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

Posts Tagged ‘P L santoshi


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 :

3946 Post No. : 15021 Movie Count :

4117

Today’s song is from a very old and obscure film, hardly noticed or heard by anyone- Ban ki Chidiya-1938. The film was from Ranjit, directed by Jayant Desai and had a very famous and popular star cast like, Madhuri, E. Bilimoria, Ishwarlal, Charlie, Ghori, Kesari, Ram Apte etc etc. The cast consisted of of the popular stars of those days, still, neither they could make it a popular film nor it provided anything to remember it for.

When I looked at the star cast carefully, I realised that it consisted of 2 actors who had their brothers also working as actors, in the same period. In the early era, when getting good actors/actresses itself was a challenge, every successful artiste used to call his/her sibling or a relative into cinema. This phenomenon was seen more among the female artistes. Though not equal, the males too joined this trend. So you will see that most artistes, directors, producers or actors in the early era were someway related to each others.

The females were ahead in this, simply because the actresses mostly came from singing families-Tawayafs- and these girls were keen to join films with an ulterior motive of catching a moneyed ” seth ji ” as a “Husband”, so that they could live a respectable and comfortable family life.

Thus the very first Talkie ” Alam Ara “-31 had a Heroine Zubeida, whose 2 sisters-Sultana and Shehzadi- were already Heroines in films. There were many such sister pairs in cinema like Amirbai and Gauharbai Karnataki, Violet and Patience Cooper, Pramila and Romilla, Kusum and Ranjana, Purnima and Shirin, Indurani and Sarojini, Leela Desai and Monica Desai, Shamim and Naseem Jr., etc etc. I have quoted names of only Heroines. There could be siblings working as character artistes, which, as on today, I have no information about.

Among the male brothers, off hand, I remember only 2 pairs. Bilimoria brothers in the 30s and Dilip kumar and Nasir khan in 40s and 50s. There were some other pairs of brothers in the same period, but they were not Heros in Hindi films. Names of some pairs are Ram Apte and Anant Apte aka Bajarbattu, Ram Marathe and Anant Marathe aka Anant kumar- hero in few films, and Sankata prasad and Kanhaiyalal (Chaturvedi).

D-Dinshaw and E-Eddie Bilimoria brothers were heros at the same time. How E.Bilimoria became a Hero is a very funny incidence and I think it is unique in the annals of any language Film History how a Mistaken identity can make someone a Hero ! Now read this…

In the early era of the Talkie films the Bilimoria brothers were very famous. First it was D (Dinshaw) and then came E (Eddie) Bilimoria.

Eddie was born at Bilimora,in Gujarat, in 1900. At the age of just 13 years he ran away from house to Kirkee (near Poona), to his uncle, to become a Fireman in Railways. Here, he became a Door keeper in a Cinema house and also learnt operating the film projector. Due to ill health, he was brought to Bombay.

One day he went to Imperial Studio to meet his brother Dinshaw. Mistaking him to be Dinshaw, make up was done to him and he played a role in film ‘Punjab Mail’. Then onwards he started working regularly in films. As a Hero his first silent film was ‘Raj Ramani’. He worked as Hero in 7 Imperial films and 10 films of Ranjit Studio. His Heroines were Putli, Shanta, Sultana. Madhuri, Padma, Panna and others.

When Talkie films started he was Hero in 32 films made by Ranjit, opposite Gauhar, Shanta, Kamla, Mehtab, Madhuri and Sitara etc. He worked in 15 films opposite Madhuri only. Fencing, shooting and horse riding were his specialties as a stunt Hero. He was the First in India to wear Cowboy dress in stunt films.

Char chakram-32, Miss 1933-33, and Nadira-34 were his Hit films. In film ‘ Sipahi ki sajni’-36, he jumped into Sea from a flying plane, without duplicate. Daredevil stunts were his hallmark. There were hundreds of stitches on his body.

After 1939 he stopped getting Hero roles, so he did other character roles. After 1953, he was reduced to only an Extra. He did acting till 1973 and then took up a job in a Fridge and AC shop. He stayed in a flat in Kemps corner in Bombay. His last days were not very happy. E.Bilimoria died on 18-2-1981 at Bombay.

He acted in 73 Talkie films, directed 1 film ( sone ki chidiya-48) and also sang 4 songs in 4 films. His first film was Radha Rani-32 and last was Honeymoon-73.

Eddie’s favourite Heroine Madhuri was in this film with him. Most actors, when they retire, they keep away from limelight-some willingly and most others automatically by the film industry. If an actor is not seen or heard for more than 10 or 20 years, normally it is presumed that he/she must have expired. However, if some artiste is suddenly brought into limelight after a gap of 50 years after he/she is retired, what will you say ? See what happened here….

Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films,one each in 1930-Rasili Rani,1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.

Like many others,Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.

In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.

In 1941,Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.

Today’s song is a funny one. From the lyrics, it looks as if it is addressed to a she monkey, which is obviously a pet monkey. The singers-both Ram Apte or E Bilimoria were not regular singers at all. Ram had sung just 4 songs in 3 films between his 25 films as a Child artiste during the period of 1933 to 1938. From the style of singing itself, one can make out a casual singer.
With this song, the film Ban ki Chidiya-38 and both the singers Ram Apte and E Bilimoria make their Debut on this Blog.

( My thanks to ‘ Inhe na bhulana ‘ by Harish Raghuwanshi ji, Beete kal ke sitare by Shriram Tamrakar, Screenplay by Isak Mujawar and my notes, for information used herein.)


Song-Nirmala kumari ban ki raani (Ban Ki Chidiya)(1938) Singers-Ram Apte, E Bilimoriya, Lyrics-Aarzoo Lucknowi, MD-Gyan Dutt

Lyrics

Nirmala kumari
Ban ki rani
bolo bolo
kook kook kook
Pratap
is bandariya ka naam kya hai
shrimati nirmala kumaari
ahahahahaha
Nirmala kumari
teri bahan ki tarah ladti jhagadti bahut hai
tumhaara kutta bhi to kam nahin
tumhaari tarah bhaun bhaun karta rahta hai
haha
dekh(?) ye bata
teri bahan haar gayi
dekho
wo tumhaarakutta bhaaga
neeroo
neeroo
idhar aao

Nirmala kumari
ban ki raani
bolo bolo
kook kook kook
nirmala kumari
ban ki raani
bolo bolo
kook kook kook
khel mere
?? khel mere ??
?? naach dikhaana
?? naach dikhaana
haan yaar bol bam bhola
haan yaar bol bam bhola
kya
hahahahaha
hohohohoho
ahahahahaha
ohohohoho

Nirmala kumari
ban ki raani
bolo bolo
kook kook kook
Nirmala kumari
ban ki raani
bolo bolo

chaal teri matwaali
gaalon pe tere laali
chaal teri matwaali
gaalon pe tere laali
bolo mahaaraani bolo
bolo mahaaraani bolo
hook hook hook hook kar
hook hook hook hook kar
nirmala kumari
ban ki raani
bolo bolo
kook kook kook
nirmala kumari
ban ki raani
hahahaaha
bolo bolo
hahahaha

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3936 Post No. : 15011 Movie Count :

4113

Today’s song is from a film Gorakh Aaya-1938. The title of the film looks rather odd. Who is Gorakh ? May be a question in many readers’ minds. Let me explain that Gorakh is a short form of Gorakhnath- who was one of the early Navnaths, from Nath Sampraday. Have I made it more complicated ? So, let us first understand what it all means…

A brief description of the Nath Sampradaay. It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

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

The second Guru is Gorakh. The story of Gorakhnath birth is- The first Guru Machhindra Nath went to a house for Bhiksha. The lady of the house, after serving him the Bhiksha, asked him if he can help her in any way to get a long desired child. Guru Machhindra Nath dipped his hand in his Zoli and took some some Vibhuti (ash) He gave it her and asked her to eat it and she will conceive a son. After he is gone , one of the neighbours of that lady tells her not to believe all this. The lady gets a doubt and throws the Vibhuti on a pile of garbage.

Time passes on. After 12 years, Machhindra Nath again comes to the lady and asks, how her son was. The lady, ashamed, tells him the truth. The Guru goes to the Garbage and gives a loud call, ” My son, come here “. From the garbage rises a son of about 12 years. He is Gorak Nath. Machhindranath takes him away with him and gives him the Deeksha (ceremony of bestowing the discipleship) of Nath Sampraday. Go means Earth and Rakh means to protect. So Gorakh is one who is protected by Mother Earth.

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

Machhindranath ( मच्छिंद्रनाथ )
Gorakhnath ( गोरखनाथ )
Jalandhar Nath ( जालंदरनाथ )
Kanif Nath (Kanhoba) ( कानिफनाथ )
Gahini Nath ( गहिनीनाथ )
Raja Bhartrihari Nath (Bharthari) ( भरथरी )
Revan Sidha Nath (रेवानसिधानाथ )
Charpati Nath and ( चर्पतीनाथ )
Naag Nath. ( नागनाथ )

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.

The story of this film is quite interesting. The film was made by Ranjit Movietone. Screenplay was by Gunwantrai Acharya and dialogues and lyrics were by P L Santoshi. Cinematography was by Krishna Gopal and Music was composed by Gyan Dutt. The film was directed by Chaturbhuj Doshi- who made his debut as a film Director.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was “well known” for his family socials and had become “a celebrity in his own right”. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.

Early life and career – Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costu-me drama, which had Charlie playing a prince.

Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

The film had a cast consisting of Mazhar Khan, Trilok Kapoor, Rajkumari and Kalyani in lead roles, Ila devi as the Egyptian queen, Ram Apte, Sarla, Bhagwandas etc etc. Rajkumari Dubey made her debut in this movie as a playback singer. Till then she had only sung for herself.

The story of the film was…..

Machhindranath (Mazhar Khan) observes uncivil excesses in temples. Disgusted he leaves for Himalayas for Meditation. After 7 long years, he comes back with a conclusion that Women are the cause of all problems in this world.
Meanwhile the Egyptian queen (Ila Devi) plans to raid India and camps on the banks of the river Indus. A Rishi kanya (Kalyani) builds an army of women. Machhindranath also builds an all men army and defeats the invader.

One day Tilottama-the head of women’s army (Rajkumari) and Machhindranath meet and they fall in love. He gets totally immersed in her love magic and forgets his duty also, spending life with Tilottama.

His disciple Gorakhnath(Trilok Kapoor) gets worried. He enters the women’s army camp stealthily, reaches Machhindranath and shouts in his ears “Utho Machhinder, Gorakh Aaya’. After few days’reminders, Machhindranath realises his folly. They both escape the women’s camp and continue their duties deligently as before.

This film was released on 30th July 1938 at West End Theatre in Bombay, Baburao Patel, in his magazine Film India, has praised the direction of Chaturbhuj Doshi. As a publicity gimmick, the opening day’s all shows were kept only for women. This helped greatly and in no time the film became popular and a Box Office success.

One of the singer actors was Ram Apte- the child artiste, who was no more like a child. Even Film India criticised him as a child artiste. Ram Apte had been working as a child actor from Vishwa Mohini-1933. Till 1938, he worked in 25 films in child roles. he also sang 4 songs in 3 films. After Gorakh Aaya-38, he gave up working as child artiste.

As I have not seen this film, I do not know on whom this song is filmed, but from the lyrics, it sounds as if it is between two friends. With this song, film “Gorakh Aaya”(1938) makes its Debut on the Blog.


Song-Wo din gaye hamaare (Gorakh Aaya)(1938) Singers- Rajkumari Dubey, Miss Kalyani, Lyrics- P L Santoshi, MD- Gyan Dutt

Lyrics

wo o o din gaye hamaare
wo o din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare

prem ki jyot jaga jaa dete (?)
man mein preetam pyaare re
prem ki jyot jaga jaa dete(?)
man mein preetam pyaare
man mein preetam pyaare
pyaare
pyaare
ye din pyaare pyaare
ye din pyaare pyaare
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
dekh hamaari leela nyaari
hansen gagan mein taare
hansen gagan mein taare
taare
ye din pyaare pyaare
ye din pyaare pyaare


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 :

3934 Post No. : 15007 Movie Count :

4109

Today’s song is from a film of the first decade of the Talkie films- Rikshawala aka Bhola Raja-1938.

In India, documentation of old films, songs, actors and other artistes of the film industry, is extremely poor. The major part of the responsibility being with the Government, it was all the more in poor condition For Historical data maintenance work, dedicated people are required to do the proper caring. In Govt. offices, this was expecting too much. Thus occasional fires engulfing heritage films, books, documentaries etc and frequent theft or loss of books and other materials from the archives was not surprising.

Of course, everything and all the time, it was not that there were no good peoplein Govt. Agencies. It is because if such rare good and capable people only, we have today, whatever is available in the Govt. archives. The common feeling in India is that Govt. should look after everything under the Sun. Have the people no responsibility or accountability towards preservation of Heritage ? Go to any Heritage Temple, building or structure, you will invariably find that Lovers have carved their names on stones and walls, as if the world was eager to know ! So much for public awareness !! I feel, these things have to be taught from primary school level onwards only. We have failed miserably to inculcate National pride, Nationalism and Patriotism in our newer generations, from their childhood. These things have only remained to symbolically unfurl Flags and sing National Anthem on Independence Day !

Luckily, as far as Film history is concerned,there are some people who, on their own, try to preserve old film data and other related matters to the best of their capabilities. Record collectors, song collectors, old film magazine collectors, films and books collectors, poster collectors and those who open up their valuable collections to the general public free of charge are worthy of appreciation. They are doing a great service to preservation of history.

Apart from these, those who upload old and rare song videos on You Tube or other social medias, for use of anybody and everybody are also doing yeoman’s service to hindi film music. It is another thing that some selfish uploaders upload incomplete songs,but there are good people like Shalin Bhatt, Alaknanda, Girdharilal Wishwakarma ji, Sadanand Kamath ji,our own Sudhir ji, Atul ji, Javed bhai etc who upload not only complete but also rare songs on Internet. My sincere thanks to these Noble Souls.

In addition there are some less known Blogs who do a great job in this field. Most people are totally unaware of one such Blog run by an American-Mike Barnum ji. On his Blog Mike has written on atleast 100+ only C grade action and stunt films alone. He has made classification by different Generes also, like Jungle films, Mystery films, Murder films, Horror films etc etc. There are Photos, posters, cast details, film stories and short Bios of unknown C grade artistes. Once you go to his Blog, you get lost for a long time. It is a great work, involving a neglected Genre of Hindi films, which was once upon a time, a very popular film variety for certain audiences. I thank him profusely for this service. thanks, Mike Barnum ji.

Why I am writing all this is, most people are unaware of these things and they must know the good work done by these people also. Many times I use song videos uploaded by Shalin ji Bhatt. They are clean, clear, full and rare most times. Thanks, Shalin ji.

Today’s film, churned out from the Ranjit factory was not a stunt film, but a social film. The Music Director was Gyan Dutt. The lyrics were by the young Pyarelal Santoshi, who became very famous writer and a director later on. The cast consisted of Mazhar Khan, Ila Devi, Wasti, Indubala, Charlie, Dikshit and Ghori, Waheedan Bai, Tara bai etc. The film was directed by Ezra Mir.

Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

Another interesting artiste in this film was Indubala. Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.

Indubala was born in Novenber, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend to Rajabala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajabala dwindled later, supposedly because Rajabala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.

After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.

In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Qoembatore, Dacca and several other places.

In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.

Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Deewali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swamsidhha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.

In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala was got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.

Even at old age all the empty perfume bottles were kept within her view. She was fond of jewellery too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic stokes. It was Dr. Badan Sengupta who made necessary arrangement for her treatment She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.

The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.

I have not seen this film, nor have I got any idea about its storyline. 90% of Ranjit films were destroyed in a fire so there is no chance of seeing this film anymore. From the lyrics of the song, it seems to be a comedy song.

“Rickshaawaala” aka “Bhola Raja” (1938) makes its debut with this song.

( some information for this post has been used with thanks from an article by Dr. J.P.Guha in an adapted form, Filmdom-46, Bengali Cinema by B.C.Roy and my notes)


Song-Khatmal Ram ji Khatmal Ram ji tumko sau sau baar salaam (Rickshaawaala)(1938) Singer- Indubala, Lyrics- P L Santoshi, MD- Gyan Dutt

Lyrics

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
sone waale madhur neend mein
jab khurraate bharte
aa aa
sone waale madhur neend mein
jab khurraate bharte
aa aa aa aa
aa aa aa aa
aa aa aa aa
sone waale madhur neend mein
jab khurraate bharte
lekar apni baaki toli
lekar apni baaki toli
tum ?? karte

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
pahle pahar mein
bhogi jaage
dooje pahar mein rogi
hey ae
teeje pahar mein
???khu jaage
chauthe pahar mein jogi
aa aa aa
aa aa aa
aa aa aa
aa aa
apna apna kaam bhool kar
jo hain chup so jaate
aa aa aa
apna apna kaam bhool kar
jo hain chup so jaate
ang ang ek tedhi(?) kar ke
ang ang ek tedhi(?) kar ke
aake unhen jagaate
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaaaam


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 :

3845 Post No. : 14857 Movie Count :

4062

Today’s song is from a film which was made by the Film Factory- Ranjit Movietone, in 1938. The name of the film is Billi aka The Cat. The film was directed by Jayant Desai and the music was by the in house Music Director-Gyan Dutt. All the songs and the screen play was by P L Santoshi.

This was the first decade of the Talkie films. Initially films were made on Mythology, folk tales and Parsi Theatre stories. Therefore there were repetitions of film subjects like Harishchandra or Shirin Farhad, among the different film makers. When this became too obvious, the film makers turned their attention to other sources like Hollywood films, famous novels and stories by well known authors.

In this race, the Calcutta film makers, notably New Theatres, was on ‘numero uno’ position. Bengal has a rich literary tradition. The works of famous writers like Bankim chnadra Chatterji, Saratchandra Chatterji, Rabindranath Tagore, A K Sen, Bijoy Muzumdar and many more have enriched Bangla literature. Films based on their stories were made in Calcutta. Bombay, of course, was not to lag behind and many films on National and International novels and Hollywood films were made here.

The major difference in these two film centres was that Bangla films were mostly true to the original novels and Bombay films were made keeping in view entertainment of the audience and so were made by adapting these famous literary works using cinematic liberties in plenty.

Most movies made in Bengal were based on famous stories, novels and dramas. These movies were made in Bangla (for eastern India markets) and Hindi language for all India market.

In Bombay, one of the the earliest films made on a famous author’s work was ” The Mill aka Mazdoor-1934, by Mohan Bhavnani’s Ajanta Cinetone. It was written by Munshi Premchand, and was based on the miserable and pathetic plight of the Mill workers of Bombay. Unfortunately, the powerful lobby of the rich Mill Owners of Bombay and Ahmedabad pressurised the Government of Bombay State to ban this film. Two years later and after many cuts, the dilapidated film was released as ” Ghareeb parwar aka Daya Ki Devi” in 1936, but it flopped miserably, dragging the makers- Ajanta Cinetone to bankruptcy.

In 1937, a film ” Khwabon ki Duniya” was made by the Prakash pictures’ duo of Vijay and Shankar Bhatt. It was based on the famous and popular novel ” The Invisible Man” by H.G.Wells, published in 1897. This Hindi film was a copy of the Hollywood film of the same name, made in 1933. The film was a novelty and did very good business. Later on, another film Mr. X – 1957 was also on the same theme.

Today’s film Billi-38 was based on the famous novel ” Damsel in distress” by P.G.Wodehouse. Wodehouse (15-10-1881 to 14-2-1975) was from England but stayed in US for most of his life. ( He is my favourite writer and I have many of his novels with me.) Wodehouse was famous for his British humour filled novels spun around characters like Jeeves, Bertie Wooster, Psmith, Blandings Castle and Lord Emsworth and Mr. Mulliner. His most famous novel Damsel in Distress was first serialised in ‘ The Saturday Evening Post’ in May and June 1919. It was published as a book on 4-10-1919 in UK and on 15-10-1919 in US. A stage play based on this novel, gave 234 performances in UK in 1928 and a Musical Comedy on it was made in 1937 in US.

‘Crime and Punishment’ by Fydor Dostoyevsky was the basis for film ‘ Phir subah hogi’-58. Many films were made on Tarzan novels by Edgar Rice Burrows and some thrillers were made on novels of Edgar Wallace. Hindi films based on famous novels/stories by Indian authors were many. An old example is Milan-46 on Tagore’s Nauka Doobi and recent examples are Chetan Bhagat’s 4 novels- Hello, Kai Poche, 2 states and 3 Idiots, as films of the same name. Some other films on Indian and western novels are Devdas, Parineeta, Omkara, Tere mere sapne, Guide, Aisha,Maqbool, junoon, Pinjar, Shatranj ke khiladi, Hamlet, Haider, Bandini, Balika Badhu, Dharamputra, Amar prem, Tamas and many more. the list would be too long, so suffice to mention these films.

There is nothing wrong in making films on famous novels, but when producers, directors, actors twist the story, add own stuff and make a ‘ Khichdi ‘ of the novel, think what the author must be feeling. ( In film Guddi, a writer called Deshpande, describes what the film makers do to the stories, to Prof. Gupta played by Utpal Dutt). A case in point is film Guide. It is on record how R K Narayan was disgusted with the Cinematic liberties the film makers took on his novel, and how he stopped attending shootings and vowed never to allow another producer to buy his stories !

Trouble comes when when the film is made on a western novel like ” Damsel in Distress “. First thing is to adapt the novel to Indian context and traditions. While doing this , most times, a mess is created. The story of this novel takes place in London and shifts to a village nearby later. in Indian version you have to show an Indian city ( Bombay) and a village. I read the review of this film in Film India- October 1938 issue. Baburao Patel- who rarely appreciated a film and was very partial to few directors and actors- tore apart the film. Every aspect of the film was criticised. However, despite his attempt, the film did very good film and was a success. It is shown in this film that after meeting just once, the hero and heroine, in their subsequent meeting, do not recognise each others and a Cat, gifted by hero to the heroine in their first meeting, helps in getting them together again.

The cast of the film had E. Billimorea, Sunita, Ishwarlal, Kantilal, Ila Devi, Mazhar, Ram Apte, Ghory and others. There were 11 songs in the film. today’s song is the first song to feature here. The song is sung by Ishwarlal and Ila Devi. I knew Ishwarlal, but Iladevi was a new name. Even after efforts no information was available to me about her. From the question-answer column of the magazine Film India, I learnt that Ila Devi’s original film name was Miss Ilmas. I do not know in which religion or community, this name is used.After making her debut in Hindi films in ‘ Nishan -E- Jung ‘-1937, she changed her name to Ila Devi and acted in 6 more films. Four films in 1938 (Billi,Bazigar, Rikshawala and Gorakh Aaya) and two films in 1939 (Adhuri Kahani and Kahan hai teri manzil). After this her name is not found in any films, when I checked.

This change of name, after using one name in a film, is not unique, though,this seems to be the First such instance. I know, off hand, at least two more such instances in Film industry. Actress Ameeta (Tumsa nahi dekha fame) had used name Jaijaiwanti in her first film Thokar-1953 ( her second film kaafila -52 was released first as Ameeta,however), but he changed it to her name Ameeta from next film onwards. ( her real name was Qamar Sultana). The second example is actress Zeb Rehman who was known first as Preetibala, then she changed her name to Zeb Rehman.

The male singer in this song is Ishwarlal. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.

He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.

After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.

He got a job in Ranjit Studios.He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.meanwhile,with Jwalamukhi-36,he became Hero.he sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recoded for commercial purpose.
In Billi-38,he sang a duet with Ila Devi and Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan. In Pyaas-41,he sang with S.Pradhan.

In 1942,first time he got solo songs to sing in Fariyaad. In Jabaan,under C.Ramchandra,he sang 7 songs.

Some of his films were-
Diwali,Dheeraj,Chandni,bhola shikar,nadira, sitamgarh, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo
dil ka daku,Jwalamukhi,Sajni,Dil farosh,Adhuri kahani,Thokar,Holi,pyar,Bansari Lalkar,Chirag,Us paar,
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.

In 1945,he was the hero of Nurjehan in Badi Maa,but he had no songs, infact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.

Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.

He acted in 86 films. He also directed 11 films. He sang 36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

With this song, the film Billi aka The Cat-38 and the singer Ila Devi make their Debut on this Blog.


Song-Chaal chale matwaari (Billi)(1938) Singers- Ishwarlal, Ila Devi, Lyrics-P L Santoshi, MD- Gyan Dutt
Both

Lyrics

Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

raaja jee ki ajab sawaari
Chaal chale matwaari
Raaja
haan
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara
Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara

baaje chidiyaghar ke raaja
baaji moorakhpur ki raani
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari


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 : 3782 Post No. : 14763

“Dulhan”(1958) was produced by A A Nadiadwala and directed by V M Vyas for Pushpa Pictures, Bombay. This “social” movie had Nirupa Roy, Rajkumar, Bhagwan, Nanda, Jageerdaar, Sheila Kashmiri, Manorama, Agha, Jeewan, Indira Bansal, Munshi Munaqqa, Maqbool, Iqbal, Kanchan, Ansari, Moti (the dog) etc in it.

The movie had nine songs in it. Four songs from the movie have been covered in the blog.

Here is the fifth song from “Dulhan”(1958) to appear in the blog. This song is a duet sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. Music is composed by Ravi.

The song is sung in a rock and roll style (which was quite popular in India at that time. The song is picturised as a club dance song. One can see Bhagwan lip syncing in Rafi’s voice. I am unable to identify the lady who lip syncs in Shamshad Begam’s voice. I request our knowledgeable readers to help identify her.

With this song, the blog now has 4800 songs from the decade of 1950s (1951 to 1960), which is easily the most well represented decade in the blog.


Song-Mere gore gore gaal (Dulhan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Ravi
Both
Bhagwaan

Lyrics

yaa hoo

mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawab
meri ada bemisaal

husn waale kahte nahin kitne hum hain haseen
apne husn per unhen hota nahin hai yakeen
o husn vaale kahte nahin kitne hum hai haseen
apne husan pe unhe hota nahin hai yakeen
poochhe kaun husn ko na ishq ki jo shah mile
poochhe kaun husn ko na ishq ki jo shah mile
chaahne valo ki nazar ka hai ye sab kamaal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
aaye thhe ye ban ke chacha majnu farhaad ke
laila
haaye laila

aaye thhe ye ban ke chacha majnu farhaad ke
kuchh na ban pada to kahen that’s all
that’s all
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
tere gore gore gaal

that’s all
tere kaale kaale baal
that’s all
tera husn laajawaab
that’s all
teri ada bemisaal
that’s all


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 :

3750 Post No. : 14715 Movie Count :

4020

Today’s song is a devotional chorus song from an old film, ” Prithvi Putra”-38. HFGK indicates that it was a Mythological film. I could not get a clue anywhere what the story was about. The film was made by the film factory, Ranjit Movietone- where, at a time, at least 4 to 5 films used to be on the floors doing shooting, not counting if any team was on outdoor shooting schedule.

As per the available 1938 issues of Film India, when Prithvi Putra’s shooting was going on, some more film shootings, planning meetings and scheduling were underway at the same time. Films like Gorakh Aaya, Achhut, Sant Tulsidas, Taxiwali, The Cat (Billi) and Prof. Waman, M.Sc. were the films involved in the studio activity. It is sad that review of this film is not available to us since all issues of 1938 are not available on Internet.That review could have at least told us what the story of this movie was.

The director was Jayant Desai, Lyricist was P.L.Santoshi and Gyan Dutt was the music director. Gyan Dutt did 15 films for Ranjit , during his stint from 1937 to 1940 period. After him, it was Khemchand Prakash and after him it was Bulo C. Rani as Ranjit’s resident Music director.

The cast of the film was truly a Nationalistic combination, confirming how the film industry was actually a secular activity. Madhuri was a Christian, Billimoria was a Parsee, Mazhar khan was a Muslim, Kantilal was a Hindu and the other actors were also a mix of different religions.

One of the names in the cast is Waheedan Bai. Not much information is available on her. Her younger sister Sitara Bai aka Jyoti and her own daughter Nawab Banoo aka Nimmi were actresses. Waheedan Bai was from a Tawayef family. Her daughter Nimmi, had always denied this-understandably too, but Waheedan Bai’s name gave away the true story.

In the initial stage of the Indian films, whether silent or talkie, it was difficult to get girls from good families and background. Slowly this picture changed.When Talkie started many Tawaifs,singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good,in addition to their ease on Hindi/urdu language. At this time slowly many educated and girls from high society as well as middle class families started joining films.So,to distinguish these women from each others, a system of nomenclature was followed. All the Girls coming from singing families and Tawaif background added the suffix “Bai” to their names, like Jaddanbai,Waheedan bai,Zohrabai,Amirbai etc. The Anglo-Indian and middle class girls took the prefix of “Miss” like Miss Moti, Miss Rose, Miss Tara, Miss Ajmat, Miss Pearl etc. Those girls who were from high society were called Devi like Sabita Devi, Kamla Devi, etc. All Marathi actresses used their full names like Shanta Apte, Minaxi Shirodkar etc.

Another point, this nomenclature was only unofficial and traditional. So some Tawaif actresses took advantage of this to hide their roots. Like, Rampyari who was from a singing family of Hyderabad, sometimes called herself as Miss Rampyari.

There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…

Lowest Class…..IV Name – Khanki Prostitutes/Sex workers
Class III Name – Kaneez Daasi or servant
Class II Name – Bai ji Singing/Dancing
Class I Name – Jaan Top class singers

They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai, Waheedanbai, Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan etc etc.

Waheedan Bai belonged to a small town Fatehabad, near Agra. Her father’s name was Basheer Khan. She was second among 4 sisters. The youngest was Sitara Bai aka Jyoti. Waheedan was a trained and good singer, but Tawayafs did not get social status, so she got married early to one Abdul Hakeem from Nasirabad, settled in Meerut. He had met Waheedan in a shrine in Agra, where she recited verses from Koran.

Soon after their marriage, his father, a contractor with Military, died and Hakim inherited the business. He was a novice and was cheated by his manager and they lost everything. The family moved to Calcutta to start a Leather business. Here also he failed. In Calcutta, their neighbour was director A.R.Kardar. Through his wife, Bahar, Kardar was contacted and he gave a small role to him in a film. Here again he got terrified and ran away, at the time of shooting.

Waheedan came forward and after hearing her singing, she was given a song in the film and it was recorded. Meanwhile Chandulal Shah offered her roles in his films. They shifted to Bombay and she joined Ranjit Movietone. Her first film was Toofani Toli-37. Prithvi Putra was just the second film. Her songs in her films were liked and became famous.She worked in other films like Prof. Waman,M.Sc.-38, Rikshawala-38, The Secretary-38 and Thokar-39.

She got acquainted with Mehboob Khan and he offered her lead role opposite Surendra in film Alibaba-40, a Sagar Movietone film initially, but later on sold to Ranjit of Chandulal Shah, in a game of gambling. Film Alibaba-40 was made in Hindi and Punjabi. The film songs became very popular. When Sagar merged into National Studios, she worked in film Sanskar-40.

Waheedan contracted T.B. and left films. She acted in only 8 films and sang 26 songs in 11 films-including her 8 films. She died in 1942.( based on information from Sagar movietone by Biren kothari ji and my notes)

Another name was Mazhar Khan in the cast of Prithvi putra-38. Khans have always dominated Hindi film industry, since Talkie films started. The very first Talkie, Alam Ara-31 also had the first actor singer W.M. Khan in it. The famous compiler and author, Shri Harish Raghuwanshi ji has enumerated as many as 57 names of Khans in Hindi films, in his book Inhe na Bhulana in Gujarati in 2003.

Mazhar Khan was born in 1907 in Dhar state. After matriculation, he joined Police force and rose up to Inspector’s rank. Due to attraction of becoming actor, he resigned from the job and reached Bombay.He went from studio to studio, in search of a job. Finally. Director B.P.Mishra from Imperial saw him and called for film roles. From 1927 to 1931, he worked in 19 silent films. His first Talkie was ‘ Noorjehan”-31 directed by Ezra Mir ( real name Edwyn Meyers). he went to Calcutta and worked in New theatres films with Sehgal and Begum Akhtar. He also acted in film Raat ka Raja-34, in which he reportedly did 8 different roles.After Sunehra Sansar-36 and some more films with other companies, he returned to Bombay and joined Ranjit, and later Minerva. His memorable film role was in Prabhat’s Padosi-41, in which he did the role of a Hindu pandit, while his Muslim friend’s role was done by Gajanan jahagirdar. Their roles were much appreciated in those periods.

In 1942 he started his own company, Asiatic pictures and then Mazhar Art productions. he produced and directed 6 films. he introduced actress Veena in film Yaad-42 and gave opportunity to Mukesh to sing in film Pehli Nazar- which made him very popular. Mazhar acted in 44 films. He married a Hindu girl, who did not convert after the marriage. They had 2 sons. Mazhar Khan died on 24-9-1950.
(adapted from wiki and Inhe na Bhulana).

Let us now listen to this melodious bhajan which is sung by chorus.

With this song, “Prithvi Putra”(1938) makes its debut in the blog.


Song- Jai Brijnandan Gopichandan Leelakaari Shyaam (Prithvi Putra)(1938) Singer-Chorus, Lyrics-P L Santoshi, MD-Gyan Dutt

Lyrics

Jai Brijnandan Gopichandan Leelakaari Shyaam
Jai Brijnandan Gopichandan,Leelakaari Shyaam
bhav bhaybhanjan ??niranjan sankathaari raam
bhav bhaybhanjan ??niranjan sankathaari raam
Jai Brijnandan Gopichandan Leelakaari Shyaam

cheerharaiyya laajrakhaiyya raas rachaiyya krishn kanhaiyya
cheerharaiyya laajrakhaiyya raas rachaiyya krishn kanhaiyya
sau sau baar pranaam
sau sau baar pranaam

jai avinaashi jag ke swaami
ghat ghat vaasi antaryaami
jai avinaashi jag ke swaami
ghat ghat vaasi antaryaami
sau sau baar pranaam
sau sau baar pranaam
Jai Brijnandan Gopichandan Leelakaari Shyaam
Jai Brijnandan Gopichandan Leelakaari Shyaam


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Blog Day : 3744 Post No. : 14702

“Akela” (1941) was produced by Kikubhai Desai and directed by Pesi Karani for Great India Pictures, Bombay. The movie had Mazhar Khan, Bibbo, E Billimoria, Miss Moti, Pratima Devi, Bose, Mohammed Hadi etc in it.

The movie had eleven songs in it. One song has been covered in the past.

Here is the second song from “Akela” (1941) to appear in the blog. The song is sung by Bibbo. P L Santoshi is the lyricist. Music is composed by Khan Mastana.

Only the audio of the song is available. Seeing that Bibbo, the leading actor-Singer of those days is in the cast, it is clear that the song was picturised on herself.


Song-Lagti hai chot jigar mein (Akela)(1941) Singer-Bibbo, Lyrics-P L Santoshi, MD-Khan Mastana

Lyrics

lagti hai jab chot jigar mein
lagti hai jab chot jigar mein
nikla karti haay
lagti hai jab chot jigar mein
nikla karti haay
haay haay mein chhupi kahaani
samjhi na koi baat
haay haay mein chhupi kahaani
samjhi na koi baat
lagti hai jab chot jigar mein
nikla karti haay

samjhe usko ek baar jo
chot kisi ki khaay
samjhe usko ek baar jo
chot kisi ki khaay
din din baras baras se beete
din din baras baras se beete
kachhu na aur suhaaye
kachhu na aur suhaaye
naina rahat hain daras ke pyaase
naina rahat hain daras ke pyaase
kab aayen
kab aayen
kab aayen


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 : 3726 Post No. : 14664

“Roshni”(1949) was directed by Ramanlal Desai for Standard Pictures Corporation, Bombay. The movie had Rehana, Nihal, Mumtaz Ali, Sophia, Benjamin, Pran, Harun, Chaand Burque, Sita Bose, V H Desai, Kesri, Shyam lal, Ramlal, Kamal Krishn, Gulnar, Indira, Shyama, zarina, Ishrat etc in it.

The movie had nine songs in it. Five songs from the movie have been covered in the past. Here is the fifth song from “Roshni”(1949) to appear in the blog.

This song is sung by Lalita Deulkar and chorus. P L Santoshi is the lyricist. Music is composed by C Ramchandra.

The song is a cute and interesting song where a desi lady wonders about the lifestyle of western people and dreams of copying them. 🙂 Her observation and conclusion about them is quite hilarious. She observes that these western people walk around with a “phaasi ka phanda” around their necks. 🙂 To her, a “mem” walks around holding a “chhatri” in her hard and she fantasises about doing the same, with her “beau” who would be suitably “westernised” as well, wearing a long hat. 🙂

Watching the video of the song would have been fun, but unfortunately the video is not available. Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Jiya chaahe ke ud jaayen ham (Roshni)(1949) Singer-Lalita Deulkar, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

suna hai shahar mein
sab kuchh hai bikta
aa aa aa
suna hai shahar mein
sab kuchh hai bikta
dikhne mein mahanga
lene mein sasta
dikhne mein mahanga
lene mein sasta

khareedengen dil mein jo aaye hamaare
khareedengen dil mein jo aaye hamaare
ham kya kisi se kam
ham kya kisi se kam
cham cham cham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

lambi lambi sadken
oonche oonche bangle
ae ae ae
lambi lambi sadken
oonche oonche bangle
sair karen saahab
mem ko sang le
sair karen saahab
mem ko sang le

ham bhi ghoomenge leke
chhoti si chhatri
ham bhi ghoomenge leke
chhoti si chhatri
bada sa hat pahne mera sanam
bada sa hat pahne mera sanam
cham cham cham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

shahar waale hote hain aashiq niraale
ae ae ae
shahar waale hote hain aashiq niraale
phirte hain gale mein phaansi si daale
phirte hain gale mein phaansi si daale
bajaate hain seeti wo
karte ishaare
bajaate hain seeti wo
karte ishaare
dekha ki koi chali
chham chham chham
dekha ki koi chali
chham chham chham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe


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 : 3673 Post No. : 14560

“Bhakt Prahlad”(1967), originally made in Tamil and other south Indian languages was dubbed in Hindi as well.

The movie was directed by Narayanmurthy for Veerappan and company, Madras. It had S V Ranga Rao, Anjalidevi, Rajendranath, Dhumal, L Vijaylaxmi, Geetanjali, Nirmala etc in it.

The Hindi dubbed version had as many as 17 songs in it which were penned by P L Santoshi.

Here is the first song from “Bhakt Prahlad”(1967) to appear in the blog. HFGK is silent about the singers of the song, but the voice sounds like Usha Mangeshkar to me. The song is picurised on the child artist who plays the title role of Prahlad.

Music ws composed by Rajeshwar Rao and Rajgopal Krishnan but the distribution of songs between them is not known. So I have decided to credit them jointly for music direction.

I request our knowledgeable readers to help identfy the singer as well as the actor in the picturisation.

With this song, “Bhakt Prahlad”(1967) makes its debut in the blog.


Song-Hey prabhu jyot jagaao aisi (Bhakt Prahlad)(1967) Singer-Usha Mangeshkar, Lyrics-P L Santoshi, MD-Rajeshwar Rao-Raj Gopalkrishnan

Lyrics

hey prabhu jyot jagaa aisi
hey prabhu jyot jagaa
mere man mein base tu sada
haan
man mein base tu sada

jab gajendr par bheer padi to
usey bachaane tu hi aaya
jab gajendr par bheer padi to
usey bachaane tu hi aaya
maare kisko taare kisko
maare kisko taare kisko
sab kuchh hai bas teri maaya
sab kuchh hai bas teri maaya

hey prabhu jyot jaga aisi
he prabhu jyot jaga
mere man mein base tu sada
haan
man mein base tu sada


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 : 3654 Post No. : 14512

“Chaalis Baaba Ek Chor”(1954) was produced by Kamini Kaushal and it was directed by P L Santoshi. The movie had Kamini Kaushal, Balraj Sahni, Smriti Biswas, Om Prakash, David, Chandabai, Jagdeep etc in it.

The movie had twelve songs in it. Seven songs from this movie have been discussed in the past. Here is the eighth song from “Chaalis Baaba Ek Chor”(1954) to appear in the blog. This rare song is sung by Lata and Kishore Kumar alongwith chorus. P L Santoshi is the lyricist. Music is composed by S D Burman.

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


Ae meri guinyaa dulha dulhaniya (Chaalis Baba ek Chor)(1954) Singers-Lata, Kishore Kumar, Lyrics-P L Santoshi, MD-S D Burman
Chorus

ae ae ae ae meri guinyaa
dulha dulhaniya
mil ke kar len jo saath phiraniya
to duniya
basi basi jaaye
he re duniya
duniya
basi basi jaaye

kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

pehli phiraniya mein oye meri guinyyan
baat hai kya jo dekh dulhaniya
dulhwa
phiri phiri jaaye re dulhwa
dulhwa phiri phiri jaaye
ho o o
dulhwa
phiri phiri jaaye re dulhwa
dulhwa phiri phiri jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

dooji phiraniya mein
ae mori guniyya
baat hai kya jo dekh dulhaniya
dulhwa ruki ruki jaaye
re dulhwa
dulhwa ruki ruki jaaye
ho o
dulhwa ruki ruki jaaye re dulhwa
dulhwa ruki ruki jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

teeji phiraniya mein
o meri guinyyaan
baat hai kya jo dekh dulhaniya
dulhwa jhuki jhuki jaaye
re dulhwa
dulhwa jhuki jhuki jaaye
o o o
dulhwa jhuki jhuki jaaye re dulhwa
dulhwa jhuki jhuki jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

haaye
ye dilli ki phuljhadiyaan
hai laayi khushi ki ghadiyaan
ye patne ke pataakhe
phooten to karen dhamaake
yoon badle roop dhuwaan ke
jaise faujen gayin hon lad
ho jaise
fauzen gayin hon lad
ho jaise jaise jaise

chauthi phiraniya mein
oye meri guinyaan
baat hai kya jo dekh dulhaniya
dulhwa hati hati jaaye re dulhwa
dulhwa hati hati jaaye
o o o
dulhwa hati hati jaaye re dulhwa
dulhwa hati hati jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

paanchi phiraniya mein
oye meri guniyaan
baat hai kya jo dekh dulhaniya
dulhwa mudi mudi jaaye
re dulhwa
dulhwa mudi mudi jaaye
o o o
dulhwa mudi mudi jaaye re dulhwa
dulhwa mudi mudi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

chhathhi phiraniya mein
oye meri guinyaan
baat hai kya jo dekh dulhaniya
dulhwa adi adi jaaye re dulhwa
dulhwa adi adi jaaye
o o o
dulhwa adi adi jaaye re dulhwa
dulhwa adi adi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye
kaanon mein kahi jaaye

haan
ye dilli ki phuljhadiyaan
hai laayi khushi ki ghadiyaan
ye phoolon ki phuljhadiyaan
hai laayi khushi ki ghadiyaan
ye patne ke pataakhe
uthhen to karen dhamaake
ye patne ke pataakhe
aur ye khandwe ke khataake
ye ?? ke chataake
aur phoote to karen dhamaake


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15086

Number of movies covered in the blog

Movies with all their songs covered =1172
Total Number of movies covered =4139

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Blog Start date: 19 july 2008

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