Posts Tagged ‘Patit Paawan’
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.
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Blog Day : |
5526 | Post No. : | 17976 |
Today’s song – it is a Bhajan – is from the film Patit Paawan-(1955).
The “Same Name Confusion” is applicable not only to artistes and others working in films, but it fully applies to Film Titles as well. In fact, film titles are more of a culprit than the people working in films, because the incidence of repetitions is several times more in film titles. A field where the Same Name film is made in 7 different years is more dangerous than the same names of artistes, which may not be more than 3 or 4 operating in the same period to cause confusion. That is the reason a film should not be mentioned without its year in which it is censored/ released to avoid confusion.
Like many other films of SNC, today’s film Patit Paawan was also made twice. The first such film was made in 1933. When you hear the word ‘Patit Paawan’, you automatically complete the phrase with ” Sitaram”. The word Patit Paawan is associated with Shri Ram. This is based on a story that Ahilya, who was the wife of Rishi Gautam,was very beautiful and was cheated by Indra Dev. Smitten by her beauty, he comes disguised as Rishi Gautam, her husband and has a good time with her. When the real Rishi Gautam comes to know about it, he is so furious that he curses Ahilya and turns her into a stone and she would have to remain in that state till Sri Ram’s feet touched her when she would regain her human form. After a few years, Lord Shri Ram comes that way and his foot touches the stone and thereby frees Ahilya from the curse and she regains her human form. Thus, a Patit (the fallen one) is made Paawan (is purified), hence the name Patit Paawan for Shri Ram.
However, today’s film story is not about Ahilya, but it is about a devotee called Nama. More about it later. The story of Ahilya was made into a film “Patit Paawan ” aka Ahilya Uddhar”,in 1933. In this film Durga Khote was Ahilya, P.Jairaj was Indra and Krishnarao Gorey was Rishi Gautam. There is a very funny episode about this film.
Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man, when he joined films. After doing 11 silent films, he did his first Talkie, “Shikari” in 1932. It was produced by a Hyderabad based company-Eastern Films, acted in 170 films and went on to receive the Phalke award and Padma Bhushan in 1980.
In the early phase of Talkie films, there used to be, on average 15 to 20 songs in every film. It was compulsory for every Hero and Heroine to sing their own songs live( playback came in 1935 and became common in 38-39 only). To help the non-singer actors, studios used to keep trained classical experts. Otherwise also most Music Directors in those days were classical singers themselves.
Thus, Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The Music Director of the film Patit paawan-33 was Prof.B.R.Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so badly that the song was removed from the film from the second show itself. Jairaj is probably the only Hero of those days who never sang in films. Even as a lip syncer of songs (after playback singing became the norm),Jairaj has sung less than 20 songs on screen despite acting in nearly 170 movies!
Film Patit Paawan (1955) was made by D.K.Films, owned by actor Sapru and his actress wife Hemavati. It had music by Jamaal Sen and the cast was Sapru, Sulochana, lalita Pawar, Sulochana Chaterjee, Hemavati, Ulhas, Vinod kumar, Jeevan, Dar Kashmiri and many others. The film was directed by Vasant Painter. Some readers may remember the early cinema producer and director Baburao Painter, but Vasant painter was not at all a famous name.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘ Bhishma Pratidnya ‘-1950. This was,probably, the only Mythological film Nargis had acted in, with Shahu Modak. His other films were, Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.
Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.
The cast of this film was very interesting. There was Sulochana (Latkar) and Sulochana (Chaterjee), Baby Uma and Uma Devi, a couple – Sapru and Hemavati and a sibling pair of Jeevan and Dar Kashmiri. There was also an old time Silent film hero Ganpat rao Bakre and an old time singer actor Parshuram. Baby Naaz (later a heroine in few B and C grade films and a Dubbing artiste for actress Sridevi’s initial films) as well as Master Vinod Kumar (later Hero Vinod Mehra). The producer of this film was Hemavati.
Hemavati. Hardly anyone knows who this actress was. She had done an important role of Mohini-the Club Dancer,a time pass love of Ashok kumar in the film-Sangram-50. Normal sources will not give any information on Hemavati,but for our readers,here is some information on her. Hemavati was a Marathi actress and an active worker of I.P.T.A. in Bombay.She was also a regular actress of Prithvi Theatres and had acted as the Heroine of Raj kapoor in the drama ‘Deevar’.
At IPTA, she met actor aspirant D K Sapru and they fell in love with each other. They got married in 1948. By that time she had acted in ‘Ghar ghar ki kahani’-47 with Nayampally,Jail Yatra-47,with Raj Kapoor,Mohan-47,with Dev Anand and a few other films.
After marriage, she completed Sangram-50, with Ashok Kumar and stopped working in films to raise a family. She had 3 children. Preeti Saproo became a Punjabi film actress. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful screenplay writer of popular films.
Hemavati’s last film,however, was “Patit Pawan”-55,which she also produced for her husband. She died on 10-4-2005.
Now let us have a look at the film’s story……
The story of the film was built around Dama Shetty,who lived happily in a village with his wife Guniya,son Nama and daughter in law Raji. His son was married in his childhood only. Dama shetty was a very pious and good person who helped the needy. He was respected in nearby villages too. However Nama was opposite to him. He only played all day and never believed in God. Dama used to scold him so that he would improve. Instead,one day Nama ran away to the jungle to avoid father’s admonishments every day. He was found by a dacoit’s gang. Many years passed and now Nama was a famous and dreaded Dacoit. His wife was hoping that someday Nama would come back.
One day Raji came across Nama the dacoit. By now Dama Shetty had died. She told her about father’s death and gave him a lot of advice to give up bad life and worship God. Nama’s mind changed and he decided to reform himself. He felt that he was the cause of father’s death. Nama gave up everything and started worshipping God.However the village purohit Parshuram Bhagwat did not believe him and banned his entry into the temple. Nama stayed outside and prayed. That year there was a terrible famine in the area. Nama decided to ask God’s help by fasting and he started his jaap and fasted till he almost became a dying person.
Seeing his devotion God was pleased and it started raining heavily. Soon the villages prospered again and Nama the Patit (the fallen one) became Paawan (purified).
Today’s song is sung by Mohd. Rafi and Lata Mangeshkar.
Song-Jiski laagi lagan Bhagwaan mein (Patit Paawan)(1955) Singers- Mohd. Rafi, Lata Mangeshkar,Lyricist- Bharat Vyas, MD- Jamaal Sen
Both
Chorus
Lyrics
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein ae
jiski laagi lagan Bhagwaan mein
tu kahaan chhupaa gopaala
tere bhakton ke ghar mein jwaala
tere bhakton se ghar mein jwaala
unpar sankat kyun daalaa
jo jape tumhaari maala
jo jape tumhaari maala
kan kan mein chhupa rakhwaala
wo swaami hazaar haath waala
vo swaami hazaar haath waala
wo chaahe agar ye jwaala
ban jaaye re phoolon ki maala
ban jaaye re phoolon ki maala
usey kiska hai dar
usey kiski fikar
jo jhoome hari ke gungaan mein
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein
jiski laagi lagan Bhagwaan mein
ye sooraj ye chaand sitaare sab chalte usi ke ishaare
sab chalte usi ke ishaare
wo chaahe to ye angaare ban jaayen gagan ke taare
ban jaayen gagan ke taare
ghadi sankat ki aaj wahi rakhega laaj
jiski mahima likhi hai puraan mein
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein
jiski laagi lagan bhagwaan mein
nand ke laala hey gopala deen dayaala re
krishn muraari giridhar dhaari kunj bihaari re
krishn muraari
krishn muraari giridhar dhaari kunj bihaari re
nand ke laala hey gopala deen dayaala re
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
Hum to chale apne gaam
Posted on: March 30, 2023
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.
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Blog Day : |
5368 | Post No. : | 17604 |
Today’s song is from the film Patit Paawan-1953.
The meaning of Patit Paawan is “one who is purified after having fallen down with sin”. This was used as a Title for Lord Shri Ram because with the touch of his feet, Ahilya-Gautam Rishi’s wife, who had turned into a stone, came to life and human form. However, today’s film is not on the story of Ahilya uddhar. The story is different but the moral of the story is same.
One film on the Ahilyoddhar was made with this same title in 1933. In the film the main lead actor was P.Jairaj. In 1933, the playback system was not yet available and hence all the Hero, Heroine and others had to sing their own songs. Those artistes who knew singing had no problem, but those who were not singers were problems for the audience and the music directors. They had to do several rehearsals and had to teach singing to such actors. It was very painful for the MDs and also the audience to bear this singing. Heroes like Master Bhagwan too sang songs in his early films. You can well imagine the condition of the audience, forget how the actor must be feeling !
There is a very funny episode about this film.
Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man, when he joined films.He acted in 170 films and went on to receive the Phalke award and Padma Bhushan in 1980.
After doing 11 silent films, he did his first Talkie, “Shikari” in 1932. It was produced by a Hyderabad company-Eastern Films.
Thus, Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The Music Director of the film Patit paawan-33 was Prof.B.R.Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so badly that the song was removed from the film before its release. Jairaj is probably,the only Hero of those days who never sang in films. Even as a lip syncer of songs (after playback singing became the norm),Jairaj has sung less than 20 songs on screen despite acting in nearly 170 movies!
The film was produced by Hema Sapru under the banner of D.K.Films, Bombay. It was directed by Vasant painter and the MD was Jamal Sen. The cast was Sapru, Sulochana, lalita pawar, Sulochan Chaterjee, hemavati, Ulhas, Bipin Gupta, jeewan, Master Vinod (later Vinod Mehra), Dar Kashmiri, Rajan Haksar, Parshuram etc. The producer Hema Sapru and actress Hemavati were the same Though she had worked with top class actors like Ashok kumar, Dev Anand and Raj kapoor, in their early films her name is not known to many people.
Hemavati. Hardly anyone knows who this actress was. She had done an important role of Mohini-the Club Dancer,a time pass love of Ashok kumar in the film-Sangram-50. Normal sources will not give any information on Hemavati,but for our readers,here is some information on her. Hemavati was a Marathi actress and an active worker of I.P.T.A. in Bombay.She was also a regular actress of Prithvi Theatres and had acted as the Heroine of Raj kapoor in the drama ‘Deevar’.
At IPTA, she met actor aspirant D K Sapru and they fell in love with each other. They got married in 1948. By that time she had acted in ‘Ghar ghar ki kahani’-47 with Nayampally,Jail Yatra-47,with Raj Kapoor,Mohan-47,with Dev Anand and a few other films.
After marriage,she completed Sangram-50,with Ashok Kumar and stopped working in films to raise a family. She had 3 children. Preeti Saproo became a Punjabi film actress. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful s/play writer of popular films. Hemavati’s last film,however, was “Patit Pawan”-55,which she also produced for her husband.
She died on 10-4-2005.
In the cast you will also find names of Dar Kashmiri and Jeewan. Hardly anyone knows that they were real brothers in private life. Many times these two names are used for Jeewan only. So, here is some information about these siblings. Most sites and Blogs list Dar Kashmiri as another initial name for actor Jeevan. The reality, however, is different. Dar Kashmiri was a Pseudo-name used for Om Prakash Dar- a Kashmiri actor, who was the elder brother of actor Jeevan and who came to work in Hindi films much earlier than Jeevan had.
Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.
Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in Fashionable India-35. Since his name was Onkar Nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri acted in these films:
| Movie | Year |
|---|---|
| Noor Mahal | 1934 |
| Vatan Parast | 1934 |
| Cheen Kaa Saahookaar | 1935 |
| Jeevan Naatak | 1935 |
| Kisakee Pyaaree | 1937 |
| Veer Kesaree | 1938 |
| Imperial Mail | 1939 |
| Dorangiyaa Daakoo | 1940 |
| Yaad Rahe | 1940 |
| Abalaa | 1941 |
| Saugandh | 1942 |
| Angooree | 1943 |
| Nayaa Taraanaa | 1943 |
| Devadaasee | 1945 |
| Din Raat | 1945 |
| Room No 9 | 1946 |
| Paaro | 1947 |
| Huaa Saveraa | 1948 |
| Majaboor | 1948 |
| Kisee Kee Yaad | 1950 |
| Jhaansee Kee Raanee | 1953 |
| Chakradhaaree | 1954 |
| Laadalaa | 1954 |
| Bhedee Luteraa | 1955 |
| Ghar Ghar Men Deevaalee | 1955 |
| Jay Mahaadev | 1955 |
| Kundan | 1955 |
| Patit Paavan | 1955 |
| Pyaaraa Dushman | 1955 |
| Ayodhyaapati | 1956 |
| Jay Shree | 1956 |
| Raam Lakshman | 1957 |
| Raaj Pratigyaa | 1958 |
There are 4 films in which the brothers Dar Kashmiri and Jeevan acted together:
| Kisee Kee Yaad | 1950 |
| Jay Mahaadev | 1955 |
| Patit Paavan | 1955 |
| Jay Shree | 1956 |
Every film, he was billed as Dar kashmiri only.
Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).
In film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue decisively. (Most of this information comes from Filmdom-The All India Film Directory and Who’s who in Indian Film Industry-1946.)
I have written on D.K.Sapru, but I found a post by shri M.N.Sardhana ji on Facebook, which is more interesting than my own write up. I am giving herewith the same as an adapted version, with thanks.
” Mr D K Sapru ,scion of an influential Pandit family of J & K and one of the most handsome actors of his time ,like other young men joined the film line to become hero . In 1944 , famous film maker V Shanta Ram chose him for his much acclaimed movie ‘Ram Shastri’ . Fair coloured with expressive light eyes like his senior actor & fellow Kashmiri Pandit Chandra Mohan ,soon he became a known actor .His cousin Mr Jeevan was already an established actor in Hindi Films . In 1948, Jaddan Bai produced a movie which was based upon the tragic tale of Romeo And Juliet , written by William Shakespeare ,in which the female leading role was played by her daughter Nargis ,opposite Sapru Saab.
In the same year he married Hemavati, a Marathi actress, who mostly had worked on stage at IPTA and Prithvi Theatres and also in a few movies . Interestingly ,she was the leading lady in 1947 movie Mohan, in which the struggling actor Dev Anand was her hero. Hemvati & Sapru, looked as if they were made for each other, as both were good looking, fair coloured and had similar light eyes.
There was a big advertisement in Film India and other papers, when K Asif announced Mughal E Azam ,for which he took Sapru and Nargis as jilted lovers with Chandra Mohan in the title role of the Great Mughal . The movie could not progress, as firstly the financier migrated to Pakistan and in 49, Chandra Mohan passed away . Mr Sapru became a full time character actor and his versatility came to the forefront, when he portrayed dissimilar characters in different movies.
Sapru Saab was a man for all seasons ,and could portray saintly person/villain/cop/ foreigner/ villager / sophisticated person /King/ Sultan – all types of characters with ease. He looked so charming as a rich Jeweller ,father of Tanuja in Jewel Thief and in Tere Mere Sapne ,he was a humble villager. In Zanjeer ,he was a mafia lord and in Majboor (1964) ,he was prosecuting lawyer . He appeared in numerous mythological movies and in fact made Patit Pawan in 1955 ,which did average business. As an actor ,he was doing well, therefore one fails to appreciate the reasons as to why he thought of producing movies.
He made Bahadur Shah Zafar ,in which he himself essayed the role of the unfortunate last Mughal. He took Chand Usmani, Shyama, Jeevan, Sudesh Kumar , Ullhas etc in the movie .Unaware of the lack of honesty of his production team , Mr Sapru kept faith on them and could not monitor the expenses and the movie was over budgeted .He spent all his money and even mortgaged his immovable assets to make the movie spectacular and completed the movie . But sadly the movie could not be released and remained in cans. It was a big blow for him. Before he passed away in 1979 ,he announced another movie “Jeevan Chalne Ka Naam” , with Sanjeev Kumar ,Rekha and Shashi Kapoor . A workaholic Sapru Saab worked in more than 350 movies.
His son Tej and younger daughter Preeti, followed the footstep of their parents and became actors. Eldest daughter Reema is essentially a writer and has directed few movies also. Please allow me to state that in movies decorum of the court is the biggest casualty after Mr Sapru vacated the throne of justice and presently sheer buffoonery has taken its place .”
The story of film Patit Pawan-1955 was…
The story of the film was built around Dama Shetty,who lived happily in a village with his wife Guniya,son Nama and daughter in law Raji. His son was married in his childhood only. Dama shetty was a very pious and good person who helped the needy. He was respected in nearby villages too. However Nama was opposite to him. He only played all day and never believed in God. Dama used to scold him so that he would improve. Instead, one day nama ran away to the jungle to avoid father’s admonishments every day. He was found by a dacoit’s gang. Many years passed and now Nama was a famous and dreaded Dacoit. His wife was hoping that someday Nama would come back.
One day Raji came across Nama the dacoit. By now Dama Shetty had died. She told her about father’s death and gave him a lot of advice to give up bad life and worship God. Nama’s mind changed and he decided to reform himself. He felt that he was the cause of father’s death. Nama gave up everything and started worshipping God. However the village purohit Parshuram Bhagwat did not believe him and banned his entry into the temple. Nama stayed outside and prayed. That year there was a terrible famine in the area. Nama decided to ask God’s help by fasting and he started his jaap and fasted till he almost became a dying person.
Seeing his devotion God was pleased and it started raining heavily. Soon the villages prospered again and Nama the Patit (the fallen one) became Paawan (purified).
Let us enjoy the song by Mohd. Rafi and Chorus….
Song-Hum to chale apne gaam (Patit Paawan)(1955)Singer- Mohd. Rafi, Lyrics- Bharat Vyas, MD-Jamal Sen
Chorus
Lyrics
ham to chale apne ae ae apne ae ae gaam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
raadhe shyam
shyam radhe shyam
door hua man ka andhera
aaj jeevan mein jaaga sawera aa aa
door hua man ka andhera
aaj jeevan mein jaaga sawera
toot raha praanon ka phera aa
hamne dhoondh liya apna basera
aur sabhi jhoothhe naam
saancha ek raam naam
bolo bhai raam naam
radhe shyam
Shyam radhe shyam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
saath ham jo tumhaare rahe thhe
bol kadwe aur meethhe kahe thhe ae
saath ham jo tumhaare rahhe the
bol kadwe aur meethhe kahe the
ye hai ehsaan ham par tumhaara aa
jo hans hans ke tumne sahe thhe
do dinon ki dhoom dhaam
zindagi ki hui shaam
bolo bhai raam naam,
radhe shyam
Shyam radhe shyam
der kaise sahen pal bhar ki
hamen laagi lagan us ghar ki ee
der kaise sahen pal bhar ki
hamen laagi lagan us ghar ki
dekho bansi pukaare natwar ki ee
dekho bansi pukaare natwar ki
chhavi chhaayi hai brij ke dagar ki
subah shaam aathon yaam
rato shyam shyam shyam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
ham to chale apne gaam
sabko mera raam raam
bolo bhai raam naam
radhe shyam
shyam radhe shyam
Palkan ki paalki aansoo sanwaarta
Posted on: August 16, 2016
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 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.
PATIT PAAWAN (1955) was produced by Hemavati Sapru under the banner of D K Films and was directed by Vasant Painter. The star cast included D K Sapru, Sulochana, Ulhas, Hamavati, Lalita Pawar, Bipin Gupta, Jeewan, Ranjan Haksar, Nand Kishore, Parshuram etc.
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