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

Posts Tagged ‘Pt Anand Kumar


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 :

3926 Post No. : 14994 Movie Count :

4103

Today’s song is from an old film of the first decade of the Talkie films-Mera Haq aka In search of happiness-39.

When New Theatres in Calcutta started making Talkie films, very soon their Bi-lingual films became very popular. There were quite a few reasons like, good actors, good songs and good distribution network pan India. However, I think, the most important reason of their success was that their films were primarily based on well known novels, dramas and stories. B N Sircar had understood that if the story is strong, the efforts of the Director and Composers will surely make the film a successful one.

The intelligent and business minded film makers of Bombay soon understood this and films on world famous novels, as well as popular Indian stories were made in Bombay too ! Soon, it was clear that more than being honest to the original story, the makers of Bombay were concentrating on commercial successes even at the cost of compromising the written script.

This, I feel was the basic difference between the mindset of the West and East parts of India. Learned, studious and highly principled Bengalese stuck religiously to the original stories, while in Bombay, Saraswati started working for Laksmi ! As the times went by and the Bengal empire of New Theatres crumbled, the importance of solid, strong story base for a film remained only a dream for Bombay. Still, Bangla Directors who came to Bombay in search for greener pasteurs, believed strongly and stuck to strong story base. This was generally the scenario till mid 50’s, after which everyone became commercial and story lines became secondary, optional and manipulable devices.

In the early era of the Talkie, Bilingual films in Bombay (Marathi and Hindi) was a common thing. Most films made in Kolhapur and Poona were also made in Hindi simultaneously. Many talented writers from Marathi literary field, like Hari narayan Apte, mama Varerkar, Ga. Di. Madgulkar, V S Khandekar, N S Phadke and Acharya Atre were connected with film industry. Baburao Painter, Master Vinayak, V Shantaram etc made best use of their talents in writing film stories.

Today’s film Mera Haq-39 was made by Huns Pictures of Master Vinayak. This film was based on a story of V S Khandekar (later on he became the first writer in Marathi to get the Sahitya Academi Award also). The film was made in Marathi and Hindi. The Marathi title of the film was ” Sukhacha Shodh” and the other title of Mera Haq was its translation ” In search of Happiness “. The Marathi story and dialogues were translated into Hindi by Pt. Anand kumar.

Like Pt. Mukhram Sharma of Prabhat films, Anand Kumar was also belonged to a Hindi speaking state, but both had mastered Marathi. I do not know if Pt. Anand kumar also married a Marathi actress like Mukhram Sharma who had married actress Shanta Muzumdar. Pt.Anand kumar was born in Delhi in 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.

Film Mera haq-39 was directed by an exceptionally talented director Parshwanath Alatekar. This name too must be unknown to most people. Altekar (1897-1957) was from Khare Patan in Ratnagiri, the coastal Konkan area of Maharashtra. He was educated in Kolhapur and graduated from Sangli. He abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and Pendharkar brothers. In 1928, he made 4 films for Imperial film co, then for Saraswati Cinetone, Master Vinayak and Circo films. He made few Tamil and Kannada films too.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

The lead actor in film Mera haq-39 was Baburao Pendharkar. Baburao Pendharkar(1896-1967) was a Pioneer Marathi actor and producer born in Kolhapur. Actor-manager of Maharashtra Film (1919); then a manager in Prabhat (1929); manager and main star at Kolhapur Cinetone (1933) and for several years associated with Master Vinayak at Huns Pics (1936) and Navyug Chitrapat; then producer with Navhans (1943). Best-known work after the mid-40s was with V. Shantaram at Rajkamal Kalamandir, including the classic role of the Chinese general in Dr Kotnis Ki Amar Kahani, and with his brother, the director Bhalji Pendharkar. Noted actor as a villain in mythologicals (e.g. in Shantaram’s Ayodhyecha Raja/Ayodhya Ka Raja, Kans in Vasant Joglekar’s Nand Kishore, and Keechaka in Pethkar’s Keechaka Vadha) and for character roles in socials by Atre (the crotchety grandfather in Shyamchi Aai; the title role of Mahatma Phule). Directed Prabhat’s only major Tamil film, Seeta Kalyanam, a landmark in Tamil cinema. Also a noted stage actor. His autobiography (1961/1983) is also an important record of Marathi film history. From Jalti Nishani-1932 to Amrapali-1966, he worked in 69 films in all.

The story of Mera haq was written by V S Khandekar and it depicted the importance of a joint family, role of the elders in controlling the wayward new generation. The story was…

Anand (Baburao Pendharkar) is a Professor in a college and married to Manik (Vimal Sardesai), who is all the time busy in doing social work and who, in the process, does not justify being a housewife, or a daughter in law or even a wife.
One day, Anand meets Miss Chanchal (Usha Mantri- one of the most beautiful actresses of those times), when he goes to meet a friend at Sahyadri Cinetone. Chanchal catches him in her net perfectly and he becomes mad after her.
When Anand’s life is mess with all this, he chances upon meeting Usha (Meenakshi Shirodkar), a poor little widow- whom Anand has saved from committing a suicide.

When Usha learns all the story from Anand, she goes and talks to Anand’s parents and Grandfather, in a village and brings them to live with Anand and Manik. Together they hatch a plan to repair the situation. They announce that Anand will marry Usha and bring her as his second wife as he is not getting any happiness from Manik. When Manik comes to know this, she gets panicky and mends her ways, leaving all social work and tries to be an ideal wife. Anand’s friend Chanchal also deserts him when she learns about his second marriage.

When all the matters settle down satisfactorily, Anand and Usha, in presence of elders of the family disclose the truth that they are not marrying each others and it was planned to show Manik where the real happiness lies.

In this case, the film’s Marathi version came out first and the Hindi version was released on 15-9-1939 at Majestic Cinema in Bombay, well after the Marathi film was released.

The lead actress Vimal Sardesai hailed from Konkan are and started her film career as baby Vimal. She acted in only 7 Hindi films. Her first film was Saathi-38. This was the Hindi version of Marathi film Savangadi-38, starring Durga khote and Mubarak Merchant. her second film was mera haq-39. It was her first film as a Heroine. This too was a Hindi version of Marathi film ‘ Sukhacha Shodh”. Then came Narsi Bhjagat-40 made by Prakash pictures, Alakh Niranjan-40 was a Hindi version of Marathi film Gorakhnath-40, Apna Ghar-42 was a Hindi version of Marathi film Aaple Ghar-40- directed by Debki Bose, his first film in Bombay, Wadia’s Shobha-42 and her last film was Mahatma Vidur-43, a Hindi version of Marathi film of the same name. This was also the last film of Parshwanath Altekar the director.
After this film Vimal Sardesai was traceless. Probably she got married and left films.

Today’s song is a female duet of Vimal Sardesai and Meenakshi Shirodkar. With this song, film mera haq-39 and singer Vimal Sardesai make their debut on this Blog.

(My thanks to ” Marathi Cinema in Retrospect”-Sanjit Narvekar, ” Maharashtra- Birthplace of Indian Film Industry”- Isak Mujawar, Encyclop. of Indian Cinema by Ashish Rajadhyaksha, Filmdom-46 and my notes, for information used herein.)


Song-Kheloongi kheloongi main aankh michauli kheloongi (Mera Haq)(1939) Singers- Meenakshi Shirodkar, Vimal Sardesai (Baby Vimal), Lyrics- Pt Anand kumar, MD-K Datta
Both

Lyrics

kheloongi
kheloongi
main aankh michauli kheloongi
kheloongi
kheloongi
main aankh michauli kheloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chaand talak chal jaaoonga
main kunj taley chhip jaaoonga

main jhooloongi
main jhooloongi
main aankh meench kar chhipti hoon
main tan ankhiyon se takti hoon
takne ka badla le loongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chhip jaaoon
jaa chhip jaa
main aa jaaoon
tu thham jaa

khushboo ban kar phoolon mein chhip
phoolon mein chhip
phoolon mein chhip
khushboo ban kar phoolon mein chhip
ya roop badal rangon mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip

main jhooloongi
main jhooloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi


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 :

3770 Post No. : 14745 Movie Count :

4031

With today’s song, I am introducing not only a Debuting film, but also a great stage actor singer of the Marathi Theatre of yore. The film is Charnon ki daasi-1941 and the singer is Master Avinash.

In the early era of the Hindi films, there were many local artistes, as Bombay was the centre of not only Films but also of Industries, which made it a land of opportunities. Initially the 1930’s film music was, as we all know, greatly influenced by Marathi Natya Sangeet, Hindi classical music and Parsee/Gujarati stage songs. There were musical stalwarts like Annasaheb Mainkar, Master Krishnarao Phulambrikar, Madholal Master, Pransukh Nayak, S.P.Rane, Hari Prasanna Das, Lallubhai Nayak, Brijlal Varma, Nagardas Nayak, Govindrao Tembe, Keshavrao Bhole, Prof. B.R.Deodhar, Dada Chandekar etc etc.

Most of them came to films after working for stage dramas and hence their music was sounding same, whoever was the Music Director. Similarly, singers, who sang on the stage too tried their hand at the film music. However, most such singers failed to impress and their careers did not last long.

Those who are conversant with Marathi Natya Sangeet must be aware of the contributions made by musicians like Deenanath Mangeshkar and Bal Gandharva. The Mangeshkar legacy goes on and on even today. Ganpatrao Laxmanrao Mohite aka Master Avinash was also a tall figure in Natya Sangeet. Master Avinash (1909-2009) was trained in music by Deenanath Mangeshkar and was trained in acting by Chintamanrao Kolhatkar- a great Marathi stage actor.

Avinash was one of those, who were with Balwant Sangeet Mandali, since its inception in 1918. This drama company was established by Master Deenanath Mangeshkar along with Chintamanrao Kolhatkar and Krishnarao Kolhapure. From the beginning, Avinash used to do female roles and his name was taken along with Bal Gandharva, in this respect. Due to his singing skill, he was quite a popular actor on the stage. Several of his Natya Geet records came into market and sold very well.

Master Avinash was simply ” Ganu Mama ” to Mangeshkar family. Though the patriarch of the M-family expired in 1942, Avinash survived almost 70 years (67 to be exact) after him. They were very close, hence a respected person for the M-family. He could, till his end, tell them his experiences with Deenanath and many others of that era. He taught some songs to baby Lata, when she was so small. Surprisingly, till he died in 2009, at the age of 101, his memory and health was very good.

He acted in most dramas written by Acharya Atre (P.K.Atre of Navyug Films and Atre Pictures) as well as all his Marathi films. However, Avinash worked only in one Hindi film-Charnon ki Daasi-41, which was a remake of Marathi film, Paayachi Daasi. By the time he appeared in this film in 1941, his singing and acting style was becoming outdated, for the Hindi audience. New styles of Music and young new actors had entered Hindi films. In any case, he was very successful on Marathi stage, so he did not bother to work in Hindi films.

As per an article on him, in The Times of India of 16-5-2002, he was a good cricketer, a wrestler, actor, singer and Music Director. Daily exercises must have kept him going healthy till the last. He remembered many anecdotes of old times, actors and especially of Deenanath Mangeshkar. He had a good collection of old photos and cuttings to show to the TOI reporter, who took his interview. In most Marathi films, he worked as a Hero opposite Vanmala. In film Charnon ki Daasi also they are the lead pair. Acharya Atre gave him the name Avinash for the stage. His popularity made his name a rage and many new born children were given his name in those years.

Film Charnon ki Daasi was written by P.K.Atre. It was directed by Gajanan Jahagirdar and was produced by Atre Pictures. The Music Director was Annasaheb Mainkar ( there were 3 Annasahebs in Hindi film Music. One was Mainkar, second was Datta Korgaonkar and third was C.Ramchandra. All were called Annasaheb) and the lyricist was Pt. Anand Kumar. The cast was Durga Khote, Vanmala, Gajanan Jahagirdar, Master Avinash, Kusum Deshpande, Nazeer Bedi, Ramesh, Sudhir and many others.

It was a typical Marathi reform social consisting of the age old friction of ” Saas-Bahu “. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.

In the advertisement of the film, the educational achievements of Vanmala-B.A., B.T. and Gajanan Jahagirdar- B.A. and Kusum Deshpande- B.A. was mentioned boldly and prominently.

Acharya Atre aka Pralhad Keshav Atre ( 13-8-1898 to 13-6-1969) was a Marathi-Hindi director and controversial literary figure in post-WW1 Maharashtra. Educated at the universities of Bombay and London; he studied experimental psychology under Cyril Burt and taught at Harrow before returning to India.

Owner-editor of populist down-market ” Maratha” newspaper; he was one-time Congress Party MLA. Later he became anti congress. He was Author of 22 plays, 13 short-story collections, four books of poetry and a 4-volume autobiography (Atre, 1965-7).

He was Teacher and producer of several school textbooks, often calling himself Principal Atre in his film credits. Aggressive polemicist remembered for famous literary battles with N.S. Phadke and Mama Warerkar.

He owned Chitramandir Studio/Atre Pictures (1940), the Atre Printing Press (1944) and Atre Arts (1968). He started his Film career by adapting his own short stories for Master Vinayak (Brahmachari, 1938; Brandichi Batli, 1939). He became a leading independent scenarist (e.g. Raja Rani, 1942) and pioneered the entry of new literary modes emerging from non-fictional prose into post-Independence Marathi film. His chosen genre was political satire, usually directed against the realist conventions of pre-WW1 social reform novels with their caste biases and Anglophilia.

However, his best-known film as director was the bitter-sweet melodrama Shyamchi Aai. Wrote plays in many genres: thrillers (To Mee Navhech), tragedies (rewriting the reformist Sangeet Natak playwright Ram Ganesh Gadkari and his own Udyacha Sansar) and satire. Noted scripts: Dharmaveer, Premveer, Begunah (all 1937), Ardhangi/ Ghar Ki Rani, Lapandav (both 1940). Preferred to hire directors rather than to direct. Produced and wrote his own movies, often starring actress Vanmala, through his Atre Pics, founded in 1940.

Gajanan Jahgirdar (2-4-1907 to 13-8-1988) the director of this film was the first Director of FTII in 1960. He is probably the only person in India at least, who has written 2 autobiographies-in 1971 and in 1986. He worked in 147 films and directed 17 films. He also wrote some songs in film Sant Tulsidas-1934.

Let us now listen to the first song of Master Avinash here. He makes his Debut and with this song, the film also makes its Debut.


Song-Teri gali mein aaya saudaagar (Charnon Ki Daasi)(1941) Singer-Master Avinash, Lyrics-Pt Anand Kumar, MD-Annasahab Mainkar

Lyrics

teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

teri zulfen rahin hain machal
tae ne keenhe hain naagan ke bal
tere abroo ne talwar taani hai amdaar
naina rahe munh se bol
tere naina rahe munh se bol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

teri bindi pe daali nazar
goya sooraj raha ho nikhar
tere surme ki dhaar
phooti chhaathi ke paar
gayi chitwan kaleje ko chhod
gayi chitwan kaleje ko chhod
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

tere gaalon ke donon ghadhe
tere gaalon ke donon ghadhe
hain khumaari mein lab tak bhare
hain khumaari mein lab tak bhare
tere honthon ki thirkan
gaalon ki ubhran
thhodi ka til hai amol
teri thhodi ka til hai amol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

———————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————

तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरी ज़ुल्फें रहीं हैं मचल
तैने कीन्हे हैं नागन के बल
तेरे अबरू ने तलवार तानी है अमदार
नैना रह मुंह से बोल
तेरे नैना रह मुंह से बोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरी बिंदी पे डाली नज़र
गोया सूरज रहा हो निखर
तेरे सुरमे की धार
फूटी छाती के पार
गई चितवन कलेजे को छोल
गई चितवन कलेजे को छोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरे गालों के दोनों घड़े
तेरे गालों के दोनों घड़े
हैं खुमारी में लब तक भरे
हैं खुमारी में लब तक भरे
तेरे होठों की थिरकन
गालों की उभरन
ठोड़ी का तिल है अमोल
तेरी ठोड़ी का तिल है अमोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल


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 : 3742 Post No. : 14697

“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.

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

Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.

Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.


Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana

Lyrics

main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli

main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya


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 : 3607 Post No. : 14389

Today’s song is from an obscure, unknown film the early era – ‘Pratibha’ (1937).

Any industry, to develop into a profitable one, requires hard work by the pioneers. This applies totally to Hindi Film Industry in India. The original initiators of the film industry were not any rich people, but the industry took the seeds from ordinary, middle class people.They had no riches, but their zeal, dedication, ambition and desire to achieve goals overtook their poverty and they toiled and moiled to raise the required finance for their projects. We all know about  the great Dadasaheb Phalke, who staked everything he owned to achieve his goals and became a name to remember for ever. In this endeavour, he was not alone. There was one more person from Kolhapur, who took Phalke’s dream much ahead from silent to talkie films. His name is taken today with awe and respect by film historians. He was Baburao Painter.

Kala Maharshi Baburao Painter ( real name Baburao Krishnarao Mestri) was born on 3rd June 1890 at Kolhapur. The success of Dadasaheb Phalke in making films in India inspired Baburao and his cousin brother Anandrao immensely. They too wanted to make films, but it was not possible in Kolhapur. Phalke had gone to England to learn the film making and had brought machinery from England. This was beyond the reach of these poor young men.

Anandrao found that a second hand projector was for sale in Null Bazar in Bombay. Crazily, he decided to change the projector into a film camera, by making some structural changes. They sold the gold ornaments of family and bought the projector. To start with and to get further finance they used it to show films in theatres. They even showed some Hollywood films here. After several attempts, Anandrao was successful in converting the projector into a film camera. Baburao was also with him in this. Unfortunately, Anandrao died suddenly giving a set back to the project.

Baburao now needed finance to go ahead. Luckily a famous classical singer of those days, Tanibai Kagalkar – wife of Bapusaheb Kagalkar and the sister of Vinayakrao Ghorpade (who was the father of child actress and singer Vasanti), invested Rs. 15,000 – an astronomical figure for those times. Baburao established Maharashtra Film Company in Kolhapur and started preparations for making his film ‘Sairandhri’, released in 1919. The cast of this film included 2 women, Gulab Bai aka Kamla Devi and Anusuya Bai aka Susheela Devi. These women were promptly thrown out of their homes and society. They remained with the company and even cooked and washed clothes of artistes, besides acting in the films other times. (This Gulab Bai aka Kamla Devi later posed for the symbol of Prabhat Film company- playing Tutari with bent body. She married Fattelal, one of the directors of Prabhat Films.)

‘Sairandhri’ was a tremendous success. Enthused Baburao Painter made another 15 films. Lokmanya Tilak was so impressed with Baburao’s dedication, he awarded him the title of ‘Cinema Kesari’. Baburao Pendharkar was the General Manager of the company, mainly because he could speak fluent English, with customers. Others were V Shantaram, Dhaiber, Damle and Fattelal as his assistants in different departments. Sarpotdar, NH Apte and Vashikar were the script writers and Prof NS Phadke, the novelist, wrote film titles. In 1920 second half, there was a big fire in the company and all films were burnt.

Baburao Painter started afresh in 1921. He made many mythological and historical films. Baburao was the first to make a social film, ‘Savkari Pash’ on the issue of exploitation of  poor farmers by money lenders in the villages. In 1928, a foreign trained film director was appointed from Bombay – Moti B Gidwani, on a fat salary. (He was later to direct the film ‘Khazanchi’ (1941) in Lahore). This caused unrest in the company and resulted in Shantaram, Dhaiber, Damle and Fattelal leaving the company. They established Prabhat Film Company. In 1930, Baburao also left Maharashtra Film company. When talkie films started he made 7 talkie films, including 2 Hindi films – ‘Pratibha’ (1937) and ‘Matwala Shaayar Ramjoshi’ (1947) along with Shantaram. He then left films and concentrated on his painting and sculpture. Baburao Painter died on 16-1-1954 at Kolhapur.

Baburao’s contribution to Indian film industry-

  1. He was the first to use coloured screens and clothes for realistic effect.
  2. Indoor filming with artificial lighting.
  3. Fade out and fade in techniques
  4. Outdoor shootings; Debaki Bose, in his visit to studio, was amazed to see Baburao’s working techniques.
  5. Making sketches of scenes and costumes before shooting.
  6. Advertising posters. film booklets with film story and pictures.

All assistants of Baburao painter became big people. He was simply a God sent gift to Hindi film industry.

‘Pratibha’ was also one of the 2 Hindi films in which the great classical singer of India, Hirabai Badodekar acted. The other film was ‘Suvarn Mandir’ (1934). She, however, sang 9 songs in 3 films, namely ‘Pratibha’,  ‘Lalat’ (1947) (‘Lalat’ was the debut film of Usha Kiron, who used her real name Usha Marathe in this film) and ‘Dolti Naiya’ (1950). The cast of the film was Durga Khote, K Datey, Miss Heera, Master Shyam, Hirabai, Nanasaheb Phatak, Vishupant Jog, Raja Paranjpe etc.

Nanasaheb Phatak was one of the greatest stage actor of Marathi dramas. He was called ‘Natwarya’ ( नटवर्य ), euphemism for “the greatest among actors”. This was the only Hindi film he ever acted in his lifetime. Raja Paranjpe (24.4.1910 – 9.2.1979), one of the big names in Marathi films later was in the making in the 30s. He acted in 15 Hindi films and also directed 5 Hindi films. ‘Pratibha’ was his first film as an actor. His last film was ‘Us Paar’ (1974).

Hirabai Badodekar (29-5-1905 to 20-11-1989) was the daughter of Ustad Abdul Kareem Khan and Tarabai aka Tahirabibi. She was never interested in acting in films, but she did it for Baburao Painter.

Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by the extended families. However, their fleeing away from their roots did not mean the end of the road to the music career that Hirabai Barodekar would eventually become a part of. According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda. During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters. The third child was named Champakali, who was later renamed to Hirabai Badodekar in her adult years.

After about 1920, Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.

She decided to change their Muslim names. She was the daughter of Sardar Mane of Badoda state. She used Mane and Badodekar as the surnames. Badodekar was derived from the name of her native place whereas Mane was her surname before marrying Khan Saheb. Thus Abdul Rahman became Suresh (God of music notes) Babu Mane. Out of her 5 children, Champakali became Hirabai Badodekar, Sakina or Chhotu Tai became Saraswati Mane and after marriage Sarawati Rane. Tarabai opened up new music school ‘Nutan Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students. Sureshbabu also began to teach his sister Champakali (later Hirabai). However, they were all in their teens, and hence Tarabai persuaded and appointed uncle Abdul Wahid Khan as the teacher for children. Later on, with the help of Sawai Gandharva (Rambhau Kundgolkar) she opened up drama wing of Nutan Sangeet Vidyalaya. They staged several old and new drama and all brothers and sisters played various roles. Sureshbabu and Hirabai also played roles in Hindi and Marathi films during 1930s and 40s. Sureshbabu also composed music for films – ‘Sant Tulsidas’ (1934) and ‘Sach Hai’ (1939).

The training under her brother and uncle proved to be very beneficial for Hirabai Badodekar, and was soon able to perform for a larger audience. Her voice had always been praised and was a source of inspiration to many in her generation and subsequent generations to come. Hirabai Badodekar’s first step into the world of classical Hindustani music was in the year 1920 when she started performing in public concerts. It was the early 20th century and though women had already stepped out of their homes by this time, the idea of an Indian woman performing on the world stage was still a less heard concept. Therefore, Hirabai Badodekar was not only a renowned classical singer, she was also a pioneer in the field of classical singing by women on a world stage. She was the first woman to stage a ticketed concert in India. Needless to say, this drive popularized Hindustani classical music not only among connoisseurs of music, but also the common man in search of new entertainment opportunities.

Till today, classical music experts refer to Hirabai Badodekar’s voice as melodious and soulful. Her rendition of the ‘Taar Sa’ raga became the benchmark of her concerts. She was asked to perform the particular music in every concert appearance. The Kirana Gharana was already a very popular house of classical music during the 20th century and the success of Hirabai Badodekar only helped to make it more famous among the masses. She was an expert in the fields of khayal, thumri, bhajan and Marathi natya sangeet. Hirabai Badodekar’s career as a classical music singer did not remain enclosed within stage performances. It was only after a few years in stage singing that she started to work as a recording artist, largely responsible because of her growing popularity among the common man. After her phenomenal success as a recording artist, following her stint on the stage, Hirabai Barodekar came to be known as ‘Gaanhira’, a diamond in the world of singing.

Hirabai had participated in several plays during her early school years. The stage too was not a new place for her. Therefore, she progressed from being a classical music singer and recording artist to a film actress. Her career as a movie artist though was not as glorious as compared to the one in Hindustani classical music. Nevertheless her contribution to movies like ‘Janabai’, ‘Municipality’, ‘Suvarna Mandir’ and ‘Pratibha’ are still etched in history. Apart from a prosperous career in classical singing and a memorable one in movies, Hirabai also set up a music school for young girls to learn Hindustani classical music. Her school Nutan Sangeet Vidyalaya, was successful in popularizing the concept of classical music through the plays that it staged.

She became such a well known name in the field of classical Indian music that she was showered with a number of awards and prizes given to her by the Government of India. The highest honor which came her way was probably the offer to sing the national song Vande Mataram in the programme held in Red Fort on the 15th of August 1947, the day that India got its independence from the British. Her voice won her the title of ‘Gaansaraswati’ bestowed upon her by Jagadguru Shankaracharya. She was referred to as ‘Gaan Kokila’ by the nightingale herself, Sarojini Naidu. In the year 1953, she was one of the prominent members of a delegation which was sent from India to China and several countries across East Africa. The delegation performed to a world audience to present the cultural heritage of India. Over subsequent years, she became one of the most prominent classical singers that India had ever witnessed, with the government conferring the Sangeet Natak Akademi Award upon her in 1955 and Padma Bhushan, one of the highest civilian awards, in 1970.

She was successful in grooming a set of students who continued to contribute to the field of Hindustani classical music after her death. Prabha Atre is one of the most prominent students that Hirabai has left behind to carry on her legacy. Ever since 1992, the genius of Hirabai Badodekar has been celebrated through the Sureshbabu – Hirabai Smruti Sangeet Samaaroh, a music festival held every year in Mumbai.  She passed away on 20-11-1989.

‘Pratibha’ was a bilingual film – Hindi/Marathi – produced by Shalini Cinetone of Kolhapur. When Baburao Painter left Maharashtra Film Co., and others left to start Prabhat at Pune, the king of Kolhapur – Shahu Maharaj was disturbed. He wanted kolhapur to remain a hub of film production. He himself established Kolhapur Shalini Cinetone, mainly to keep Painter employed. Baburao, Bhalji Pendharkar and Master Vinayak also came back to make films here. After few films like ‘Akashvaani’ (1934), ‘Vilasi Ishwar’ (1935) (in Hindi it was ‘Nigaah e Nafrat’ (1935), a Debut film for Shobhana Shilotri, who became Shobhana Samarth later on), ‘Pratibha’ and Phalke’s only talkie film ‘Gangavataran’ (1937) (debut film of Leela Mishra aka Leela Mausi), ‘Gangavataran’ was made on lavish scale spending lot of money. However the film flopped and Kolhapur Shalini Cinetone was closed down forever.

The story of film ‘Pratibha’,

Poet Prasad (Datey) lives far from the city in a forest, enjoying only the company of wife Pratibha (Khote). The court poet Kaveeshwar (Phatak) of the neighbouring kingdom learns about his poetry and beautiful wife and invites them to his palace, promising glory and fame. Against Pratibha’s advise, Prasad  succumbs to the temptation, only to find that his poetry is plagiarized and his wife is harassed.

Baburao Painter excelled in this film shooting with his classical touch, deftly handling the crowd scenes etc. The highlight of the film was when Prasad and Pratibha leave the palace in a raging storm.

Here is a rare film song of Hirabai Badodekar from this film.

Here is a tribute to Baburao Painter on his Birth Anniversary.

(Credits – Maharashtra- Birthplace of Indian Film Industry, by Isak Mujawar, iloveindia.com, wiki, HFGK, Encyclopedia of Indian Cinema and my notes )


Song – Bharamuva Kaahe Pe Baawre (Pratibha) (1937) Singer – Hirabai Barodkar, Lyrics – Pt Anand Kumar, Music – Gobind Rao Tembe

Lyrics (Provided by Sudhir)

bharamuva kaahe pe baawre
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baa.aawre
bhole manava..aa..aa
bharamuva kaahe pe

rang birange. . .
aaa aaaa aaaa aaa
rang birange. . .
aaaaaa
aaaaaa aaaa aaaa
aaaa aaaa aaa aaaaaa
rang birange. . .
aaa
aaaa aaaa aaa aaaaaa
rang birange
aaa aaaa aaaa aaa
aaaa aaaa aaa aaaaaa
rang birange baag bageeche
hey
saaj sajeele sab phal mere (??)
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre

bharamuva kaahe pe baa..aawre
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
haaan aaaa
bharamuva kaahe pe baawre
bhole manava
aaa aaaa aaaa
haaan aaaa
haaan aaaa
bharamuva kaahe pe baawre
bhole manava

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

भरमवा काहे पे बावरे
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा॰॰आ॰॰आ
भरमवा काहे पे

रंग बिरंगे॰ ॰ ॰
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आsss आss आs
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss आss आs
आ आsss आss आs
रंग बिरंगे बाग बगीचे
हे
साज सजीले सब फल मेरे (??)
भोले मनवा॰॰आ॰॰आ
आsss आss आss
भरमवा काहे पे बावरे

भरमवा काहे पे बा॰॰आ॰॰वरे
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा
आsss आss आss
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा
आsss आss आss
हाँ’ आsss
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा


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 : 3534 Post No. : 14193

Today’s song is from the film ‘Alakh Niranjan’ (1940).

These days I am on a mission to collect and present valuable information on some less known actors and actresses, from the bygone era of the 30s and early 40s. Today also I will talk about a really forgotten actress of the silent era and the early Talkie films – LEELA CHANDRAGIRI or Miss Leela. Do not mix up this name with Leela Desai, Leela Sawant or Leela Mishra. All are different.

But before that, something about the film.The film’s name is ‘Alakh Niranjan’ aka ‘Gorakhnath’. We are all aware that “alakh niranjan” is the call given by the gossains (गोसाईं) (or followers) of Nath Sampradaay or the fakirs of Kabir Panth, when they visit a fixed number of households to ask for bhiksha (alms). When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village, I used to hear this call from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people are also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).

Alakh is a term used by Nath Sampradaay for The Creator. It signifies a nirgun (One that is beyond physical attributes) and nirakaar (One that is not bounded by form and shape) manifestation of the Supreme Power. The word alakh also means That which cannot be measured, or perceived by the physical sensory powers and intellect. Niranjan means spotless or pure. Primarily it is a call to identify the Nath Yogi. Niranjan is also another name for Lord Shiva.

A brief description of the Nath Sampradaay and about Gorakhnath.  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. 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.

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

  1. Machhindranath
  2. Gorakhnath
  3. Jalandhar Nath
  4. Kanif Nath (Kanhoba)
  5. Gahini Nath
  6. Raja Bhartrihari Nath (Bharthari)
  7. Revan Sidha Nath
  8. Charpati Nath  and
  9. Naag Nath.

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.

‘Alakh Niranjan’ is the story of Gorakhnath. The story of his birth is briefly given below.

The first Guru Machhindra Nath went to a house for bhiksha. The lady of the house, after giving him the bhiksha, asked him if he can bless her to bear a child, a wish that had remained unfulfilled thus far in her life. Guru Machhindra Nath dipped his hand in his jholi and took out some some vibhuti (ash). He gave it to her and asked her to partake it and that she will conceive a son. After he is gone, one of the neighbours tells the lady not to believe all this. The lady gets a doubt and throws the vibhuti on a pile of garbage.

Time passes. 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 pile of 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 and gives him the deeksha (anointing him as his disciple) of Nath Sampradaay. ‘Go‘ means Earth and ‘rakh‘ means to protect. So Gorakh is one who is protected by Mother Earth.

The film (1940 version) was made by Arun Pictures and directed by Bhal G Pendharkar (Bhalchandra Gopal Pendharkar – 3-5-1897 to 28-11-1994). Born at Kolhapur, he was the son of King Shahu Maharaja’s court physician Dr. Gopal Pendharkar, and Radhabai. He was awarded Dadasaheb Phalke Award in 1991, when he was 94 year old already. More about this illustrious film director some other time. Let us now talk about the film’s heroine Miss Leela.

Leela Chandragiri was born in Chikodi, a town near Kolhapur, in a singing family. She learnt singing from a very young age. The talent hunters of Prabhat film company found her and she was brought to Kolhapur. She was beautiful, tall and wheat complexioned. She made her debut in V Shantaram’s silent film ‘Uday Kaal’ in 1930. She did the role of Bhawani Devi, who blesses Shivaji and gives him the Bhawani talwar (sword). Leela became famous by acting in the grand silent film ‘Chandrasena’ (1931) of Prabhat films.

Leela’s first talkie film was ‘Jalti Nishani’ (1932), a bilingual in Hindi and Marathi (as ‘Agni Kankan’). The hero in this film was Master Vinayak. Leela had no problem in delivering Hindi/Urdu dialogues as she was fluent in both languages. She became the heartthrob of the audiences. Being from a singing family and trained, singing came naturally to her. She sang her own songs starting from her first talkie film itself. In 1933, she appeared in ‘Maya Machhindra’ (1933), in which her hero was Master Vinayak again. They worked together again in a Marathi film ‘Sinhgad’. Prabhat’s first coloured film ‘Sairandhri’ (1933) also featured her in the main role. The film was processed in Germany.

After this, Prabhat Films shifted to Poona, but Leela chose to stay back in Kolhapur and decided to work with Bhalji Pendharkar. They became attracted to each others and got married. Leela already had two children, a son, Jaysingh and a daughter,  Madhavi. Bhalji adopted both children and gave them father’s love. Even Bhalji had one son from his first marriage – Prabhakar. Later, when they built their own studio, it was given the name Jayprabha. It combined his two sons’ names – JAYsingh and PRABHAkar. Madhavi got married to the Marathi author Ranjit Desai. Madhavi also authored one book herself.

Miss Leela appeared in the following films –

  • Jalti Nishani (1932)
  • Maya Machhindra (1932)
  • Sairandhri (1933)
  • Akashwani (1934)
  • Kaal Koot (1935)
  • Kaliya Mardan (1935)
  • Raja Gopichand (1938)
  • Alakh Niranjan (1940)
  • Maharathi Karna (1944)
  • Swarna Bhoomi (1944)
  • Valmiki (1946), and
  • Chhatrapati Shivaji (1952).

She mostly worked in films directed or made by Bhalji Pendharkar only.  During the riots in 1948 (on account of  Gandhi ji’s assasination), their Jayprabha studio was burnt down, because Bhalji was a Brahmin. However, within few years he built it again. After Bhalji’s death the studio was purchased by Lata Mangeshkar.

During Miss Leela’s career, contemporary to her, there were 3 more actresses named Leela active in Hindi films. One was Leela Desai (daughter of a Gujarati father and a Bengali mother from Bihar. She was born in America.). The second was Leela Mishra – who became Leela mausi later on. The third one was Leela Sawant – essentially a stunt film actress who worked in master Bhagwan’s films.

The music of this film was by DP Korgaonkar aka K Datta (who is known for film ‘Badi Maa’ (1945) and songs of Noorjehan). The main role of Gorakhnath was done by B Nandrekar. Other actors were Chandrakant (father of well known Marathi/Hindi actor Vikram Gokhale), Raja Paranjape (who became a famous Marathi director in the 1950’s decade) and others. There were 8 songs in the film. 4 were sung by Miss Leela. Both the film as well as the singer Miss Leela are making their debut on the blog today.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Beete Kal Ke Sitaare’ by Shri S Tamrakar, ‘Flashback’ by Isak Mujawar, Wikipedia, CITWF.com, MuVyz.com, Encyclopedia of Indian Cinema, HFGK and my own notes.]

[Ed Note 1 : As I was noting the lyrics of this delightful song, I also noted that in this song, a lady is being teased by her friends. The lady is in the family way, carrying a child, and the friends are singing a song about it. The words and the phrases, as presented are so playful, so endearing, and at the same time, modest and innocent. The friends are singing of the progressing months in pregnancy, and how the lady is blossoming. Then when the time comes, she gives birth to a child. I do not remember hearing any other such song in HFM; maybe I am not aware. I can recall some songs that are sung by the husband wife couple who are expecting a child. The manner in which a group of friends are teasing an expectant mother – I think I am hearing for the first time. The wording is just so wonderful.

nanadi ne kheencha palla
boli kahaan hai lalla

Nanadi, the younger sister in law of the lady; she playfully pulls at her bhabhi’s palla and asks – o tell me, where is the child. The imagery created by these words and these lines is so wonderful. I would request other readers and friends to comment if there are other similar instances in the world of Hindi film songs.]

[Ed Note 2 : I request help from other readers with keener ears to help with one word marked as ?? in the lyrics below.]


Song – Gori. . . Laaj Ki Baat (Alakh Niranjan) (1940) Singer – Miss Leela, Unidentified Female Voice 2, Unidentified Female Voice 2, Lyrics – Pandit Anand Kumar, Music – DP Korgaonkar
Chorus

Lyrics (Provided by Sudhir)

gori . . .
laaj ki baat
gori . . . laaj ki baat
gori . . . laaj ki ba..aat
gori . . . laaj ki baat

munh se boli na jaat
munh se boli na jaat
munh se keh baithe aaj
munh se keh baithe aaj

gori
sej kyon na jaaye
gori sej kyon na jaaye
gori sej kyon na jaaye
gori sej kyon na jaaye

nanadi ne kheencha palla
nanadi ne kheencha palla
boli kahaan hai lalla
boli kahaan hai lalla
kaun ghar maara dallaa
kaun ghar maara dallaa
phooli na samaaye gori
gori
phooli na samaaye gori
gori
peeli pad jaaye gori
gori
peeli pad jaaye gori

beeta chhatwa maas suhaagan
beeta chhatwa maas suhaagan
hansat saatwaan chala mudit mann
hansat saatwaan chala mudit mann
sakhi aathvaan jaate jaate
sakhi aathvaan jaate jaate
khile bageeche phool uthe tan
khile bageeche phool uthe tan

navaa bade bhaagon se aaye
navaa bade bhaagon se aaye
laal janmaaye gori
gori
laal janmaaye gori

pyaare.. laal ki baat
pyaare.. laal ki baat
pyaare.. laal ki baat

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

गोरी॰॰॰
लाज की बात
गोरी॰॰॰ लाज की बात
गोरी॰॰॰ लाज की बा॰॰आत
गोरी॰॰॰ लाज की बात

मुंह से बोली ना जात
मुंह से बोली ना जात
मुंह से कह बैठे आज
मुंह से कह बैठे आज

गोरी
सेज क्यों ना जाये
गोरी सेज क्यों ना जाये
गोरी सेज क्यों ना जाये
गोरी सेज क्यों ना जाये

ननदी ने खींचा पल्ला
ननदी ने खींचा पल्ला
बोली कहाँ है लल्ला
बोली कहाँ है लल्ला
कौन घर मारा दल्ला
कौन घर मारा दल्ला
फूली ना समाये गोरी
गोरी
फूली ना समाये गोरी
पीली पड़ जाये गोरी
गोरी
पीली पड़ जाये गोरी
गोरी

बीटा छटवां मास सुहागन
बीटा छटवां मास सुहागन
हंसत सातवाँ चला मुदित मन
हंसत सातवाँ चला मुदित मन
सखी आठवाँ जाते जाते
सखी आठवाँ जाते जाते
खिले बगीचे फूल उठे तन
खिले बगीचे फूल उठे तन

नवां बड़े भागों से आया
नवां बड़े भागों से आया
लाल जनमाए गोरी
गोरी
लाल जनमाए गोरी

प्यारे॰॰॰ लाल की बात
प्यारे॰॰॰ लाल की बात
प्यारे॰॰॰ लाल की बात


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

Film making had started in India in early 1900s and many enthusiastic lovers of making images were doing a lot of work in this field. By the time the First Talkie Film came in 1931, there were quite a few film producing centres engaged in making silent films, like Bombay, Calcutta, Lahore, Poona, Kolhapur, Bangalore, Madras, Hyderabad etc. However,Bombay, Lahore and Calcutta were the three main centres ones where the bulk of movies were was made. In those days, India was vertically divided into two parts-Calcutta on the Eastern part and Lahore and Bombay on the Western part for Hindi films. Madras,Bangalore and Hyderabad were busy in making southern language films.
Read more on this topic…


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