Posts Tagged ‘Pannalal Ghosh’
Saanwariyaa re saanwariyaa
Posted on: October 7, 2021
This article is written by Sadanand Kamath, 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.
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Blog Day : |
4829 | Post No. : | 16608 |
‘Anjaan’ (1941) was produced under the banner of Bombay Talkies and was directed by Amiya Chakraborty who made his debut as a director with this film. The star cast included Devika Rani and Ashok Kumar in the lead roles supported by Girish, P F Pithawala, V H Desai, Gulab, David, Fatty Prasad, Yusuf Suleiman, Master Suresh, Baby Madhuri, Rewashankar, Arun Kumar etc. For Devika Rani, it was her ‘comeback’ film after her last film ‘Durga’ (1939) and after the death of her husband, Himanshu Rai in 1940.
Another ‘first’ for the film ‘Anjaan’ (1941) was that R D Mathur, the US trained photographer who was assistant to Josef Wirsching, the German cinematographer of Bombay Talkies, made his debut as a Cinematographer for the film. He got this opportunity as Josef Wirsching, being a German, was jailed in India during the World War-II. R D Mathur earned his name as an ace cinematographer for his works in films such as ‘Mughal-e-Azam’ (1960) and Razia Sultana’ (1983). He also completed the cinematography work for ‘Paakeezah’ (1971) after the sudden death of the film’s cinematographer, Josef Wirsching.
Since the inception of the film productions by Bombay Talkies in 1935, Saraswati Devi and Ramchandra Pal used to be the music directors of all the films of Bombay Talkies released till 1940. ‘Anjaan’ (1941) was the first film of Bombay Talkies for which instead of Saraswati Devi or Ramchandra Pal, the music direction of the film was entrusted to Pannalal Ghosh, who had shifted from Kolkata to Mumbai in 1940 with his wife and playback singer, Parul Ghosh.
Pandit Pannalal Ghosh (24/07/1911 – 20/04/1960), the renowned flautist, who was the pioneer in introducing the flute as the musical instrument in the Hindustani classical musical concerts, had to start his initial musical career in the film industry in Kolkata at the age of 17 when he lost his father. He started with playing flute during the exhibitions of the silent films. When the sound films came into being, he became the music assistant, first to Kazi Nazrul Islam and thereafter to R C Boral when he joined the New Theatres as a musician. He had assisted R C Boral when for the first time, playback singing Indian films was introduced for ‘Dhoop Chhaaon’/Bhagyachakra’ (1935).
Pannalal Ghosh’s association with the film industry was mainly to earn money to take care of his family. His interest was to become a Hindustani classical musician with flute as his musical instrument. He formally became the ‘gadabandh’ disciple of Ustad Khushi Mohammed Khan and after his death, the disciple of Pandit Girija Prasad Chakraborty. Besides working for New Theatres, Pannalal Ghosh regularly participated in the programmes of the All India Radio, Kolkata as a flautist.
In early 1940, Pannalal Ghosh shifted his base to Mumbai along with his family as he felt that there was no recognition to his work in Kolkata. In Mumbai, he followed the same strategy – working in the films for sustenance and pursuing his interest in Hindustani classical music. He immediately got his first assignment as a music director for Kikubhai Desai’s film ‘Sneh Bandhan’ (1940). This was followed by ‘Anjaan’ (1941), ‘Basant’ (1942), ‘Sawwal’ (1943), ‘Duhaai’ (1943), ‘Bhalaai’ (1943), ‘Police’ (1944), ‘Beesvi Sadi’ (1945) ‘Aadhar’ (1945) etc.
However, Pannalal Ghosh could not get satisfaction with his work because of the way the Hindi film industry worked. During this time, Ustad Allauddin Khan of Maihar Gharana, the exponent of multiple musical instruments like sarod, sitar, flute, Veena etc. was staying in Mumbai. Pannalal Ghosh became his disciple at a time when he was already started giving public concerts. ‘Aandolan’ (1951) was his last film as a music director.
From 1955-60, Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra) and stayed in Delhi with his family. His connection with Hindi films was limited to playing flute as and when music directors called him to Mumbai. The best exmaples of his flute recitals can be found in the song main piya teri tu maane ya na maane from ‘Basant Bahaar’ (1956) and in the song mohe panghat pe nandlal chhed gayo re from ‘Mughal-e-Azam’ (1960).
I have always thought that the flute was a tiny musical instrument – may be not more than 12-18 inches long. I realised that it was not so when I when I saw the photographs of Pandit Pannalal Ghosh and Pandit Hariprasad Chaurasia playing with their long flutes. The credit for elongating the flute’s normal length to as high as 32 inches goes to Pandit Pannalal Ghosh with an extra 7th hole so that the tiny folk instrument becomes capable of playing Hindustani classical music in various raags. Over a period of time, flute has become one of the concerts’ music instruments along with other music instruments. Probably, Pandit Pannalal Ghosh was the first Hindustani classical musician to play the solo flute in public concerts.
Pandit Pannalal Ghosh died of a massive heart attack on April 20, 1960 when he was 48. He has left a large number of his disciples to keep his legacy alive.
The story of ‘Anjaan’ (1941) as under:
Indira (Devika Rani) is employed by Ranima (Gulab), the widow of the landlord as governess to look after her two children. Ramnath (Girish) is the Estate Manager to Ranima who loves Indira and to get her on his side, he is ready to turn to the villainous acts. Indira falls in love with Dr. Ajit (Ashok Kumar) who often visits Ranima for her medical check-up. Now, this turns into a love triangle. The more love between Dr Ajit and Indira blossom, the more villainous Ramnath turns. Ramnath falsely accuses Indira of secretly visiting to Ajit’s house in the night about which he complains to Ranima. Indira gets her services as governess terminated.
After hearing from Ajit about the wrong doings by Ramnath, it is too much for Ranima for her already weak heart leading to the further deterioration of her fragile health. Ajit administers her injection to revive Ranima but in vain. She is dead. Ramanth finds a good excuse to implicate Ajit on the charge of the murder of Ranima.
The news of the alleged murder by Ajit unnerves Indira as Ramnath tells her that he is going the lodge the murder charges against Ajit. She agreed to marry Ramnath provided he lets Ajit free from the murder charges. Hereafter, she avoids meeting Ajit which creates misunderstanding in his mind about Indira. He decides to leave the place for the city. Ajit decision to migrate to the city is too much for Indira. She decides to meet Ajit at the railway station to tell him the truth. After listening her, Ajit tells her to wait for his return from the city.
Ramnath comes to know about the double crossing by Indira. He lodges the charge of murder on Ajit who is arrested in the city. To prove the motive for the murder of Ranima, Ramnath removes some costly jewelries and declares as missing, pointing finger on Ajit. In the trial in the session court, Ajit argues himself. The judge is impressed by his arguments. But the evidences are all against Ajit. However, it is the two children of Ranima whose evidences clinche the judgement in favour of Ajit. Ramnath is handed over to the police and Ajit gets Indira.(With inputs from the review of the film which appeared in the September 1941 issue of ‘Filmindia’ magazine).
The film had 10 songs of which 8 songs have been covered on the Blog as under:
| Songs | Date of Posting | Singers |
|---|---|---|
| Aayi paschim se ghata naunihaalon jaago | 02/03/2015 | Devika Rani |
| Main to tumse bandhi rahoon | 11/12/2015 | Devika Rani |
| Mere jeewan ke pathh par chhaayi ye kaun | 20/10/2020 | Ashok Kumar-Devika Rani |
| Chhalko chhalko na ras ki gagariya | 20/01/2021 | Rajkumari |
| Kheencho kamaan kheencho | 26/01/2021 | Ashok Kumar-Suresh-Rewashankar |
| Pyaare pyaare sapne hamare Triple version song | 06/02/2021 | Ashok Kumar-Devika Rani-Suresh-Rewashankar |
I am presenting the last and the final song ‘saanwariya re saanwaria’ which has two versions – a duet sung by Arun Kumar Mukherjee and Susheela and a solo sung by Arun Kumar Mukherjee towards the end of the film. The song is written by P L Santoshi which is set to music by Pandit Pannalal Ghosh. The audio clip of the song is longer by one stanza. Hence the lyrics of the song is based on the audio clip.
My guess is that Arun Kumar Mukherjee sings in both the versions of the song on himself. From the side profile of his face during the singing, I notice some resemblance of Ashok Kumar on his face who was his maternal cousin. In the star cast, the name of Arun Kumar is mentioned.
With this two-version song, all the song of ‘Anjaan’ (1941) have ben covered on the Blog.
Acknowledgement: Some of the information on the early life of Pandit Pannalal Ghosh has been sourced from pannalalghosh.com.
Audio Clip (Duet):
Video Clip (Duet):
Video Clip (Male Solo):
Song-Saanwariya re saanwariyaa (Anjaan)(1941) Singers-Arun Kumar Mukherjee, Susheela, Lyrics-P L Santoshi, MD-Pannalal Ghosh
Both
Lyrics(Based on Audio Clip)
saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
ek nagariya ham donon ki
ek dagariya aa
ek nagariya ham donon ki
ek dagariya aa
chal re chal re saanwariya
saanwariya re sawariya
chal chal re chal re saanwariya
raah kanteeli door thikaana aa
raah kanteeli door thikaana
phir bhi hamko chalte jaana
raah katili door thikaana
phir bhi hamko chalte jaana
beet jaaye chaahe saari umariya
beet jaaye chaahe saari umariya
chal re saanwariya
haan
chal re chal re saanwariya
sawariya re sawariya
chal chal re chal re saanwariya
main tera rahoon tu meri rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya
main tera rahoon tu meri rahe
jaise din ke saath ujhera rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya
aabaad rahe ham tum donon
aabaad rahe ham tum donon
aabaad hamaara dera rahe
bajta rahe ye iktaara
bajta rahe ye iktaara
madhur preet ki baansuriya
madhur preet ki baansuriya
chal re saanwariya
haan
chal chal re chal re saanwariya
saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya
Pyaare pyaare sapne hamaare
Posted on: February 6, 2021
- In: Actor-Singer song | Ashok Kumar solo | Ashok Kumar songs | Devika Rani solo | Devika Rani songs | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Lyrics contributed by readers | Multiple version song | Post by Avinash Scrapwala | Song sung by three or more singers | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- 5 Comments
This article is written by Avinash Scrapwala, 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.
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Blog Day : |
4586 | Post No. : | 16206 |
Today 6th February’2021 is the one hundred sixth ‘birth anniversary’ of Kavi Pradeep (06.02.1915-11.12.1998). On this occasion here is a song from the 1941 movie ‘Anjaan’.
‘Anjaan-1941’ was directed by Amey Chakravarti for ‘Bombay Talkies Ltd, Bombay’. It had Devika Rani, Ashok Kumar, V.H. Desai, Girish, Suresh, P.F. Pithawala, Gulab, Faiti Prasad, Yusuf Suleman, Sayyad Mukhtar, David, Reva, Baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dikshit, Om Prakash, Tarun Kumar, Thelma, Ammini and others.
This movie had ten songs as given below in the order of appearance in HFGK Vol-II (1941-1950).
| S.No. | Song Title | Posted On |
|---|---|---|
| 01 | Kheencho kamaan kheencho | 26.01.2021 |
| 02 | Pyaare pyaare sapne hamaare | – |
| 03 | Aayi Paschim se ghataa | 02.03.2015 |
| 04 | Saanwariya re saanwariya, chal chal re | – |
| 05 | Pyaare pyaare sapne hamaare | – |
| 06 | Chhalko chhalko na ras ki gagariya | 20.01.2021 |
| 07 | Mere jeewan ke path par chhaayi ye kaun | 14.10.2020 |
| 08 | Main to tumse bandhi rahoon | 11.12.2015 |
| 09 | Saanwariya re saanwariya, chal chal re | – |
| 10 | Pyaare pyaare sapne hamaare | – |
The songs in this movie were written by Kavi Pradeep (08 songs including one three-part song) and P.L. Santoshi (02 songs i.e., one two-part song).
Today’s song is a three-part song sung by Ashok Kumar, Suresh, Reva and Devika Rani.
I had come across the songs of this movie in ‘2015’ when I had the songs written by Kavi Pradeep except the song ‘Chhalko chhalko na ras ki gagariya’.
Let us enjoy today’s wonderful song and take this movie closer to ‘Yippeeee’ 😊 i.e., only one step away now.
Audio – Female version
Video – Female version
Audio – Male version
Video – Male version
Audio – Group version
Video – Group version
Song-Pyaare pyaare sapne hamaare (Anjaan)(1941) Singer-Devika Rani, Ashok Kumar, Suresh, Revashankar, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh
Lyrics
———————————
Female solo version-Devika Rani
———————————
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahen ham
Janam janam tak sang rahen ham
Kabhi na hon nyaare ae
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Ek hamaara rajmahal ho
Jamuna kinaare
Jamuna kinaare
Ek hamaara rajmahal ho
Jamuna kinaare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko o alag na kar sakenge
Hamko o alag na kar sakenge
Duniya ke ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
———————————-
Male version- Ashok Kumar
———————————-
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae
Pyaare pyaare sapne hamaare
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare ae
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko o alag na kar sakenge
Hamko o alag na kar sakenge
Duniya ke ae ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
———————————–
Group version- Ashok Kumar, Suresh, Revashankat
———————————–
Pyaare pyaare ae
Sapne hamaare
Pyaare pyaare ae
Sapne hamaare
Pyaare pyaare ae
Sapne hamaare
Pyaare pyaare ae
Sapne hamaare
Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Ek hamaara rajmahal ho
Jamuna kinaare ae
Jamuna kinaare ae
Ek hamaara rajmahal ho
Jamuna kinaare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Ek dor me bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Ek dor me band gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko alag na kar sakenge
Hamko alag na kar sakenge
Duniya ke ae ishaare
Hamko lag na kar sakenge
Duniya ke ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
———————————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————————————-
Female version- Devika Rani
———————————————————
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक हमारा राजमहल हो
जमुना किनारे
जमुना किनारे
एक हमारा राजमहल हो
जमुना किनारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको ओ अलग न कर सकेंगे
हमको ओ अलग न कर सकेंगे
दुनिया के इशारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
—————————-
Male version Ashok Kumar
—————————-
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको ओ अलग न कर सकेंगे
हमको ओ अलग न कर सकेंगे
दुनिया के इशारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
———————————–
Group version Ashok Kumar, Suresh, Rewashankar
————————————
प्यारे प्यारे ए
सपने हमारे
प्यारे प्यारे ए
सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक हमारा राजमहल हो
जमुना किनारे ए
जमुना किनारे ए
एक हमारा राजमहल हो
जमुना किनारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको अलग न कर सकेंगे
दुनिया के ए इशारे
हमको अलग न कर सकेंगे
दुनिया के इशारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
Kheencho kamaan kheencho
Posted on: January 26, 2021
- In: "Advice" song | Actor-Singer song | Ashok Kumar songs | Century songs for the blog | Devnagri script lyrics by Avinash Scrapwala | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Lyrics contributor century song | Patriotic song | Song sung by three or more singers | Song with a message | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- 4 Comments
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.
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Blog Day : |
4575 | Post No. : | 16182 |
Today is 26th january (2021), which is republic day for India. Arguably, this is the most important day for independent India, more important than even the independence day, in my opinion.
71 years have passed since India was declared a republic on 26 January 1950. During the past 71 years, we have been through lots and lots of changes, upheavels, trials and tribulations, calamities etc. Thankfully today we find ourselves in a better position than what we were at in 1950. In fact, we find ourselves in a much better position vis a vis 1990.
I was born when the first Prime Minister and first President of India were still around. So I have lived through the eras of all the Prime Ministers and Presidents of India that we had !
During all these decades, some good practices have taken root. On the other hand, we still have some bad practices that we need to get rid of.
Instead of talking about what the government should do, here I will largely discuss what we need to do. Since we are a democratic republic, our behaviour decides what the government does, rather than the other way round.
Here are some of my observations.
1. Someone else will do it:- This attitude, which is basically passing the buck, has harmed India a great deal over the decades. Instead of doing the work ourselves, we wait for someone else to do the job. As a result, that job remains pending. Worst still, that creates a long lasting problem for the nation.
2. Chalta hai attitude– We expect others to be perfect, but we ourselves are far too lax in our on dealings. We can find fault in the batting technique of Virat Kohli, but we rarely judge our own performance in our workplace with the same high standards.
3. Putting self interest before national interest– Look at the demands of any unions, be it staff union or officers union. All the ten points of their memorandum would contain demands about betterment of their perks, not a single demand would be about the betterment of the organisation.
4. Very few people, typically 1 % of the people are supposed to bear the burden of the entire population. For instance, only 1 % population of India pays income tax, and that money is then squandered in giving subsidy to “poor” people instead of helping them train to come out of “poverty”.
5. Wealth creation and wealth creators have been demonised in India. Poor people and Poverty get glorified. This state of affairs should change immediately.
6. Many indians suffer from inferiority complex vis a vis western countries. This inferiority complex is misplaced and is a result of systematic brainwashing.
The above are some of the points that one can think of without much effort.
What do I have to suggest to improve matters ?
I will make a one point suggestion, instead of making too many suggestions. My one point suggestion is, we have to overhaul our education system. The present education system churns our zombies, who lack the ability to think for themselves and are easily brainwashed. It serves the purpose of the self seeking politicians but it has harmed the country a great deal in all fields. Our education system encourages rote memory, rather than application of knowledge. No wonder our manpower cannot even do basic works, forget doing cutting edge technical works. Whatever competent manpower we have are not because of our education system but inspite of this education system.
We have framed our constitutution based on the British Constitution. But we have not framed our education system based on British education system. British (namely Lord Macauley) gave us an education system in India. Britain herself has an entirely different kind of education system, one that does not seek to produce semi literate babus, unlike the case in India. As soon as India had our constitution, we needed to have our own education system. It has become too late now. Seven decades too late, but better late than never. we can still try and ensure better education system for the future generations.
Instead of insisting on same degrees for everyone, we need to insist on vocational training based on the aptitude of students, instead of imposing the same kind of education on everyone.
Failing an elephant because it cannot climb a tree, failing a monkey because it cannot fly, comdemning a goat because it cannot uproot a tree, that is how our Macaulean education system judges its students.
India has requirements of qualified people in all fields. What is happening now is that all people take the same education.Those who score higher marks become engineers, doctors. Those who score lower marks become civil servants. Those who score even lower become clerks. People scoring even lower become peons, guards etc. Those who cannot get any jobs become freelancers. Those who are not good enough for any jobs become politicians. And all these people are not trained properly for their jobs ! A clerk is not trained to be a clerk. A security guard is not trained to be a security guard. When a civil contractor hires workers to execute his contract, the workers like say masons, or welders are not properly trained for their jobs. They have mostly learnt their work from other workers. In my proposed education system, a mason or a welder will need to be trained by a recognised welding trainer, a plumber by a recognised plumbing trainer etc. This is because continuous imporovemnt takes place in all fields of activities. Our workers whether in organised sector or unorganised sector are far far behind in their knowledge and mastery about latest advancements in their fields. Even security guards should have training.
The above discussion is largely for workers in manufacturing and services sector. The same is needed for the agriculture sector where Indian productivity is among the lowest in the world. One reason is that majority of farmers are not educated. Farmers too need to be well educated in their area of activity, instead of trying to earn the same meaningless degree as others.
In summary, our education system should ensure the supply of highly skilled manpower in all the fields. Even cleanliness, which is considered a menial work, is a specialised work, and people who are tasked with this work need to be well trained for this work.
As I have mentioned earlier, we need to identify the aptitude of individuals and give them vocational training based on his attitude. This is what happens in advanced nations. They do not encourage mindless enrolment in colleges for taking meaningless degrees.
We need not reinvent the wheel. The kind of education system that I have suggested in already available in advanced nations. I suggest that we adopt the German education system. It is a tried and tested education system and we all are aware of German products and their quality that this education system helps produce.
Any country can have two kinds of resources- one is natural resources (mineral ores etc) and other is human resources. One will notice that a country can develop only when its human resources are developed, even if they lack natural resources. For instance, Japan, Israel, Singapore are three nations that have negligible natural resources but they are highly advanced nations thanks to their sell trained human resource. On the other hand we have examples of countries (for example African countries) that are under developed despite possessing vast mineral resources.
India fortunately is very well blessed by nature. But we have failed to make the most of our nature given resources because we have not made the most of our human resources. If we harness our human resources, we sill not only utilise them produtively, we will also be able to take advantage of what the expetts describe as our potential demographic advantage (vast majority of population of India being in working ager group, unlike most other countries).
Today (26 January 2021) we are celebrating our 71st Republic day. We have quite a few things to feel proud about on this occasion. American and British media had predicted millions of covid 19 deaths in India. India has proved them wrong. It appears that these media were watching their own countries in mirror. As on today USA and Britain continue to reel under COVID 19 epidemic, ith Britain even “pioneering” a more dangerous strain of this virus. Unlike these countries, India is even offering low cost and safer vacceines to many countries of the nation.
See this thank you message by Brazil. Makes every Indian proud.
On this occasion, here is a song from “Anjaan”(1941). “Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.
One will notice that the song is from an era when India was not even independent, forget being a republic. But still this song is an appropriate song for the occasion. This song is penned by Kavi Pradeep who sore patriotism on his sleeves, that too in an era when it was very risky to do so. In this song, sung by Ashok Kumar and others, they exhort the naujaaan of Bharat (viz the human resource of India) to make the most of the opportunity that has presented itself to them. And the song advises them not to miss this opportunity unlike the missed opportunities of the past.
Pannalal Ghosh is the music director.
Lyrics of this song were sent to me by Avinash Scrapwala many years ago. This happens to be the 500th lyrics contribution by Avinash Scrapwala in the blog. A befitting achievement for him on the occasion of the Indian Republic day, seeing that he too, like Kavi Pradeep, wears his partiotism on his sleeve.
On this occasion, I ish a happy republic day to one and all. Jai Hind.
Audio
Video
Song-Kheencho kamaan kheencho (Anjaan)(1941) Singers-Ashok Kumar, Suresh, Revashankar, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh
Lyrics(Provided by Avinash Scrapwala)
Kheencho o
Kheencho o
Kheencho kamaan kheencho o
Kheencho o
Kheencho o
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho
Aaj nishaana aa chook na jaana
Pichhli galti mat dohraana
Aaj nishaana aa aa
Aaj nishaana chook na jaana
Pichhli galti mat dohraana
Warnaa phir hoga pachhtaana aa
Warnaa phir hoga pachhtaana
Jagah jagah toofaan bawandar r
Aankhen mat meenchon o
Kheencho kamaan kheencho o
Kheencho kamaan kheencho
Jo bheekh maangne se dar dar
Aazaadi milti ho ghar ghar
Jo bheekh maangne se dar dar
Aazaadi milti ho ghar ghar
Laanat aisi aazaadi par
Laanat aisi aazaadi par
O veeron ke santaan
Desh ko teeron se seencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho
Kheencho o
Kheencho o
Kheencho kamaan kheencho
———————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————-
खींचो ओ
खींचो ओ
खींचो कमान खींचो ओ
खींचो ओ
खींचो ओ
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो
आज निशाना आ चूक न जाना
पिछली गलती मत दोहराना
आज निशाना आ आ
आज निशाना चूक न जाना
पिछली गलती मत दोहराना
वरना फिर होगा पछताना आ
वरना फिर होगा पछताना
जगह जगह तूफ़ान बवंडर र
आँखें मत मीचो ओ
खींचो कमान खींचो ओ
खींचो कमान खींचो
जो भीख मांगने से दर दर
आज़ादी मिलती हो घर घर
जो भीख मांगने से दर दर
आज़ादी मिलती हो घर घर
लानत ऐसी आज़ादी पर
लानत ऐसी आज़ादी पर
ओ वीरों के संतान
देश को
तीरों से सींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो
खींचो ओ
खींचो ओ
खींचो कमान खींचो
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.
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Blog Day : |
4560 | Post No. : | 16171 |
The blog ten year challenge series is in progress in the blog since 2019. The current blog ten year challenge (2011-2021) has not yet picked up steam because very few songs were discussed during the initial days of 2010. That year even had a few DOT days during the first few days of the year.
This day ten year ago (viz 20 january 2010) saw just one song getting discussed, and that one song was from “Anjaan”(1956). This movie cannot be taken up for Blog Ten year challenge today because the movie has already been YIPPEED.
So what to do ? “Anjaan”(1956) may have been YIPPEED in the blog, but “Anjaan”(1941) is not. So let me discuss a song from “Anjaan”(1941) today. 🙂
“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.
The movie had ten songs in it. Three songs have been covered in the past.
Here is the fourth song from “Anjaan”(1941) to appear in the blog. This song is sung by Rajkumari. Kavi Pradeep is the lyricist. Music is composed by Pannalal Ghosh.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of the song.
PS-Our regular visitor Ammj Wijesiriwardene points out that the video of the song is available. From the video, we see that the song is picturised as a stage performance song where one lady, flanked by two others, lip syncs this song and that is performed by their dance accompanied by a dholak player, as this performance is watched by a housefull audience in a haveli. I request our knowledgeable readers to help identify the actors seen in the picturisation.
Audio
video
Song-Chhalko chhalko na ras ki gagaariya(Anjaan)(1941) Singer-Rajkumari, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh
Lyrics
chhalko chhalko na ras ki gagariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya
aayi peene pilaane ki bela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaaso nka mela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaason ka mela
dekho laage na mohe najariya
haan dekho laage na mohe najariya
dekho dekho na laage najariya
haan mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya
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.
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Blog Day : |
4471 | Post No. : | 15971 |
We in this blog remember the personalities of HFM during their anniversaries. But in case of Ashok Kumar’s birth anniversary, we are constrained to defer it to next day because this day unfortunately turned out to be the death anniversary of Kishore Kumar, his younger brother.
Ashok Kumar (13 October 1911 – 10 December 2001) was easily the first superstar of HFM. He achieved his stardom in early 1940s, at a time when many actors now regarded as superstars had not even made their debuts. For instance, people like Dilip Kumar, Dev Anand, Raj Kapoor had not even made their debuts by that time. Rajesh Khanna and Amitabh Bachchan, future superstars were mere toddlers at that time.
Ashok Kumar began his film career as a lab technician. His rise to superstardom from that position was quite meteoric. Unlike meteors, he stayed on top throughout his career. He was not just a top actor, he was also a film maker. He never had to look for work. He was himself an employer of film actors. Unlike many film personalities who fell on hard times and survived in penury in old age, Ashok Kumar managed his finances well and he was always financially well secured. This is one quality of his that most film personalities needed to learn from.
Ashok Kumar was well connected to lots and lots of other well known film personalities through blood relations as well as marriage alliances. In his own household he had Anup Kumar and Kishore Kumar as his brothers. His sister Sati Rani Devi was married to film producer Shashdhar Mukherjee (founder of Filmalaya), whose brother Subodh Mukherjee was a director. Shashdhar Mukherjee’s sons were Rono Mukherjee, Joy Mukherjee, Deb Mukherjee, Shomu Mukherjee and Shubir Mukherjee, all into films. Shomu Mukherjee’s wife is Tanuja. Their daughter is Kajol.
If one looks at the filmy connections of Ashok Kumar, thanks to Kishore Kumar’s various marriages, it will turn out that Ashok Kumar was related to almost every major star in HFM and beyond. Ashok Kumar is related to Kapoors, Bachchans, Rabindranath Tagore, Mithun Chakraborty etc. Exploring all these connections can be used as an exercise in timepass by those interested. 🙂
Ashok Kumar was an actor-singer during the early parts of his career. Some of his songs have gone on to become immortal songs. Who can forget the immortal “Achhot Kanya”(1937) duet Main ban ki chidiya ban ban doloon re with Devika Rani.
Here is another Ashok Kumar-Devika Rani duet. This song is from “Anjaan”(1941). It is penned by Kavi Pradeep. Music is composed by Pannalal Ghosh.
A very nice retro style romantic song. One would love watching the picturisation.
Lyrics of this song were sent to me by Avinash Scrapwala.
Audio
Video
Song-Mere jeewan ke pathh par chhaayi ye kaun (Anjaan)(1941) Singers-Ashok Kumar, Devika Rani , Lyrics-Kavi Pradeep, MD-Pannalal Ghosh
Lyrics(Provided by Avinash Scrapwala)
Hmm hmm hmm hmm hmm
aa Haa ha haa haa aa
Hmm hmm hmm hmm hmm
Hmm hmm hmm hmm hmm
Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Kaun
Poonam ki chaandni ee ee
Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Badi madhur madhur man bhaayi
Madhur madhur man bhaayi
Ye kaun
Badi madhur madhur man bhaayi
Poonam ki chaandni
Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni
Dheeme dheeme meri kuti mein
Dheeme dheeme meri kuti mein ae
Ithlaati huyi
Bal khaati huyi
Ithlaati huyi
Bal khaati huyi
Chup chaap kahin se aayi ee ee
Chup chaap kahin se aayi ee ee
Ye kaun
Chup chaap kahin se aayi
Poonam ki chaandni ee ee
Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni
Kaun pari ye swarg se utri
Kaun pari ye swarg se utri
Badi laaj bhari mere aas paas
Khelan laagi ras rang raas
Khelan laagi ras rang raas
Pal pal lekar angdaayi
Pal pal lekar angdaayi
Ye kaun
Pal pal lekar angdaayi
Poonam ki chaandni ee ee
Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni
Tum kaun
Poonam ki chaandni
Kaise sunaaun kaise bataaun
Posted on: August 16, 2018
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 : | 3681 | Post No. : | 14575 |
“Sawaal”(1943) was directed by Niranjan for Geetanjali Movietone, Bombay. This “social” movie had Mumtaz Shanti, Ulhas, Radharani, Rajrani, Sadiq, Agha, Niranjan, V Sherali, Habeeb, Babu Bhai etc in it.
Three songs from the movie have been covered in the past.
Here is the fourth song from “Sawaal”(1943) to appear in the blog.
HFGK is silent about the singers for four out ten songs of the movie, including this song. Listening to the song, one can make out that this song is sung by Parul Ghosh. Wali Sahab is the lyricist. Music is composed by Pannalal Ghosh.
It is a superb song penned by Wali Sahab. It is a hidden gem of a song. Perhaps songs like this are better than way otherwise such song will get badly mutilated and spoiled by the so called cover version singers.
Song-Kaise chhupaaun kaise bataaun (Sawaal)(1943) Singer-Parul Ghosh, Lyrics-Wali Sahab, MD-Pannalal Ghosh
Lyrics
kaise chupaaun oon
kaise bataaun oon
kaise chhupaaun oon oon
kaise bataaun oon
preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
man mein ek jwaala jalti hai ae ae
man mein ek jwaala jalti hai
wo kaise dikhlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaaun oon
kaise bataaun oon
kaise chhupaaun oon
kaise bataaun oon
honthon par khaamosh kahaani ee
man mein agni aankhon mein paani ee ee
honthon par khaamosh kahaani ee
iska matlab kya hota hai
iska matlab kya hota hai
wo kaise batlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaun oon
kaise bataaun oon
kaise chhupaun oon oon
Baaj rahi kis oar muraliya
Posted on: July 30, 2018
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 : | 3664 | Post No. : | 14534 |
“Police” (1944) was directed by Shanti Kumar for Prakash Pictures, Bombay. The movie had Prem Adib, Ratnamala, Jeewan, Ranjana, Shahnawaz, Amirbai Karnataki, Badri Prasad, Baby Tara, Shakir, Athavale, Laxman, Alaknanda, Kesri etc in it.
The movie had thirteen songs in it. One song has been covered in the past.
Here is the second song from “Police”(1944) to appear in the blog. The song is sung by Amirbai Karnataki. Ramesh Gupta is the lyricist. Music is composed by Pannalal Ghosh.
Amirbai Karnataki acted in the movie, so under normal circumstances, one can conclude that the song was picturised on herself. I notice that Amirbai Karnataki and Parul Ghosh sang lots of songs in the movie, so Amirbai Karnataki may or may not have sung all her songs for herself, unless she played a lead role in the movie. I request our knowldgeable readers ro throw light on the matter. I have assumed that the song was picturised on herself.
I have not been able to get a few words right in the lyrics. i request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Baaj rahi kis oar muraliya (Police)(1944) Singer-Amirbai Karnataki, Lyrics-Ramesh Gupta, MD-Pannalal Ghosh
Lyrics
Baaj rahi kis oar muraliya
baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
jeewan naiyya dagmag doli
jeewan naiyya dagmag doli
uthhi ghata ghangho or or
jeewan naiyya dagmag doli
uthhi ghata ghanghor
chali pawan lahraati gaati
chali pawan lahraati gaati
naach uthha man mor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
sun murli singhaasan dola
sun murli singhaasan dola
goonj uthhi chahun oar
sun murli singhaasan dola
goonj uthhi chahun oar
sansaari ka jeewan dola
sansaari ka jeewan dola
bhai suhaani bhor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
dharti(?) naacho
meera naache
suni ghani chitchor
dharti(?) naacho
meera naachi
suni ghani chitchor
surdas kshe ?? naache
surdas ?kahe ? naache
lagi prem ki dor
lagi prem ki dor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
Vande Maataram
Posted on: January 26, 2018
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 : | 3479 | Post No. : | 13976 |
I congratulate all our readers on the auspicious occasion of this 69th REPUBLIC DAY of our country (26 january 2018).
Seriously, how many of us really know the definition of a Republic ? As per the Oxford Dictionary, “A Republic is a sovereign country, which is organised with a form of Government in which the power resides with elected individuals, who exercise power according to the rule of the law “. In short, it is a government of the people, by the people and for the people.
After India achieved freedom in 1947, some films on Patriotic themes were made. ‘Andolan’ (1951) was one such film. Made by Harnam Motwane, under his banner Motwane Ltd, this film is labelled as a ‘historic’ film by HFGK. That may be because in this film the history of India’s independence struggle from 1885 to 1947 is shown with the documentaries and actual footage (with a basic film story, of course) from short films made by Films Division and some film companies like Krishna and Kohinoor films.
This was Kishore Kumar’s first film as a hero and his role was a serious one, that of a militant hero. Though in his later career, Kishore became famous and popular as a comedian – a reluctant one, though, he always yearned for serious roles in serious films. When he started producing his own films, he took the opportunity to make some serious films.
Today’s song is from film ‘Andolan’. It is not a film song actually, but our National Song, suitably woven into the film story. “Vande Maataram” could have been our National Anthem, but things were manoeuvred in such a way that it did not get that place of honour. Let us see a brief history of Vande Mataram through the years.
It was Bankim Chandra Chattopadhyay who wrote the lyrics for the powerful “Vande Maataram”. It was Sanyasi Rebellion (1763-1800) that inspired Bankim to write the historic novel ‘Ananda Matth’. Actually, the lyrics of this song came much before the novel. He wrote the lyrics while he was riding in a train and was inspired by the scenic landscape, beautiful lakes and charm of nature in its expansive splendor. The poet in him got totally inspired and burst into penning down lyrics for this soul stirring poem. However, it took few more years for the poem to reach to the masses.
On April 14th 1906, at the Bengali Provincial Conference of Indian National Congress at Barisal, Bankim revealed this power-packed mantra to the masses. The pledge for undoing the then partition of Bengal was also taken at this conference. And “Vande Maatarm” became a weapon in the hands of patriotic revolutionaries of India which shook the foundation of British Raj. Many hard core patriots went to gallows while holding Bhagwath Geeta in one hand and the lines of “Vande Maataram” on their lips.
“Vande Maataram” even reached the shores of America in 1912 and the Gadar party was formed to fight against British Colonialism, with vows of patriotism singing the lines of this inspirational poem. Four Indian revolutionaries from Independence League in Japan were caught by British forces and were sentenced to death. All four went to gallows with “Vande Maataram” on their lips.
National Anthem of Azad Hind Fauj (Indian National Army – INA) led by Netaji Subhas Chandra Bose, was a soul-stirring adoration of the motherland India which inspired thousands of soldiers to lay down their lives for India’s independence. Netaji writes about “Vande Mataram” in his autobiography calling it as the National Anthem of India. In his writings, he says – “Vande Maataram” literally means “I salute you, O Mother”.
“Vande Maataram” inspired twenty four soldiers of Bristish Indian Army stationed in Tamilnadu in 1940’s. And British arrested all twenty four on charges of mutiny and were sentenced to death. In Madras (now Chennai) Jail all twenty four went to gallows once again with “Vande Maataram” on their lips.
The acceptance and usage of this poem was also fraught with controversies. The Muslim League opposed the acceptance of this poem on grounds of religious sentiments, as early as 1908. Taking a rigid and parochial view, based on a certain interpretations of the fundamental tenets of Islamic traditions, they claimed that their religion disallowed them to bow their head in worship and salute to any person or symbol other than Allah, the Almighty. By this logic, they said, a salute to even as revered a symbol as the Motherland, would be hurting their religious sentiments.
In 1922, Congress leaders with Nehru as a party leader decided to maim “Vande Maataram” by allowing only first two stanzas of this poem to be sung. Muslim League still persisted in its objection, and in 1938, Jinnah placed before Nehru his demand for completely abandoning this poem.
[Ed Note: There is ample evidence to also show that such divisive manipulations was the handiwork of the British. It was the British who wanted the ‘Jana Gana Mana. . .’ poem by Rabindranath Tagore, to take precedence over all other such similar candidates. They wanted to stress their superiority and control over the leaders and people of India, simply because the creation of Rabindranath Tagore was originally written in the honor of the British king. And that both the Muslim League and the Indian National Congress were simply toeing the British line.]Nehru further went on to say that lyrics of “Vande Maataram” were not suitable for composing it into a melody. And no orchestra will be able to play such a song. But one patriot-musician Master Krishna Rao Phulambrikar from Pune proved Nehru wrong. He composed “Vande Maataram” in a very melodious tune. However, Nehru wanted to get okay from British Band (orchestra) experts. Master Krishna Rao Phulambrikar came to Bombay (now Mumbai) and played his composition to British Band experts and they approved it after playing smoothly in their orchestra. This proved for the first time that “Vande Maataram” could be composed melodiously.
[Author’s Note : I do not understand here why Nehru wanted an okay from British Band in the first place].In spite of all these efforts, Congress leaders did not like the idea of making this poem as the National Anthem of India. Even before the official decision was taken by Constituent Assembly on this issue, “Jana Gana Mana” was played as National Anthem in the UN General Assembly in 1947. If congress (read – Nehru) would not have hastened there was a possibility that “Vande Maataram” would have been adopted as National Anthem of India by majority votes of assembly members.
But things took place behind the scenes. The question never came to Constituent Assembly. Instead of passing a resolution for adopting National Anthem by majority votes, the first President of India Dr. Rajendra Prasad was asked to announce on January 24th, 1950 saying that “Jana Gana Mana” will be the National Anthem of India and “Vande Maataram” will have equal status with it.
Of course, Vande Mataram does not need any official stamp of being a National Anthem from Government of India so long as it lives in the hearts of millions and millions of Indians all across the globe. (Adapted from an article by Dr N Kamath, with thanks).
As far as the story of film ‘Andolan’ is concerned, this is what its film booklet says-
In the year 1885, Charu Dutt, a worldly-wise patriot, journeys from his little village to attend the first session of the Indian National Congress, held in Bombay. Fired with patriotic zeal, he returns to his village and speaks to his friends and relatives of the new wave that is about to spread over India. To his son he explains the cultural and political past of India, from the dawn of her history upto the turbulence of 1857. The years roll on, and we come to the partition of Bengal. There is thunder in the air, and India’s inspiring song, “Vande Maataram”, is born. The struggle gathers strength. Mahatma Gandhi appears, and freedom comes closer. 1920. . . 1921. . . Simon Commission, Bardoli, Dandi, 1930. . . 1932. . . the battle rages and the drama heightens. Then, August 1942 and Quit India, and on to the final chapter in our freedom story, which unfolds in this film as the story of a single family, representing the nation of which they are the heart-beats.
According to a Review of this film, published in those days-
The true patriot that he was, Pannalal Ghosh gave stirring compositions and flute playback for the memorable film ‘Andolan’. This film starred Shivraj, Kishore Kumar, Manju, Pushpa, Sushma, Parsuram, and Tiwari and was directed by Phani Majumdar for Motwane Ltd.
The film, made at Bombay Talkies, was produced by the distributors of the Chicago Radio PA systems. Kishore Kumar plays the role of the militant hero of this quasi-documentary. It is a stridently nationalistic story of India’s freedom struggle, presented through the expressions of a Bengali family from 1885 (when the Indian National Congress was established) to 1947. It has the actual footage of India’s freedom struggle. Speeches and talks of our national leaders, Mahatma Gandhi, Jawaharlal Nehru and many others are included in the narrative of this film.
Important events incorporated into the plot were Mahatma Gandhi’s Satyagrah (1920), the Simon Commission (1928), Sardar Vallabh bhai Patel’s Bardoli Satyagrah (1928) and the 1942 Quit India agitation. Old documentary footage purchased from Kohinoor and Krishna Films, as well as a shot of Gurudev Rabindranath Tagore singing Jana Gana Mana are included. The song “Vande Maataram” rendered by Parul Ghosh, Sudha, and Manna Dey is based on Raaga Miyan Malhar. “Prabhu Charanon Main Aaya Pujari” in Raaga ‘Shree’ and “Radha Ne Kiya”, both rendered by Parul Ghosh are appreciated by music lovers. “Subah Ki Pahili Kiran Tak Zindagi Mushkil Mein Hai” rendered by Kishore Kumar, Manna Dey and others is a unique experimentation in Bhor music.
The film was directed by Phani Mujumdar (28-12-1911 to 16-5-1994), who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). He started his career assisting PC Barua in Calcutta. Besides ‘Street Singer’ (1938) and ‘Kapaal Kundala’ (1939), he had directed a total of 29 films,which include several hit films like ‘Baadbaan’, ‘Doctor’, ‘Tamanna’, ‘Door Chalen’, ‘Faraar’, ‘Aarti’, ‘Kanyadan’, ‘Akashdeep’, ‘Oonche Log’ etc. Here is a short biosketch and an obitury on him, published in The Independent, Calcutta, on 22-6-1994, and is written by the famous film historian and author of ‘Encyclopedia of Indian Cinema’ – Ashish Rajadhyaksha.
PHANI MAJUMDAR was a pioneer of Indian cinema, working in the late 1930s with PC Barua, India’s equivalent of DW Griffith, in the famous New Theatres Studio of Calcutta. Here, between 1936 and 1939, new standards were set for Indian motion pictures in a series of reflective, lyrical films that brought cinema closer to life and literature.
Majumdar’s contribution was ‘Street Singer’ (1938), a melancholy love story, his debut and a classic of Indian cinema. Its male lead, Kundan Lal Saigal, sang his immortal song ‘Babul Mora’ here, on a charged symbolic landscape of boats adrift in the mist. The Famine of 1943 and Partition of India were events of the future yet much of the symbolism of Bengal, the redolent Tagorean motifs of life-giving rivers, the feudal elite recreating the 19th century in desolate mansions – all the stuff that Satyajit Ray later spoke of as ‘the past’ – was in place with Street Singer. It was watched, not just as a love story par excellence, but as an expression of themes of Indian identity and nationalism which would be relevant for India, and Majumdar, even beyond Independence.
Majumdar was born in Faridpur, in what is now Bangladesh, in 1911. From Calcutta he moved to Bombay in 1941, directing classic musicals which often promoted traditional ways of Indian life, with stars like Suraiya in ‘Tamanna’ (1942), Shanta Apte in ‘Mohabbat’ (1943), and the blind singer KC Dey.
Majumdar’s Andolan (1951), Indian cinema’s most elaborately constructed nationalist propaganda feature, was made to promote Nehru’s Congress Party and was the closest that India ever came, on film, to defining a popular culture of nationalism: a small family in Bengal experiences in microcosm the major political events in the country, from 1885 (when the Congress Party was established) to Independence.
Majumdar returned to India from working in Singapore in the 1960s, and proceeded to make films in Punjabi, and even in obscure languages like Magadhi (‘Bhaiya’, 1961) and Maithili (‘Kanyadaan’, 1965). His interest in themes of an intrinsically Indian nature was a driving force to the end of his career. He worked on the television phenomenon of the 1980s in India, the 78-part religious epic ‘The Ramayana’, and was working on a television series ‘Our India’ when he died. No doubt, had he lived, the ‘Our India’ series, on a state television network struggling to hold its own in competition with satellite, would have been the fitting finale to a career which started with ‘Street Singer’.
The film had a cast consisting of Kishore kumar, Shivraj, Manju, Parshuram, Tiwari, Krishnakant, Sachin Shankar, Pushpa, Gauri devi etc etc. The recording of the songs of this film were done in November 1949 to August 1950 itself. Actor Krishnakant aka K.K. who acted in this film, did the role of Rehmu (Rehman) – a 20 year old young man. By the end of the film, he becomes an 85 year old Rehmu Chacha. He has written about this film in his Gujarati autobiography, ‘Guzra hua zamana’, that he had to do the make up differently for every shot of his role – from young to old. His make up man was Dada Paranjape, who had worked in Prabhat and Rajkamal with V Shantaram. The shooting of the film was done in Bhopal and nearby areas. All the actors and crew had to stay in Military Barracks and had to report at 7 am for shootings. The season was winter and the cold of Bhopal was unbearable. Constant tea/coffee supply was arranged.
For lack of any big stars and actors, distributors were wary of taking the film. A grand premiere was arranged, attended by Dev Anand, Raj Kapoor, Meena kumari, Madhubala, Geeta Bali and others. However, the film did not do big business. Probably, the documentary type presentation was not impressive enough.
The film has 6 songs. Today’s song is the second song to be posted here. The first song was discussed few years ago. On this auspicious occasion of our Republic Day, let us listen to “Vande Maataram”, sung by Parul Ghosh, Sudha Malhotra, Manna Dey, Sailesh Kumar and Chorus.
Song- Vande Maataram (Aandolan)(1951) Singers- Parul Ghosh, Sudha Malhotra, Manna Dey, Sailesh Kumar, Lyrics-Bankim Chandra Chattopadhyay, MD- Pannalal Ghosh
Lyrics
vande maataram
vande maataram
vande maataram
vande maataram
vande maataram
vande maataram
vande maataram
vande maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
vande maataram
vande maataram
vande maataram
vande maataram
shubhrajyotsna pulakit yaaminim
phulla kusumita drumadal shobhinim
shubhrajyotsna pulakit yaaminim
phulla kusumita drumadal shobhinim
suhaasinim sumadhura bhaashhinim
sukhadaam varadaam maataram
maataram
suhaasinim sumadhura bhaashhinim
sukhadaam varadaam maataram
maataram
vande maataram
vande maataram
vande maataram
vande maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
vande maataram
vande maataram
vande maataram
Aaj pehlu mein dard sa kya hai
Posted on: November 5, 2017
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.
“Sawaal”(1943) was directed by Niranjan for Geetanjali Movietone, Bombay. This “social” movie had Mumtaz Shanti, Ulhas, Radharani, Rajrani, Sadiq, Agha, Niranjan, V Sherali, Habeeb, Babu Bhai etc in it.
Read more on this topic…
Aaya hai bagiyaa mein kaun niraalaa
Posted on: June 26, 2017
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.
“Beeswin Sadi”(1945) is an obscure movie which was produced and directed by M Bhawnani for Bhawnani Productions, Bombay. This movie had Motilal, Mazhar Khan, Nargis, Ashalata, Gope, Majumdar, Navin etc in it.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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