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

Posts Tagged ‘Parul Ghosh


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.

“Hamaari Baat” (1943) was directed by M I Dharamsey for Bombay Talkies. The movie had Devika Rani, Jairaj, Suraiya, Shah Nawaaz, Mumtaz Ali, David, Prabha, Rajkumari Shukla, Kamta Prasad, Uday Kumar, Arun Kumar, Dulari, Raj Kapoor etc in it.
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This article is written by Sudhir, 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 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.

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Today we remember Feroze Nizami on the anniversary of his passing away. His familiar image in the minds of many people it that of a music director and composer. There are fabulous creations that stand testimony to his talents as a master of music. What is lesser known is the fact that Feroze Nizami Sb was a multi faceted and a multi talented personality. He was an exceptional singer himself, in the mold of classical singing. He was also a writer, and an acknowledged expert and teacher of music. His book, ‘Asraar e Mauseeqi’, a definitive work on classical music written in Urdu, remained a standard textbook on the subject in Punjab University (Lahore) for many decades. He was a regular contributor to newspapers and magazines, writing research papers and articles on music. In addition, he was very learned in the field of Sufi literature. Another book by him, ‘Sar-chasma e Hayaat’, is a famous and oft referred work on this subject. He was well learned in the fields of Homoeopathy, Philosophy, and yes, Hindu religion.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

It is generally believed that scriptwriters (I use this word to include story, screenplay and dialogue writers) in Hindi films gained recognition and their status enhanced thanks to Salim-Javed duo who reigned over Hindi film industry with their fast paced screen plays and dialogues during 70s and early 80s. In fact, those days during our family discussions, if someone gives a hard hitting response, we used to say “here comes Salim-Javed” which would help in bringing normalcy to the ongoing heated disussions. The duo became so popular that they used to decide who would be the lead actor in the films for which they wrote scripts. It is also believed that in addition to their fixed component of fees, they would also get a share of profits from the films for which they wrote. I have seen their names being printed in bold letters in film posters and newspapers advertisements signifying that along with lead actors, music director etc, the name of Salim-Javed also played a role in attracting cinegoers to the movie halls.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

We missed a major anniversary three days ago. Remembering (belatedly) the litterateur, and the famous poet and lyricist, Pt. Narendra Sharma. 28th February, 2013, is the 100th birth anniversary of this illustrious man of letters. Narendra ji was born in 1913 in the village called Jehaangirpuri, in the vicinity of Bulandshehar in Uttar Pradesh, in a Brahmin Gaud family. He was a bright student. Despite losing his father at a very young age, he continued his education, while doing part time work to support himself. In 1936, he completed his Masters in Hindi Literature from Allahabad University.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The name Hanuman Prasad paints a picture of a Pehelwan playing kushti in an akhaada. Guru Hanuman and his akhaada in North India is quite famous.
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This article is written by Shekhar Gupta, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Music director Rai Chand Boral (1903-81) is credited with bringing playback to Hindi cinema with the number “Main khush hona chaahoon khush ho na sakoon”, a chorus song in the New Theatre production Dhoop Chhaaon (1935). A personna no less than the doyen of Hinsustani Cine Sangeet, the late Anil Biswas, reportedly complimented Boral, recepient of the prestigious Dadasaheb Phalke Award in 1978, as the Father of Indian Cinema Music.
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“Kismat” (1943) is a movie which was produced by Bombay Talkies Ltd, Bombay. Gyan Mukherji was the producer and the star cast had Ashok Kumar, Mumtaz Shanti, Shah Nawaz, Moti, P.F.Pithawala, Prahlad, Harun, Mubarak etc. This movie was India’s first multi starrer movie and also the most successful movie of those days. This movie was the original lost and found movie which was then copied and emulated in countless number of movies for several decades to come.
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