Hindi movies and their songs from 1931 till 1985 is something that we take for granted today. But that was not always the case. When we were growing up, there was no authentic record like HFGK those days. Hearsay ruled the roost. Artists claimed to have sung tens of thousands of songs. Their words were accepted and even included in publications such as Guinness Books of world records.

We lived in an era before internet and even TV. Information on any subject was difficult to obtain, so any information was like gold dust. Today we are upto date on informations pertaining to election results, sporting events results etc, but that was not the case till 1970s. I was a cricket enthusiast, but I often learnt about the results of cricket matches after several days, and sometimes even after weeks.

Information about Hindi movie songs was entirely dependent upon access to its record, or depended on the announcement made about the song on radio station. There were many Hindi movie music fans who were into noting down lyrics of songs. I was among them. I needed to listen to the lyrics of a song quite a few times on radio before I managed to get the lyrics correct. I would then note the lyrics down in a diary. Alongwith the lyrics, details about singers, lyricist and music director were also noted down, as announced on radio stations broadcasting these songs.

That diary had about 200 such lyrics. During those days (1970s), I had no idea how many songs of interest were there in Hindi movies. I was not alone, no one else was any wiser. In any case, I was only interested in new songs, recorded after 1970s. Older songs (any song prior to 1967) were “boring” to my mind. Singers like K L Saigal were objects of mirth for teenagers and pre teens like us, who wondered why these old timers could not sing like Kishore Kumar.

It was in 1980 that the first volume of HFGK (chronologically the third volume, namely volume III- dealing with songs of the third decade- 1951 to 1960) was published. It was published without any fanfare. It was followed by volume II (songs from 1941 to 1950)in 1984, volume IV (1961 to 1970) in 1986 and volume I (1931 to 1940)in 1988. Volume V (1971 to 1980) was released in 1991. All these were accompanied by functions graced by film personalities.

After a long wait of 18 years, volume VI (1980 to 1985) was published on 14 march 2018.

These compilations were authentic because the number of movies released were taken from authorised sources. Movies in India could only be released after obtaining censor certificate, and these censor offices had the list of movies censored by them. Number of songs available in these movies were taken from movie booklets, catalogues of record companies etc.

Collecting information contained in these volumes and presenting them in book form, and finally getting them printed and published had been a Herculean task. Harmandir Singh Hamraaz was doing something which was never done before. And he was doing it in a country where there is not much appreciation for this kind of work, no matter if it rewrote Hindi Film music history. In India, people do not buy even normal books and magazines, so it was not very likely that most “music lovers” would buy such volumimous books on a topic that is clearly a non best seller. Forget selling these books, there were no takers for publishing these books either. Finally Harmandir Singh Hamraaz had to publish these volumes himself. The responsibility of publishing Volume III in 1980 was taken up my Mr Harmandir Singh Hamraaz’s father.

Harmandir Singh Hamraaz got married only after he had seen the publication of volume III in 1980. His wife has been the publisher of the subsequent volumes of HFGK.

People today cannot imagine the influence of HFGK on our knowledge of HFM. When people went through the contents of the HFGK, they realised that only about 44,000 songs were created in Hindi movies from 1931 to 1980. Only around 25000 songs were created between 1945 and 1975. And we had two playback legends claiming to have sung 25000 and 28000 songs respectively during this period ! On counting their songs, it turned out that their actual count was in the region of 5000 songs each.

Even less prolific singers were supposed to have sung thousands of songs in the pre HFGK days. Influenced by HFGK, Mukesh Geet Kosh was published and it turned out that Mukesh had sung less than 1000 songs in Hindi movies. Mukesh fans were quite unhappy with Harish Raghuvanshi jee, a major contributor of HFGK and the author of Mukesh Geet kosh. 🙂

A blog like ours cannot be imagined in its present form if we did not have HFGK available to us. Thanks of HFGK, we can accurately gauge the progress of the blog on a regular basis. For instance, HFGK volume III tells us that the decade of 1950s (1951 to 1960) had 1160 movies and about 9000 songs. The blog today has 5099 songs from 1007 movies from this decade. Based on information from HFGK, we know when we cover all the songs of a movie. We know for sure that 384 of these 1007 movies have been YIPPEED. So we only need to look at the songs of 1007-348= 659 movies plus the 153 missing movies. So we know for sure that a little under 4000 songs from this decade are yet to be covered. Not every song will be available. yet that gives us an idea which movies and which songs to search for.

That is not all. HFGK also tells us about our progress in covering songs of a particular year, a particular artist etc. Thanks to the information contained in various volumes of HFGK, now we can say with confidence that we have less than 100 songs each to be covered for artists like S D Burman, Naushad, O P Nayyar, Roshan, Shailendra etc. We can confidently state that the year 1968 saw 458 songs created in 72 movies and that the blog has 313 of these songs (from 68 movies). So we are just 145 songs short of covering all the songs of the year 1968.

One can say that HGFK has opened an entirely new dimension for Hindi Film music lovers to explore and savour. With advent of time, Internet has happened which has made it very easy for people to collaborate online. Harmandir Singh jee left us the treasure of HFGK. Now we can go through its contents and seek to search for songs and movies that we may not otherwise be aware of.

He compiled HFGK in an era before computers and internet. Today, equipped with them, we can use the data contained in HFGK and gain valuable insight into HFM. In a way, we and others like us are reaping the rewards of HFGK. We in this blog are in a way trying to take the next step, namely trying and locating all the songs mentioned in HFGK, and gaining information that was not available at the time HFGK got compiled.

While Harmandir Singh Hamraaz is well known among hardcore HFM historians, he is not known among casual music lovers and definitely not in government circles. He deserves government recognition for his Herculean task. He should have been awarded Padmshree for his contributions. As fas as I know, these awards are accorded only if someone gives nomination. In most cases, the persons themselves send their own nominations. Knowing important persons in the Government also helps. It is clear that a self respecting person like Har Mandir Singh jee will not send his own nomination. I think some hardcore HFM lovers should take the lead and send his name for Padmshree. He richly deserves this honour.

On this occasion, here is a song from “Laadli”(1949). This movie, HFGK part II tells us, is directed by J P Advani for Variety Pictures, Bombay. This “social” movie had Sulochana Chatterjee, Jairaj, Kuldeep, Sulochana (senior), Ramesh Sinha, Shivnath Seth, Pt Iqbal, Narbada Shankar, Urvashi, Shivji, Randheer etc in it.

The movie had eleven songs in it. Six of these songs have been covered in the past.

Lata Mangeshkar’s voice figured in seven songs. Four out of these seven songs have been covered in the past.

The song under discussion is sung by Lata. Nazim Panipati is the lyricist. Music is composed by Anil Biswas.

What a fun song it is ! I am sure that most of us would not have become aware of it without consulting HFGK.

I take this opportunity to wish Shree Harmandir Singh Hamraaz a very happy birhday. Let there be many more happy returns of the day.


Song-Khula hua hai dil ka ye darwaazaa re(Laadli)(1949) Singer-Lata, Lyrics-Nazim Panipati, MD-Anil Biswas

Lyrics

intzari mein teri saara sitamber beeta
rote rote teri furkat mein november beeta
aahen bhar bhar ke ye kehta hai calendar mujhse
hichkiyaan lete huye saara december beeta aa aa aa aa aa

khula hua hai dil ka ye darwaaja re ae
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re ae
o baabu mere
aath roz ki chutti lekar aaja re
aaja re

dil tere hizr mein deewaana bana jaata hai
thandi aaho se barf khaana bana jaata hai
thandi aaho se barf khaana bana jaata hai
do hi ashkon se hua aa aa aa aa aa
do hi ashkon se hua unki gali mein keechad
meri afsaani bhi afsaana bana jaata hai
arre aa aa aa aa aa aa
aa dil ka rog mita ja re
mita ja re
mita ja re
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re
o ainak waale
aath roz ki chutti lekar aaja re
aaja re

ho gaye qaid mere dil ko churaane waale
haspatalon mein gaye aankh milaane waale ae
haspatalon me gaye aankh milaane waale
aa tujhe dil ki main aen aen aen aen
aa tujhe dil ki main ik lori suna du jaalim
o mujhe hizr ke choolhe mein jalaane waale
mere dil ki ee ee ee
mere dil ki lagi bujha ja re
bujha ja re
bujha ja re
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re
o baabu mere
aathh roz ki chutti lekar aaja re
aaja re


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 :

4430 Post No. : 15857

Today’s song is from the film Actor-51. This was a film by Sarosh Pictures, directed by Ramjibhai Arya. It was produced by H M Kerawala and Bhojani. The music was by 2 MDs- Aziz Hindi and Ibrahim, both small time composers. The 10 songs of the film were written by Nazim Panipati (8 songs) and Shewan Rizvi (2 Songs).

I can understand two composers working together on one song in the film…like Aziz and Ibrahim composed four songs together, in today’s film , but I was surprised to find that even Lyrics are written jointly by two lyricists in some films ( not in today’s film). I have always wondered how two different poets can write one song together. But in Hindi films this was not a rarity. Actually, a few years back, thinking that this phenomenon was worth discussing, I started finding out such songs from the HFGK. After getting names of films where more than one lyricist have jointly written songs, like Chandrtalekha-48, Anyaya-49, Sheesh Mahal-50 Hum Log-51, Buzdil-51, Footpath-53, Chandni Chowk-54, Dhobi Doctor-54, Darbar-55, Miss Bombay-57, Changez Khan-57, pardesi-57…I stopped my search. I realised that this happened in many films and it was not a novelty. I cancelled my idea of discussing this matter in my posts.

Connected to these issues is another problem with stories of films like Actor -51. There are many cases in Hindi films, where remakes of earlier films on the same stories are made. As far as Folklore like Laila Majnu or Shirin Farhad or stories from Ramayan and Mahabharat, one can surely understand, but it is very strange why people want to make films on the same stories.

In some cases, in addition to the same stories, even the film titles are the same. The case of actress Sulochana-Ruby Meyers, is unique. She featured in 7 such films where the Titles and stories were the same. Sulochana acted in Anarkali-28, Anarkali-35 and Anarkali-53. She also acted in Madhuri-28 and Madhuri-32. She also acted in Indira B.A.-29 and Indira M.A.-34. Then there was Gunsundari-27 and Gunsundari-48, with different heroines. All these films had the same Titles and same stories.

Then there are other films which have same stories, but different Titles. Some of such films are Panghat-43 and Chitchor-76, Mala-41 and Amar-54 (MD was Naushad for both films and Jayant did the same role in both films), Grihasthi-48 and Ghar Basa ke dekho-63, Malkin-53 and Biradari-66, Aurat-40 and Mother India-57(Kanhaiyalal did the same role in both films) etc etc. There are 100s of such remakes, but I have yet to see a film which mentions it in their credits. One can not forget films like Do dooni char-68 and Angoor-82. Here the first hindi film Do dooni char was a remake of Bangla film of 1963 ” Bhrantibilas”, which was based on the novel of the same name by Ishwarchandra Vidyasagar who had taken inspiration from Shakespeare’s play ” Comedy of Errors”- which was an adptation of a play by Plautus ” Menaechmi”. Hope this was atleast the original story !

It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost same story and Bhagwan was the Hero in all 3 films – Actor-51, Daamaad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.

Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj Kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.

Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no main stream Heroine was ready to work in his film and he would not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !

The director of film Actor-51 was Ramjibhai Arya, who came to Talkie films from silent films. After working as an assistant to few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.

Ibrahim- one of the MD duo of this film was the brother of MD Ghulam Mohd. He was an excellent Harmonium player. He gave music to only 3 films-two with Aziz Hindi…Utho Jaago-47, Bachelor Husband-50 (with Sarswati Devi) and Actor-51. After this film, Ibrahim joined Naushad as his assistant and was with him for many years. He should not be mistaken with Master Ibrahim- the great Clarinet player. He too gave music to 2 Hindi films, namely Parbat ki Rani-48 and Bigde dil-49. Such names cause ‘Same name Confusion’. Fortunately none of them was a famous one.

In Hindi films, there were two names of Composers – Aziz Khan and Aziz Hindi. Many people thought that these were two separate persons, but the fact is they are the names taken by One composer only. Some time ago, our friend Shri Sadanand ji Kamath had dug out some important and revealing and authentic information from an Internet site of Parvez khan-the International Sitarist, son of Aziz Khan.

” Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without his father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from his father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in the USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now. ”

A senior RMIM member Mr. Jayraman reported in 2008 that he had traced, found and met the only son of Hafiz khan Mastana,in Mahim,Mumbai. His name was Zaheer aka Alla Rakha. The son confirmed all the above facts and also that Aziz Khan was Aziz Hindi.

Though this fact was confirmed, books like ‘ Dhunon ki yatra’ (Pankaj Raag) mentioned Aziz Khan and Aziz Hindi as two different persons.As the book was published in 2006, he can not be blamed for this,however. But since it is mentioned in a book , for many readers this wrong information is ‘authentic’ and this is quoted by many in their writings. This is because the findings of Mr. Jayaraman did not get enough publicity widely.

In addition to this revelation,one more sort of Revelation has been made by Aziz Khan’s grandson-Shakir Khan-International Sitar player himself, on his own site http://www.shakirkhan.in . According to him,Aziz Khan gave music to 4 films, along with Khayyam. Those films are Heer Ranjha-48, Parda-49, Beevi-50 and pyar ki Baten-51. As per HFGK, Aziz Khan’s name is mentioned only for Heer Ranjha-48 and Beevi-50,while there is no mention of his name in the other two films. It is also interesting to note that singer Hafeez Khan Mastana was the elder brother of composer Aziz khan. To fulfil his father’s wishes, if not him,at least his son Shahid Parvez should become an Etawah Gharana Sitar expert, Aziz Khan left the film world after 1958 and devoted himself to train and teach his son. Thus Shahid Parvez became an International Sitarist.

Aziz Khan gave music to these film-sometimes as Aziz Hindi and with other composers in few films-
Flying Prince-46, Pandit ji-46, Intezar ke baad-47, Utho Jaago-47, Parivartan-49, Roomal-49, Shoharat-49, Putli-50, Beewi-50, Actor-51, Zamane ki hawa-52,Dhoop Chhaon-54, Danka-54 and Chalta Purja-58.

Today’s song is a comedy song and is sung by Sulochana Kadam and Yeshwant Bhatt. Actually most songs of this film are good songs.


Song- Main to beti Thaanedar ki re tu beta chapraasi ka re (Actor)(1951) Singers- Sulochana Kadam, Yeshwant Bhatt, Lyricis-Najim Panipati, MD-Aziz Hindi

Lyrics

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu bhaabhi mere maamu ki re
main maamu teri maasi ka re
to phir kya baat bane ae
to phir kya baat bane

mohe lahnga la de saatan ka saatan ka saatan ka
mat laana kabhi kaatan ka kaatan ka kaatan ka
tu lahnga maange saatan ka
ho jo saatan ka aahe ji saatan ka
munh dekho jaise kaatan ka
munh dekho jaise kaatan ka

munh dekh zara apna
ki jaise tabla ho miraasi ka
to phir kya baat bane ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane

toone rogi kar diya sainya aa aa aa
toone rogi kar diya sainya aa aa aa
kapde dho dho thhak gayin bainya
kapde dho dho thhak gayin bainya
washing ka bill de nahin sakta aa aa
I am sorry
washing ka bill de nahi sakta aa
tees rupaye hai meri tankha
meri tankha
o jee tees rupye hai meri tankha
meri tankha

abhi chhod ke tujhko pakdoongi main
haath kisi madraasi ka
kya baat bane ae ae
to phir kya baat bane

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu to bhaabhi mere mamu ki re
main maamu teri maasi ka re
to phir kya baat bane
to phir kya baat bane


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 : 3932 Post No. : 15005

Today’s song is from film Zamane ki Hawa-52.

From 1-1- 2019 to 23-4-2019, I wrote 43 posts here and out of this, only 8 posts are about films of 1950’s decade. This is roughly 20% of my output in this period. If I calculate the number of posts of 1950s decade in my entire 750+ articles, then the percentage may hover around just about 10 % only, I am sure, though I have not calculated that. It is not that I deliberately avoided them, but the problem is, this Blog has covered most popular films fully and I guess, the maximum percentage of songs covered is also from the decade of 1950’s.

In such a case, I was not left with much scope and choice. Still, I wrote on many left out Gems. In fact, I ran few ‘Series’ too like ” Missing Gems from the 50s decade” with 18 songs and ” Bhajan Mala-Golden 50s” with 12 songs. There was yet another one also-” Shankar-Jaikishan in the 50s ” with 10 songs. However, all said and done, I will not hide the fact that I am very partial to songs from the 1930s and the 1940s. Discussing these songs- which is my Forte and also Comfort Zone, I get Nostalgic and I am able to share information on forgotten artistes of that era. Today, these posts may not mean much, but after I am gone and after a few years, I know that my posts will be the Researcher’s “Wanted list” and will be much sought after for their rare contents.

When I first heard today’s song, sometime in the early 1950s, I was in Hyderabad and had, till then, not been to Bombay anytime. The kind of language and the words used in this song are typically Bambaiya. I did not know it and we friends used to laugh at the lyrics and wordings of this and other similar songs ( of Johnny Walker, mainly). Over a period of time I realised that in Hindi film songs, the greatest victim is the language Grammar, pronunciation and diction of words.

Most lyricsts and composers twisted words to suit the Meters, Rhyming and never bothered about the gender of the words. Words like Tu, Tum,Hum, Mai, Aap, Voh, Un, Unhen etc were used irrespective of their suitability in the lyrics just because they fitted in Meters and rhymed perfectly. Once I realised this aspect, I and my friends started finding such wilful blunders in melodious and popular songs.

The reason I remembered all this is, few days back I found an article ” Vyakaran, Uchharan aur Utpeedan”( व्याकरण, उच्चारण और उत्पीडन), by shri AK ji, who is a reader and well wisher of this Blog, posted on his Blog – Songs of yore. He has written an absolute Gem discussing how in Hindi songs, the Grammar, pronunciation and right usage of language and words is molested/abused. He has also quoted several examples in songs. I strongly recommend this article to connoisseurs of HFM.

Film Zamaane ki Hawa-52 was a film made during the transition period of Hindi cinema from the works of pre independence artistes to cope up with the changing times and tastes of the Indian audience in the rapidly ascending Golden Era of HFM. The major change was the extra emphasis on churning out melodious and musical films than on Histrionic excellence or a strong story line. This film was produced and directed by a veteran of pre-independence era- Wali Sahab, under the banner of his own production outfit Punjab Film Corporation.

Music direction was by not one, but 4 less known and less successful composers like, Z.Sherman, Gulshan Soofi, Khan Mastana and Aziz Khan. For 12 songs of the film, as many as 5 Lyricists were there, which included Wali sahab, his brother Nazim Panipati, Kaif, Khalish and Sagar Badayuni. One song from this film has been discussed here earlier. The cast of the film consisted of Mumtaz Shanti, Husn Bano, her mother Shareefa, Shakuntala, Suresh, Murad, Pran, Kesari and many others. It was an uncommon instance, when both mother and daughter worked together in the same film. While launching Nutan in film Hamari Beti-50, both Nutan and her director mother Shobhana Samarth had acted in the same film.

This pair of Mother and daughter- Husn Bano and Shareefa- had strange life stories.

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-34″. After this film, her mother, 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 a Heroine. 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 Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house ‘Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy 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 40s. 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 had also featured in these ads.

The story of actress Shareefa is very strange.

Sharifa was an actress in the 20s and the 30s. She hailed from the Central provinces and joined the Corianthian 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 an 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-34″. After this film, Shareefa brought her to Bombay and she built a very big mansion in Dadar called ” Shareefa Manzil’.
Shareefa acted in almost 40 films and sang 10 songs in 5 films in early cinema. She continued working till early 50s, when she died.

Another interesting artiste in this film was one of its Music Directors- Gulshan Soofi. He was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.

Finally, he came to Bombay with Bhai Dessa and recorded few songs. He joined nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother india-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.

he started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.

Today’s song is composed in a very lilting and melodious tune. The language used here is typical lower class Bambaiya. During Johnny Walker’s time, such words were used in songs sometimes, but after that it stopped totally. As such, the system of having an independent Comedian itself is no more, so no question of comedy songs. I enjoyed this song. You too will, I am sure.

(I have used some information in this post from the book ” Stages of Life- Indian Theatre autobiographies ” by Kathryn Hansen, Filmdom-46 and my notes, with thanks.)

(Audio video not available on Youtube – This is another site audio mp3 song)
Audio – Mp3 Link
Click Here – Are O Bewafa Tu Pane Kothe Pe.mp3
Song-Arre o bewafa tu apne kothe pe chadhela hai (Zamaane Ki Hawa)(1952) Singers- Khan Mastana, Sulochana Kadam, Lyrics- Nazim Panipati, MD- Gulshan Soofi

Lyrics

arre o bewafa
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
tera aashaq kai kallak se neeche khadela hai
tera aashaq kai kallak se neeche khadela hai
are o bewafa
o hi hu ha ha

tumhari jaan mein jaaneman
museebat me padeli hai
tumhaari jaam mein jaaneman
museebat me padeli hai
padosi bhi jagela hai
padosan bhi jageli hai
padosi bhi jagela hai
padosan bhi jageli hai
are o bewafa

sa re ga ma
pa dha ni sa

arre marne de in dono ko
aur tu saath chal mere,
saath chal mere
arre marne de in dono ko
aur tu saath chal mere
saath chal mere
idhar tamtam khadeli hai
udhar taanga khadela hai
idhar tamtam khadeli hai
udhar taanga khadela hai
are o bewafa
o ho ho ho ho

chaloongi saath tere
kya hai tamtam ho ke taanga ho
chaloongi saath tere
kya hai tamtam ho ke taanga ho
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
arre o bewafa

sa re ga ma pa dha ni sa

magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
maal le aao
maal le aao
magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
humaare paas kadki hai
na dheli hai na dhela hai
humaare paas kadki hai
na dheli hai na dhela hai
are o bewafa
o ho hui ho ha

ghar ka ghar loot ke
le aaungi
darr kiska hai
jaan kiski hai
jigar kiska hai
sar kiska hai


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 : 3882 Post No. : 14906

“Roomaal”(1949) was directed by Ramchandra Thakur for Varuna Films, Bombay. This “social”movie had Nargis, Rahman, Jeewan, Indu, Jairaj, Badri Prasad, Majnoo, Jillobai, Cuckkoo, Ramesh Thakur, Urwashi, Jankidas, Deepak, Pitu, Boy Ratan, Azim, Shamu, Mukesh, Sohanlal, Ahmad etc in it.

The movie had ten songs in it. Five songs have been covered in the past.

Here is the sixth song from “Roomaal”(1949) to appear in the blog. This song is sung by Meena Kapoor. Nazim Panipati is the lyricist. The movie had two music directors in it, viz Hansraj Bahl and Aziz Khan, but the distribution of songs among them is not known. There have been indirect ways to verify thouh that some songs were composed by Hansraj Bahl. Seeing that another Hansraj Bahl song (thus indirectly identified) had lyics by Nazim Panipati, my guess is that this song with lyrics by Nazm Panipati could be a Hansraj Bahl composition as well.

Only the audio of this rare song is available. I request our knowledeable readers to throw light on the picturiusation of this song.


Song-Wo ankhiyaan mila kar chale gaye (Roomaal)(1949) Singer-Meena Kapoor, Lyrics-Nazim Panipati, MD-Hansraj Bahl

Lyrics

wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re

kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
wo aag lagaa kar
wo aag lagaa kar chale gaye
main rah gayi aag mein jalti re
main rah gayi aag mein jalti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re

wo chale gaye
wo chale gaye aur wahin hoon main
hoon aise jaisi nahin hoon main
hoon aise jaisi nahin hoon main
wo chale gaye aur wahin hun main
hoon aise jaisi nahin hoon main
wo paas bulaa kar
wo paas bulaa kar chale gaye
kyaa ho gayi mose galti re
kyaa ho gayi mose galti re
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re


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 : 3806 Post No. : 14801

Today’s song is a very very special song. It is from film Roomal-49. Four songs from this film are already discussed. Luckily, this song was yet to be discussed, as if waiting for me. It is a duet of Mohd. Rafi and Asha Bhosle. Written by Nazim Panipati, it is composed by Hansraj Behl. HFGK is silent on the MD’s name for all songs, though there were two of them- Hansraj Behl and Aziz Khan. However, there are other references to confirm that Behl was composer for this song, namely 1. The uploader has mentioned his name 2. Rafi’s Excel sheet mentions his name and 3. Behl’s name is mentioned for this song in book ‘ Rafinama’ by Isak Mujawar.

Now, coming to the point why this song is special.The reason is….this is the First ever duet of Rafi and Asha Bhosle. Rafi had started Playback recording from 1944 and Asha started from 1948. Within one year, Asha sang a duet with Rafi in film Roomal-49. Another film Lekh was also made in 1949 and they sang in that film too, but Roomal duet was the First one to be recorded.

Incidentally, Asha and Rafi had the maximum duets in HFM. They sang a total of 806 duets from 1949. Their last duet came on the screen in film Kala Coat-1993 ( 13 years after Rafi had left us.)-MD Iqbal Gill. Asha Bhosle and Rafi created 3 records during their journey together-
1. Maximum duets – 806
2. Maximum duets in one MD’s films – 92 duets in OPN’s films.
3. Rafi-Asha maximum duets in one film- Basant-60 – 11 duets
(Ed note-The blog has 514 Rafi-Asha Duets, including this song.)

Mohd. Rafi was the only singer who sang duets with the 3 major female actor singers of the 40s. He sang with Noorjehan (Jugnu-47), Khurshid ( Aage Badho-47) and Suraiya (Kajal-48 and in 11 more films).

Besides the known and well known female singers, Rafi sang duets with some ‘ not so well known ‘ female singers too. Some of them are Laxmi Rai, Kumudini Dikshit, Lakshmi shankar, Gandhari Rane, Promodini Desai, Razia Begum, Malti Pande, Pushpa Huns, Ramola, Pushpa Pagdhare, Pratibha, Kanchan, Poornima, Meena Patki, Jyoti, Kamla Sista, Kaushi Gidwani, Savita Suman, Sumitra Lahiri, Sagarika Mukherji, Krishna Bose, Krishna Mukherji, etc etc.

Rafi sang maximum songs with Laxmikant-Pyarelal (369), followed by Shankar-Jaikishen – 341, Chitragupt-247, Ravi-235, O P Nayyar-197, Kalyanji – Anandji – 169, Naushad-149, Madan Mohan-169, R D Burman-122, Usha Khanna-114, Sonik- Omi-104 and N Dutta-102. ( all figures from book Rafinama by Isak Mujawar).

Rafi sang only 1 duet with Meena Kapoor in film Aabroo-56. There is another song having voices of Meena, Rafi,Asha and Manna Dey in Tajmahal-63). This is understandable considering Anil da’s opinion about Rafi’s singing !

Film Roomal-49 was directed by Ramchandra Thakur. He was born on 17-12-1908 at Suver ( noe Umedgadh) in Sabarkantha Dist. Gujarat. From his 9th year onwards he was educated in Bombay. He completed his M.A. in Pali language, to become a Teacher but not so good results forced him to join Film industry. He had already written articles on films. He had also translated sound recordist Minoo Katrak’s book in Hindi and Gujarati.
He joined the Marketing department of Sagar Movietone. After Baburao Patel headed that department, he was shifted as asstt. director. He co directed film Gramophone Singer, along with Virendra Desai-the owner’s son-who later married Nalini jaywant despite he being already married.

Thakur’s first film as an independent director was ‘Civil Marriage’-40, in which Snehprabha Pradhan made her debut. He worked for Ranjit, Prakash and other banners. Her directed 20 films. His last film was Nawab Sirajuddoula-67. He mainly directed Mythologicals, social and comedy films.
He was a multifaceted person. He knew and could speak 11 languages. He wrote scripts for film Baiju Bawra-52 and several Gujarati films. He also directed 2 Gujarati films. He wrote 4 research based Novels. His article on Sagar Movietone has become a reference point for researchers.
Ramchandra Thakur died on 31-10-1992. (adapted from ‘ Sagar Movietone’-Biren kothari)

The cast of film Roomal-49 was Nargis, Rehman, Jairaj, Jeevan, Badriprasad, Jillobai, Cuckoo, Jankidas etc etc.

Jillobai (real name Zuleikha Ibrahim), born in 1905, in Bombay, was a Tawayef from Delhi. She started from stage dramas and then silent films. During this period, Master Nissar was attracted towards her, but being a shrewd woman, she spurned his advances, only after lot of money was spent on her by him. She acted in more than 100  Talkie films and also sang 3 songs in 3 films initially. Her first talkie film was  India’s first Talkie film Aalam Ara-1931, in which she sang one song also. She acted in many popular films like Anarkali-35, Kissan Kanya-37, Pukar-39, Sikander-41, Taqdeer-43, Zeenat-45, Jugnu- 47, Mother India-57, Mughal-e-Azam-60 etc etc. Her last film seems to be Suhani Raat-74. (I thank Sudhir ji and Pramod Godbole ji for providing additional information) .

Nazim Panipati, who wrote the songs of film Roomal-49, along with Mulkraj Bhakri and Rupbani, was born in lahore in 1920. His real name was Muhammed Ismail Khan. He was the younger brother of Dirctor/Lyricist Wali sahab. Due to his hobby of writing shairi, he was introduced to Dalsukh Pancholi and Roop k. Shorey. He first wrote songs for Punjabi films. His first film as a Lyricist in Hindi was Zamindar-42. He shifted to Bombay and wrote 80+ songs in 25 films. His last film in India was Sheesham-52. Then he migrated to Pakistan. He wrote more than 120 songs for Pak Television and Punjabi/Urdu films. He died in Lahore on 18-6-1998.

Today’s song by Rafi, Asha and chorus looks to be a fun comedy song. Enjoy this song….


Song-Lo dum daba ke Bhaage….hamen darr kaahe ka(Roomaal)(1949) Singers- Rafi, Asha Bhonsle, Lyrics-Nazim Panipati, MD- Hansraj Bahl
Both
Unidentified Male Voice 1, Unidentified Male Voice 2, Unidentified Male Voice 3
Chorus

Lyrics

aa
ha aa aa aa
aa aa aa
lo dum dabaa ke bhaage
warrant laane waale ae
khud ban gaye hain ulloo
ulloo banaane waale

aji haan aan aan
ulloo banaane waale
haan aan
ulloo banaane waale

haan aan aan aan aan aan aan
ulloo banaane waale
haan aan
ulloo banaane waale

ham sab ke sab
ham sab ke sab
ham sab ke sab
ham sab ke sab
hoshiyaar
hamen darr kaahe ka
hamen darr kaahe ka
hamen darr kaahe ka
hamen hai darr kaahe ka
hamaara beda ho gaya paar
beda ho gaya paar

hamaara beda ho gaya paar
hamen darr kaahe ka
hamen darr kaahe ka
hamen darr kaahe ka
hamen hai darr kaahe ka

paas nahin hai
paisa dhela
babu ji paisa dhela
lala ji paisa dhela
oy hoy hoy hoy
paisa dhela
phir bhi laga hua hai
mela
hai mela
ab to mangal
shukkar hafta
ab to mangal
shukkar hafta
har din hai itwaar
aji haan
har din hai itwaar
laa la
lallalalla
lallalalla laa
hamen darr aah
hamen darr ee
hamen darr ooh
hamen darr kaahe ka
hamen hai darr kaah
e ka

khelo koodo naacho gaao
every thing is happy now
every thing is happy now
kuchh na kuchh to
mil jaata hai
kuchh na kuchh to mil jaata hai
naqd ho ya udhaar aar
naqd ho ya udhaar
mere yaar
khushi mein naach
tu apni maan
mere dildaar
hamen darr
hamen darr
hamen darr
hamen darr kaahe ka
hamen hai darr kaahe ka

ham hain engine
tum ho lorry
dil hai armaanon ka thhaana
ham hain thaanedaar
aji haan
ham hain thaanedaar
aji haan
ham hain thaanedaar

o thhaanedaar
o thhaanedaar
o thhaanedaar
o thhaanedaaaaar
hamen darr
hamen darr
hamen darr
hamen darr kaahe ka
hamen hai darr kaahe ka

ka..ahe ka

ka..ahe ka

 


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 : 3457 Post No. : 13868

“Dankaa”(1954) was directed by J P Advani for Goodwill Pictures, Bombay. This “costume drama” had Nimmi, Amarnath, Mohana, Sundar, Heeralal, Neelam, Shivraj, Uma Devi, Roop Kumar, Om Prakash etc in it.
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.

“Shaadi Ki Raat”(1950) was directed by Yashwant Pethkar for Prakash Pictures, Bombay. This “social”movie had Geeta Bali, Rehman, Vijaylami, Leela Mishra, Jankidas, Ansari, Shantta Kunwar, Baby Durga, anwari Bai, Arun etc in irt.
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 FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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