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

Posts Tagged ‘Pt Anuj


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 :

4938 Post No. : 16788

Today’s song is from an early period costume film-His Highness-1937.

The film was made by Prakash Pictures, who were into making C grade stunt, action and Costume films, before they became famous for Religious and Mythological films in the early 40’s. There was nothing new in the film story, except that in addition to several villains, it had some animals opposing them along with good people. The film was directed by Balwant Bhatt, the elder brother of Nanubhai Bhatt-father of Mahesh Bhatt. The cast of the film was jayant, Sardar Akhtar, Shiriun bano, Umakant, Ismail, Radha, M.Zahoor and many others. There were 2 MDs. The usual MD of Prakash- Shankar Rao Vyas and Lalloobhai Naik. All the 12 songs of the film were written by Sampatlal Shrivastav ‘ Anuj’.

Today’s song is a Parody song. What is a Parody / ” Humorous imitation of a serious composition” is a simple definition. Like Comedy songs, Romantic songs, Childrens songs, Loris, etc, parody songs are also an important segment of poetry. Parody has a very long history. Actually one can say that a Parody is a type of comedy poem. In early Sanskrit Literature also we find Parody, which was called ” Vidamban Kavya” (विडंबन काव्य ).

When the Talkie films started, songs became an integral part of films. Once the set of film making became stable in initial 5-6 years, the films started having Parody songs in it. I remember, I had done a series on “Parody songs in Hindi films” from 16-3-2013 to 2-4-2013, on this Blog, featuring 10 Parody songs from films. In the first post of that series 9 years ago, I had given information on the first few Parody songs in Hindi films. I reproduce here a small relevant portion of that post, for the benefit of our new readers….

” The very FIRST Parody song in Hindi films came as early as 1936. It came from a film called ” Sunehra Sansaar”-1936. It was a Parody of a famous patriotic song by Dr.Iqbal-” Saare jahan se achha Hindosta hamara…” The parody song was ‘ Saare jahan se achha saabun bana hamara,hum kishtiyan hai iski…’

The lyricist was Vijay Kumar, B.A. and the Music Director was K C Dey. When the song was released, instead of becoming popular, it drew people’s ire for distorting a patriotic song. There was criticism and several protests.

Another Music Director Master Mohd. (who was well known for composing many patriotic songs in those days, in his films) decided to make a Parody of K C Dey’s famous song, ‘Jao jao aye mere sadhu…’ from Pooran Bhagat-1933.

He included this parody song in the same year in his film ‘ Miss Frontier Mail ‘-1936. The lyrics for this song were- gaao gaao aye mere aye mere sadhu…’.It was sung by Minu,the Mystique in the film. This Minu was actually Minoo Cooper, a regular singer in Bombay city Parsi circles. He used to sing in many Hotels in those days. He has also sung a few more songs in Hindi films later.

This retaliatory Parody song was well received by the audience and it became popular too.

So, parody songs entered Hindi films with an interesting History behind them ! ”

In addition to the above, there is an example of a famous Parody song which became popular in its time. The story is, when singer actor Surendra was discovered by Sagar Movietone, they decided to project him as Bombay’s answer to Calcutta’s K L Saigal. Impressed with Surendra’s singing capabilities, Sagar made him a hero in his first film ” Deccan Queen ”-1936. In this film Surendra was given a Parody song for saigal’s famous song ” Balam aaye baso mere mann mein” from film Devdas-1935. In this film the song was ” Birha ki aag lagi mere mann mein”.

Thus one finds that parody songs became instant hits in their first appearance in the initial years 1936-1937 itself. In the subsequent years many such Parody songs featured in films. The most important condition for a Parody song is that the Original song must be so popular that people will recognise it from the tune of the parody song itself. For presenting my series on parody songs, I had searched and collected about 250 parody film songs. A big list was available on the then popular group “Hamara Forum”, on the internet.

Coming to today’s parody song “Kabhi tum ko bhi hum se pyaar tha”, from film His Highness-37, it was a Parody of the famous Ghazal “wo jo hum mein tum mein qarar tha, tumhe yaad ho ke na ho” written by the famous Urdu poet Momin Khan Momin (1800-14-5-1852). he was also known as Hakeem Khan, due to his ancestral profession. He died from an accidental fall from his terrace.

The Hero of the film was Jayant. Jayant was born as Zakaria Khan,on 15-10-1912 at Alwar, Rajasthan. His father Syed Ahmed Khan was originally from Peshawar, but was working as a Sports Coach in the court of the Maharaja of Alwar,Rajasthan. Along with his elder brother Jahangir Khan, Jayant used to sell ‘Makka-Bhutta’ (Maize) on a roadside thela and thus earned his pocket money, with which he used to see films. When he grew up, he was taken by his father to the Maharaja, who recruited him as Second Lieutenant in his Army. Jayant soon got bored with this life, left the job and came to Bombay in search of a job in films. When he met Vijay Bhatt of Prakash pictures, this 6’1″ tall,handsome and young man was liked by him. Jayant also knew Horse riding and swimming. He was named JAYANT by Vijay Bhatt and offered a role in their film Nayi Duniya-1934. Rajkumari Banaraswali also debuted in this film.

Excellent Urdu delivery and handsome personality earned Jayant Hero’s roles in Bambai ki Sethani,Bombay Mail, Lal chithi, Shamsheer-e-Arab, Azadveer, Passing show, Snehlata, Top ka gola, Challenge, His Highness, Khwab ki duniya, Mr.X, State Express, Hero no.1, Sardar and Mala. By now his salary was 3700 per month. He was more at ease in Costume and stunt films than social flicks.

Khwaab ki Duniya-37 was based on the story of Invisible Man and this was the first film as a Director for Vijay Bhatt. Babubhai Mistry from Surat used Trick photography in this film,by using Black Thread on black background.

Jayant was married to 13 year old Kamarbano Sultan. His first son,Imtiaz khan was born on 15-10-42 and second son was born on 21-10-43. He was Amjad Khan (Gabbar singh of Sholay). As a child, Amjad khan was very frail and weak till his second year. Later in his youth, of course he expanded out of proportion. Jayant’s elder brother Jahangir Khan died suddenly in an accident. Jayant was very much attached to him. To forget the sorrow, Jayant started smoking and drinking. After he was out of Prakash Pictures, he was taken by Minerva for Sikander’s role. When Sohrab Modi saw him smoking and drinking on sets, he was summarily thrown out and the role went to Prithwiraj Kapoor, for whom it was a Milestone in his career.

Jayant worked in Aladdin, Laila, Bulbul e Baghdad, Mere saajan, Zewar and Dawat. He even went to Lahore to act in “Poonji” and “Shirin Farhad”. When Shirin Farhad became a resounding flop, Jayant stopped getting roles, but he never went to anyone to ask for roles. P N Arora went to Jayant’s house to sign him for Doli. After Partition, his finances became critical and he had to sell even family jewelry for his drinks. He acted in character roles in Amar ,Insaniyat, Madhumati, Maya, Memdidi, Son of India, Kabli Khan, Hakikat, Leader, Himalay ki God mein, Sangharsh, Do Raaste, Heer Ranjha, Mera Gaon Mera Desh etc. He worked in 105 films. Can you imagine Jayant singing ? Yes, he had sung a song in the film State Express-1938, along with Sardar Akhtar.

Jayant was a family man. Till the end he had only one wife and he followed the rule to partake the dinner at home with all family members daily. He contracted Cancer, lost his voice in 1970. His last film was ‘Love and God’,which was released 11 years after his death.

Jayant died on 2-6-1975. ( Thanks to shri Harish Raghuvanshi ji, for Jayant’s profile in his Gujarati book ,Inhe na Bhulana ).

The story of film His Highness was…….

When the king of Rajnagar dies, the Queen (Gulab) discovers that he had bequeathed the throne not to her mad son Pratap (Umakant), but to their nephew, the young Prince Kirit (Madhav). This made the queen very angry.

Captain Dilip (Jayant), Kirit’s bodyguard, takes the boy and his animal pals, Tiger (Dog Tiger) and Bahadur (Horse Bahadur), on an outing along with servants Ram (Lekhraj) and Rahim (Chhotejan). A group of ruffians surround Dilip and Kirit and attack them, knocking Dilip unconscious, and kidnapping Kirit. Bahadur gallops away to inform Ram and Rahim while Tiger takes off after the goons. Meanwhile, back at the palace, the aged prime minister (Jal Writer), Princess Asha (Sardar Akhtar), and Asha’s maid Kala (Shirin), are told of the kidnapping. Kala then overhears the queen planning to place the blame on Dilip for the kidnapping, thus doing away with him. Kala finds and informs Dilip that it is safest if he stays away from the kingdom for the time being.

Tiger finds Kirit but is unable to free him. However, the dog is able to lead Dilip, on horseback, to the cabin where the prince is being held. Dilip, Tiger and Bahadur put up a good fight against the ruffians, but the crooked Jalim Singh has Dilip arrested. Jalim attempts to take off with Kirit, but Ram and Rahim are able to rescue him.

The queen learns that the prince has been saved by some unknown persons and arranges that the boy should be found and killed, and that the killer will be appointed Prime Minister. Her plan is foiled by a masked man and eventually Kirit is returned safely to the palace.

But with Dilip having vanished, the minister must find someone else to play bodyguard. The Queen suggests her loyal follower Captain Ajaya (M. Zahoor), but the minister disapproves of that choice. When the Queen starts to form another dastardly plan, the mysterious masked man makes an appearance and cautions her to take no actions against Kirit. But the Queen soon ignores the warning and arranges a plot to frame the minister for some crime, thus leaving Kirit with no protection. But she didn’t count on the involvement of Asha, Kala, Tiger, Bahadur and Tommy (Dog Tommy) in trying to save the life of the child prince. (Thanks to pedrotheapebomb.com) .

let us now enjoy the Parody song,a Triad, sung by Rajkumari, Lallobhai and Ismail.


Song- Kabhi tum ko hum se bhi pyaar thha (His Highness)(1937) Singers- Rajkumari Dubey, Lallubhai, E.Ismail, Lyricist- Sampatlal Shrivastav ‘Anuj’, MD- Not known

Lyrics

Kabhi tum ko hum se bhi pyaar thha
tumhen yaad ho ke na yaad ho
Kabhi tum ko hum se bhi pyaar thha
tumhen yaad ho ke na yaad ho
wo wafa ki kasmein jo khaayin thhin
tumhen yaad ho ke na yaad ho
wo wafa ki kasmein jo khaayin thhin
kabhi chaandni mein jo khol kar
maine zulfen shaanon pe daal deen
kabhi chaandni mein jo khol kar
maine zulfen shaanon pe daal deen
mujhe tum ne dil se laga liyaa
tumhen yaad ho ke na yaad ho
mujhe tum ne dil se laga liyaa
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho

kabhi ham bhi tum bhi thhe o sanam
tumhen yaad ho ke na yaad ho

na taka thha aapki jeb mein
tumhen yaad ho ke na yaad ho

wo anarkali ke baazaar mein
maine girvi rakkhi thhi chappalen
wo jo tumko lassi pilaayi thhi
tumhen yaad ho ke na yaad ho
tujhe yaad ho ke na yaad ho
na machine gun se na tope se
mujhe maara nakhron ke teer se
na machine gun se na tope se
mujhe maara nakhron ke teer se
main ?? ka jawaan thha
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho o o


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 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 :

4850 Post No. : 16640

Today’s song is from the film Mera Ladka-1938. This was a film made by Prabhat Film Company, which was one of the most popular banners in India those days. Prabhat was the company which made the First Talkie ” अयोध्येचा राजा ” in Marathi (Ayodhya ka Raja in Hindi) in 1932. During the period of 1932 to 1944, Prabhat gave excellent films having reformative and educational content for the society of those days, combined with entertainment. Their peak came when films like Sant Tukaramin Marathi-1936 Duniya na maane-1937 and Aadmi-1939 became milestones in Indian film history. The person who took Prabhat to its peak was V. Shantaram, as a Director.

Shantaram was like a Jauhari (Jeweller) who identified the true value of people. His selection of actors for specific roles was nothing but amazing. Durga Khote, Pagnis, Shanta Apte, Shahu Modak, Shanta Hublikar, Vasant desai etc were his selections.

Whatever one may say, but it is a fact that Prabhat lost its sheen, lustre, name and fame after Shantaram’s exit from it. Envy of the partners and a faulty, unjust rule of the company (No Partner of the company should get involved in any actress. Should this happen, he has to leave the company) forced him to quit prabhat. Shantaram became its victim when he fell for actress Jayashree. Earlier , Keshavrao Dhaiber had to leave Prabhat when he married company’s Heroine Nalini Tarkhud. Surprisingly S. Fattelal-another partner cum Director survived from this rule, though he had married Prabhat’s silent film heroine Kamala Devi alias Gulabbai ( one seen with Tutari in Prabhat’s famous Logo). This was because the controversial rule came into being only after his marriage with Gulab bai !

Shantaram had selected Shanta Hublikar for the lead role, opposite Shahu Modak in the bilingual Mera Ladka i.e. माझा मुलगा in Marathi. her performance impressed Shantaram so much that she and Shahu Modak were selected for his next epoch making film Aadmi-1939 (माणूस in Marathi).

The Film Industry had artistes of all types, religions, regions and from different backgrounds. In the early era, most artistes were uneducated. This state remained so till the 4o’s, after which most artistes joining the film industry were educated and from good families. In those early years, there was no investment awareness, investment opportunities or avenues and the artistes led an uninhabited life – living for the moment. This finally led to many old time artisted dying in penury, poverty and with health issues with no one to look after them.

Most of us know about the sad ends of artistes like Parshuram, Vatsala Kumthekar, Rattanbai, Wasti, Sadiq Ali, Master Nissar, Master Shiraz, Meena Shorey and many others. Some of them had to beg on the road and their last rites had to be done by charity collections.

There were four educated lead actresses in the industry at almost the same times. Their careers spanned from the 30’s to the 70’s. They were Durga Khote, leela Chitnis, Shanta Apte and Shanta Hublikar. Shanta Apte and Shanta Hublikar stopped their work by the 50’s, while Durga Khote and Leela Chitnis continued till the 70’s. Let us see how they ended their lives.

Durga Khote remained the luckiest. She had money and recognition till the end but no one to look after her. She lost her sons prematurely and her daughter in law did a second marriage with a Parsee actor. She died a lonely death.

Leela Chitnis married many times, including a Muslim person, in search of happiness, but she never got it. In her last days, she went to USA to live with her sons, but they put her in an old age home. She lost health, suffered memory loss, Alzheimer and finally died all alone in the old age home. No one came even after her death. Only money was sent for cremation.

Shanta Apte remained without marriage till end but had a Live-In relationship with Bombay’s leading Gynaecologist Dr. Shirodkar for many years. She did have a daughter, without marriage and through a reported incestuous relationship-a forced one- from her own brother, but she never stayed with the daughter.

Shanta Hublikar married a businessman after films. The husband wound up his business and lived off her money. Her son and daughter in law kept her in a third rate old age home, from where some reporters rescued her. After her story was published help poured in and she spent her last days in a better old age home. She published her autobiography also in this period. She died unsung, unattended. Her death news flashed after a week or so.

Shanta Hublikar was born on 14-4-1914 at village Athergunchi, near Hubli. She was one among three sisters. The eldest was Neelamma, the second was Shanta, but her name was Rajamma( she was called only Raju) and the youngest was Sharada. She was fluent in Marathi and Kannad and could sing very well. When she was about 18-20 years she went to Kolhapur, which was an active centre of Film making. Her first film was Bhedi Rajkumar aka Thaksen Rajputra-1934. her role was a minor one.

Her first major role was in the film Kanhopatra-37(Marathi). She was picked up by Prabhat stalwarts for their film Mera Ladka (Majha Mulga in Marathi)-38. Her acting and songs impressed V. Shantaram.

Shantaram was planning a path breaking film Maanus (Marathi-Aadmi in Hindi) in those days and was in the process of finalising the cast. Vasant Desai who was Shantaram’s chela in those days was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too. He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.

Meanwhile “Mera Ladka” became quite popular and its songs particularly,”dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit. Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi.

Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. He had worked as an assistant to Tembe, Krishnarao Bhole and Mainkar. he had acted and sang in Amar Jyoti. His time came when Shantaram gave him SHAKUNTALA-1943 as its Music Director.

Meanwhile Shanta Hublikar fully justified her selection for Aadmi-39. Her songs and acting became hits. Her multilingual song “ab kis liye kal ki baat” in Hindi, Punjabi, Gujarati, Tamil, Telugu and Bengali became a landmark song in Hindi films forever.

Shanta did not do many films. She did a few Marathi, Kannada and Hindi films- Thoratanchi Kamala and Pahila Palna in Marathi, Jeevan naatak in Kannada and Prabhat, Ghar ki Laaj, Maalan, Kulkalank and Jeewan Chhaya in Hindi.

After that Shanta married a rich businessman from Poona-Bapusaheb Geete, proprietor of Deccan Cloth Emporium in Poona. She did try a comeback in 1958 with Filmistan’s ‘Saubhagyawati Bhava and Ghar Grihasthi but that was the end. She then retired from films.
Shanta Hublikar died on 17-7-1992 at Poona.

The film Mera Ladka-38 was directed by Keshav Narayan Kale. He was born on 24-2-1904 in Maharashtra. After his formal education he became a radical Journalist and to give expression to his ideology joined films, as an actor,Director and writer. He acted in major films like Amar Jyoti, Dharmatma, Parakh for which he wrote the story and screenplay also.He acted in 13 films, Directed 7 films and wrote for 3 films, starting with Prabhat’s Wahan, which he also directed. His last film was Didi-1959. He died on 20-2-1974 at Bombay.

I saw MERA LADKA-1938 sometime in the fag end of the 40s, in a Prabhat Film Festival, at Hyderabad. The story was an offbeat one, not the usual love-story. The cast was Shanta Hublikar,Shahu Modak, Ulhas, Vasantrao Thengdi, Balakram, Master Chhotu, Vatsalabai Joshi etc.

Diwakar (Shahu Modak) is a young man full of new ideas, has hot blood and a rebellious thinking. He is a radical Journalist having his Printing press and editing a Newspaper. He has a rich girl Nalini (Shanta Hublikar) as his girlfriend. She sympathises with him but does not share his radicalism. His middle class father does not like all this. He wants Diwakar to do a 9 to 5 job like any other person.
His father expresses his displeasure to the cunning and scheming political friend of Diwakar, Vithal Rao (Vansant Rao Thengdi), who takes advantage of the situation. He arranges a strike in the press and when it closes down, takes over it.

The father is happy, but Diwakar does not yield. Instead of doing a 9-5 job, he decides to contest against Vithal Rao in the Municipal election.
Nalini also contests. First she joins the group of Vithalrao to know his tactics and then shifts to Diwakar’s camp. She even campaigns for Diwakar.

In the elections, Nalini wins, Diwakar loses,but he gives a speech, claiming a Moral Victory for him,as Vithal rao is defeated.

Film director Kale, being a radical journalist himself before entering films ,got so much involved in the film that after the film, he actually wrote a long essay ” Mera Ladka-Some Musings” in a local newspaper in 1939 ! (In Marathi it was titled ‘ Majha mulga chya Nimittane…)

Excellent performances by Shanta and Shahu Modak earned them the coveted roles in Aadmi(Manoos in Marathi)-1939, which happens to be a Milestone film in India.

The music Director was Keshavrao Bhole. Here is the second song from this film in the blog….


Song- Kaisa jaadu daala toone jaan-e-jaan (Mera Ladka)(1938) Singer- Shanta Hublikar, Lyricist-Pt. Anuj (S.L.Shrivastav), MD- Keshavrao Bhole

Lyrics

Apne dil ki baaten
maine tumhen hai sunaani
apne dil ki baaten
maine tumhen hai sunaani
shabo roz furkat mein rahoon
main pareshaan
shabo roz furkat mein rahoon
main pareshaan

Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
naalon se mere jo uthha hai ye dhuaan
haan
naalon se mere jo uthha hai ye dhuaan
Kaisa jaadu daala toone jaan-e-jaan

chaahe mujhe thhukra do yaa
hiya mein basa lo
chaahe mujhe thhukra do yaa
hiya mein basa lo
haal dard e dil ka main karoon kaise bayaan
haal dard e dil ka main karoon kaise bayaan
kaisa jaadoo daala toone jaane jaan-e-jaan

raah e muhabbat se peechhe kadam na hataaoon
raah e muhabbat se peechhe kadam na hataaoon
tu bhi raaz e dil wo pyaar(?) kar de ??
tu bhi raaz e dil wo pyaar(?) kar le ??

Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
haan
jaane jaan


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 :

4682 Post No. : 16364 Movie Count :

4443

Just because I like old films and claim to know about the old films more than others, I do not consider New films worthless. Since the beginning – first the stage dramas and then the films always reflected what the current social scenes, problems and the aspirations of the young generation of the times showed. Old time films, to start with, were mainly made on Mythological stories and Folk tales. Later the focus shifted to Social themes. Still later it was music and then it was comedy and entertainment.

If one studies the pattern of living standards, styles and the general pattern, in the early times, the society was religious minded. Their entertainment was listening and reading about folk tales. So films were made on these subjects. During the II World War period, the people had become aware of their social issues and problems ( like alcoholism, Bal-Vivah, Dowry etc0 and films on these issues were made. After the war and independence, people were exposed to and enjoyed music from the world over, they were relaxed, so musical films were made (The Golden Age of HFM ). And then with many other sources of entertainment like Television, videos, cable TV etc, films were made on comedy and entertainment of all types.

A lover of films – any subject, any language, I became a little uninterested in films from the 70’s onwards. Reasons were many-job, marriage, family raising etc. I was forced to see some films due to my wife’s insistence, but soon I made a deal with her and got freedom from seeing films. When needed, TV and VCR were always there. As far as I remember, I have not visited a Cinema Theatre to see a film in the last almost 35 years. I do not know what a Multiplex looks like from inside ! Not a matter of pride at all,nevertheless a reality.

Maybe due to age or whatever, I do not have the patience to sit at one place to watch a movie for 2 to 3 hours- even on a TV. However, I have seen many films on TV-by instalments, in the 70’s and 80’s. The last film I saw on TV must have been a few years ago, perhaps.

Irrespective of whether I like it or not, the new songs are heard by me unintentionally in functions, get-togethers and gatherings. I have no comments on today’s films/songs/music. As I said music and films are made to suit the current generation’s likings and I am certainly not young anymore ! Occasionally some good films made on National events or National Heroes do come. I see them in my style. I like their presentations. Fortunately, in such films, songs are nil or only on the backgrounds.

The other day, someone asked me what the difference between old time songs and today’s songs is. I think comparisons can be made only of ‘ Likes with the Likes’. There is almost nothing common in these two, so no comparison. If you insist, I would utter only one word – MELODY !

However, I end this topic here by repeating my favourite quote (made by me only)-” Not all that was made before the 70’s was good and not all that is made after the 70’s is bad”! Mind you, this is not a Compromise or a Truce, but a Fact !

Today’s film Challenge-1937 is an interesting film. No, I have not seen it, but whatever information is available in HFGK clearly makes it interesting. Firstly, it is mentioned as a Costume Drama. When you look at the banner,the director, the Md and the cast, you start thinking that it is a stunt/action film. In the cast, along with Jayant, Gulab, Rajkumari, Shirin, M.Ismail, Jahangir and Lallubhai, you also find 3 names Tiger (a Dog), Bahadur (a Horse) and Runnio (a Motorcycle). In the stunt films of Fearless Nadia, in the same period, there was another set of ‘ Non Human ” cast, namely Punjab ka Beta (Horse), Moti (Dog) and Rolls Royce kin Beti (a Car). Later on, when she shifted from Wadia Movietone to Basant pictures, she had Rajput(Horse), Tiger(Dog) and Austin ki Bachhi (a Car). She also used Runnio (M/C) in a few films.

Secondly, names of some characters in this film were funny – M.Ismail’s name was Choona, Lallubhai was Kathha and Shirin was Supari. (I wonder who was the Paan ?).

Today i will tell you about an interesting actor in the cast of this film – M.Ismail. Besides being a devoted Chela of A.R.Kardar, Ismail’s role in Kardar’s marriage was unimaginable. Read on….

M.Ismail was born on 14-5-1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

Kardar’s marriage to Bahar has an interesting story, and M.Ismail has a role in it.

Sardar Akhtar and Bahar were sisters and were singers and dancers in Lahore’s famous Heera Mandi. They were known as Daari and Beharo. Bahar was very good looking. Kardar selected her as a Heroine for his film, opposite himself as a Hero and the shooting started. Kardar fell in love, but Bahar was guarded closely by her escorts and sister Sardar Akhtar. Kardar was wondering how to go about it. He opened his mind to friend M.Ismail, a 6 feet tall,and hefty friend. Ismail went to Bahar’s residence and lifted her on shoulders and brought her to Kardar. They hurriedly got married. Meanwhile Sardar Akhtar came to know this and made a Police complaint. The police came , arrested kardar and all shooting artistes. He spent 2 days in Police custody. Then it was Bahar herself who gave in writing that she was an adult and she married Kardar by her consent only. Kardar and others were released then. Few years later Sardar Akhtar married Mehboob Khan and Kardar became his Co-brother.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismailagain played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others. In all he acted in 16 Talkie films. He even sang 7 songs in 3 films.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyaji in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore. ( The article is based on information from Filmdom-1946, Cineplot, pakmag.com,muVyz, HFGK and my notes, with thanks to all).

The song I have selected from this film is a Parody of a popular and famous song from the film ” Manmohan-1936″. It was sung by Surendra and Bibbo. Speciality of this song was, after 4-5 lines by Surendra,Bibbo peeps from the door and asks ” kya main andar aa sakti hoon ? ” This variation in a song was a novelty in those days and it added to the popularity of the song further. Enjoy this parody song by Lallubhai and an unknown male. With this song film Challenge-37 makes its Debut on the Blog.


Song- Tumhi ne mujh ko maar khilaaya (Challenge)(1937) Singers- Lallubhai Nayak, Unknown male voice, Lyrics- Sampat lal shrivastav ‘Anuj’,
MD- Lallubhai Nayak

Lyrics

aa hahahahahaan
kyun bachchaa
ab tum kyon rone lage

arre kya bataaun bade bhai
tumne to mujhko aisa maar khilaaya
aa
aisa maar khilaaya
jiska bayaan nashr mein nahin
balke gaane mein sunaana padega

gaane mein
haan

achcha
sunaao

aa haa haa

unhoon
Tumhi ne mujh ko ho ho ho
arree mere bhai
hahahaha
maar khilaaya
ha ha ha
aa
tumhi ne mujh ko zahar pilaaya
aahahahnaha
sota huaa aa aa aa
ek saanp jagaaya
sota huaa aa
ek saanp jagaaya aa
sota huaa aa
ek saanp jagaaya
ahahaha
man ko jalaaya
tan pitvaaya
arre meri maar
hahahaha
man ko jalaaya
tan pitvaaya
tumhi ho poore ganvaar
saajan
tumhi ho poore ganvaar
saa aa aa aajan
tumhi ho poore ganvaar

jo chiraag lekar gahre gadhe mein gire
wo ganvaar nahin to aur kya

hahaaha

tumhi ho poore ganvaar o saajan
tumhi ho poore ganvaar
saa aa aajan
tumhi ho poore ganvaar

tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya

aa ha ha h ah
tumhi ne mujhko
hahahahaha
hoho ho ho
aaaa
maar khilaaya
hahaah
arre mere baap

are kambakht
agar gaane mein hi sunaana thha
to koi ghazal , daadra , thumri mein sunaata
ye beqoofi ?? kyun pasand ki

arre bade bhai
arre bade abba
mohabbat ke rone mein isse badhkar aur kaun see
?? ho sakti hai
aa ha ha
chup kar baithh


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 :

3917 Post No. : 14980 Movie Count :

4096

Today’s song is from film Poornima-38.

The film was made by Prakash Pictures- a joint venture of brothers, Shankar and Vijay Bhatt. The film was directed by Balwant Bhatt- not related to them but elder brother of another director Nanabhai Bhatt. In those days Marathi and Gujarati people were found in large numbers in the film industry. The simple reason was that Bombay was in Bombay Presidency and both Bombay(Maharashtra) and Gujarat were its part. Secondly, two two major requirements of films, namely Finance and Actors were available in abundance here. Gujarati people controlled the finance and Marathi people looked after the acting side.

However, for acting and for other branches of film making people from all over India flocked to Bombay, but money investment was done by the locals. If you see the cast of any film made in the early era, you would find names of Muslim girls in abundance. For example, just see the cast of today’s film only. It consists of Sardar Akhtar ( Sardar is a proper name and not a title), Shirin Bano, putli bai,Noorjehan, Tarabai, Nirasha etc. There was a reason for this too.

As the Talkie films started, the number of Anglo Indian Girls rapidly went down as most of them did not know Hindi nor could they sing.Only a few hard working Anglo Indian girls survived and progressed from silent to Talkie films,like Savita Devi (Iris Gasper)-who learnt Hindi/Urdu and singing,with efforts, Sulochana (Ruby Myers),Indira Devi(Effie Hippolet),Lalita Devi(Bonnie Bird),Pramila(Esher Abrahams),Seeta Devi(Renee Smith),Madhuri(Beryl Classen),Manorama(Winnie Stewart) etc. Since singing was an important requisite,the field was now open to singing girls from Kothas,Tawayafs and professional singers.Reasonably good looks and singing ability was what made them actresses. These girls,who came from Kothas and professional singer families used the suffix ” Bai” to their names to differentiate their specialty. Thus you had Jaddan bai,Amir bai,Johrabai,Rattan bai etc etc.

Many young singing girls found Cinema as a place where they could get (catch ? ) a good Husband from a better family background,earning respectability(forget religion). Many starlets married Producers,directors,Actors,Singers and Composers,left acting and settled as respectable Housewife. Some girls got Husbands from Nawabs and the Royalties,as they were patrons of Arts. Many examples from early era can be cited in this connection like Gulab bai alias kamla devi married S.Fatelal-Dir. in Prabhat Films.

Jaddanbai married a Medical student and a Jahagirdar-Uttamchand. Fatima bai(mother of Alam Ara fame Zubeida) married nawab of Sachin,Guajarat
Sultana married Yusuf laljee,Businessman and chief od Bombay Municiple corpn. Actress Sarojini(Roshan) married Nanubhai Vakil-producer/Dir (Their daughter was actress AZRA)

Actress Indurani (Ishrat)-sister of Sarojini- married Ramniklal Shah-Prod/Director
Actress Shirin bai married Nanabhai Bhatt (Their sons are Mahesh Bhatt and Mukesh Bhatt)
Actress Zubeida of Alam Ara married Raja Dhanrajgir of Hyderabad-deccan.
The other actress Zubeida (on whose life, film Zubeida was made) married Maharaja Hanwant Singh of Jodhpur etc.

This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now,one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz,Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan-Shaukat hussain rizvi, Meenakumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances were Waheeda Rehman, Kishore kumar, Asha Bhosle, Hemant kumar, Manik verma, Premlata, Geeta Dutt, Rishi kapoor, Rajesh khanna, Amitabh Bachhan and Abhishek Bachhan etc.

In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a Tawayaf mother from Lucknow. Her father was a Tamil Brahmin- Ram Seshadri Aiyar, who worked as an Accountant with Kikubhai Desai ( father of Manmohan Desai) in his Distribution department.They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was Maharani-34 same year she worked in Vehmi duniya, Sewa sadan and Bala Joban. In 1935 her films were Shamsher e Arab, Pardesi Sainya and Bambai ki Sethani. In 36, she worked in Top ka gola, Snehlata, Passing show and Azad veer. Khwab ki duniya, His Highness and Challenge from 37, State Express and Purnima in 38, Leather face and Hero No.1 from 1939. Total 18 films only.

Her youngest sister Meher Bano also joined films with the name Purnima ( she also married a Producer Director Bhagwandas Varma). Shirin married Producer Director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons- Mahesh Bhatt and Mukesh Bhatt.

The Heroine of this film was Sardar Akhtar. The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.

After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob khan gave her a big role in film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in USA.

Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.

The film had 15 songs sung by Sardar Akhtar, Shirin Bano, Ranjit and Shankar Rao Vyas himself. He was the film’s Music Director. This was his first film with Prakash Pictures. He went on working with them in many more films.

Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.

In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.

In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.

This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.

He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.

Film Poornima-38 was based on the popular famous novel Purnima-in Gujarati- by writer Ramanlal Vasantlal Desai. Let us now enjoy the first song of this film here. The film makes its debut on the Blog.


Song-Jhanan Jhanan mori baaje paayaliya (Poornima)(1938) Singer-Sardar Akhtar, Lyrics-Sampatlal Shrivastav Anuj, MD- Shankar Rao Vyas

Lyrics

Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori

saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaoon akeli
piya milan kaise jaaoon akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori

jata joot ??
pati shesh chandr ??
lalaat ??
maal gale shesh ??
parvati pati shiva har har
parvati pati shiva har har
parvati pati shiva har har

Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaun akeli
piya milan kaise jaaun akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje


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 :

3848 Post No. : 14857 Movie Count :

4064

Today’s song is from an obscure film- Sansaar Naiya-1939. This film was made jointly by Paramount and liberty pictures, Bombay. Actually, both these film companies made only and mainly Action/Stunt and Costume films. Since this was a ‘Social’ film, may be they had to support each others as they were presumably not used to handling such ‘offbeat’ film, from what they were accustomed to produce !

Though the film was classified as Social, the cast of the film contained predominantly seen stunt film actors only. They were Navinchandra, Sarojini, Noorjehan(sr), Basheer, Dhulia, Mirajkar, Mansoor, Kanta Kumari and others of the same ilk. There is also one name ” Puri” in the cast. He seems to be S.L.Puri, who was a singer also. In this film he has 4 solo and 3 duets with Sarojini. This could be the reason why he was in this action film.

For many readers, the name Sarojini may be an unknown name. This is exactly and what generally happens, when siblings are working in Films at the same time. Yes, Sarojini was the elder sister of the more famous actress Indurani. Both were stunt film actresses and worked in around 15+ films only. In reality, it was because of Sarojini that Indurani was dragged into films. Sarojini did more number of quality films than Indurani and also acted in more social films than Indurani. Her career period was longer than Indurani and her daughter Azra became a Heroine in Hindi films.

In spite of all these ‘better’ things, Sarojini’s younger sister Indurani hogged all the limelight. Articles were written on her and even an independent book was published on Indurani in USA. No one wrote on Sarojini exclusively. She appears in Indurani’s book and also is mentioned in Azra’s interview on beetehuedin.com

This type of fate is experienced by few more siblings in Hindi film industry. here are some examples, which I remember off hand…. Every movie buff knows the stingy Kanhiyalal, made famous by his roles of greedy merchants, sahukars (moneylenders) and a comic villain. He became more famous after film ” Mother India-57 “, though he did the same role in the original film ” Aurat”-40. But how many readers know that his elder brother was Sankata Prasad , an actor who was a regular in Sagar Movietone films, and later in more that 65 films ? Actually Sankata Prasad was responsible to bring his brother Kanhaiyalal (Chaturvedi) in the film world.

The eldest son of Jaddan bai, Akhtar Hussain, a very talented actor and director fell back on fame and publicity compared to younger brother Anwar Hussain. I am not comparing him with his sister Nargis.

Among the Travancore sisters, Raagini and Padmini shone here, but Lalitha did not shine in Hindi films. Nasir Khan lived all his life as brother of Dilip Kumar and had not many famous films to his credit. Some more such cases are, Laxmi Roy (younger sister of Geeta Roy), Laxmi Kumthekar (younger sister of Vatsala Kumthekar ), Compser Basant Prakash ( brother of Khemchand Prakash) and many more.

This is what I call as Luck. I agree that Talent is an individual gift and not a family or a traditional handout, but when all things are equal, one sibling lagging behind due to external factors, is purely a matter of Luck.

Actress Sarojini- real name Roshan Jehan and pet name Rani- was born in Delhi to Parents Sheikh Imamuddin and Munawwar Jehan, in 1920. Both sisters were put in a mission school of Daryaganj, Delhi. In those days, children were not allowed to see films, but Sarojini was interested in films and used to read film magazines, unknown to family. She was bold enough to send a letter to an actress of Saraswati Cinetone, Poona. In few days, she received a reply with that actress’ photo. The company asked her to send her photo. Sarojini managed to get a photo and send it across. Soon the company wrote to her that she will be appointed as an actress for Rs. 300 p.m.. Those days, this amount was a windfall.

When her father came to know all this he first gave a sound thrashing to her. Then he started thinking. Due to gambling and addiction, he had lost his business and they were in financial distress. He thought of earning some money by employing his daughters as actresses. He took Sarojini and a very reluctant Indurani to Poona. That time Sarojini was in English 8th std and Indu was in 9th std. At Poona, both got job as actresses at Rs. 300 each, as promised. Plus arrangements for their training in acting, singing and dancing was also arranged. Their father took Rs. 1000/- as advance, gave them some money and returned to Delhi. He sent their grandmother as their guardian.

Sarojini, being the elder, started working in the films immediately with film Deewani-1934. Then came Shri Satyanarayan-35. After closure of Saraswati cinetone, they came to Bombay and stayed in Hindu colony, Dadar. For some time they were engaged by Minerva Movietone for Rs. 450 pm, but when Ramniklal Shah offered them Rs. 500, they joined his company, Mohan pictures. While Indurani worked with Ramniklal, Sarojini worked with Nanubhai Vakil. Eventually, Indu married Ramnik Shah and Sarojini married Nanubhai Vakil in 1943.

Sarojini worked in 17 films in all- Deewani-34, Shri Satyanarayan-35, Bharat ki beti-35, Sundari-36, Son of Alladin -39, Sansar naiya-39, Madhu Bansari-39, Sanskaar-40, Jadui kangan-40, Hatimtai ki beti-40, Deepak Mahal-40, Taj mahal-41, Jadui bandhan-41, Farmaan-42, Naya Zamana-43, Son of Hatimtai-45 and her last film Cicus King-46. The sisters worked together in 3 films, Hatimtai ki beti and Jadui kangan of 1940 and Tajmahal-1941.

Sarojini had 2 daughters. The elder one Azra became a Heroine of many Hindi films. She married and retired. She stays in Bandra, Mumbai. The younger one Rehana, worked for an Airline, retired, widowed and stays in USA. Sarojini died in 1993. Her husband died in 1980.

Film Sansar Naiya was directed by Nanubhai vakil and MD was Damodar Sharma. All songs were written by Pt. Anuj (Sampatlal Shrivastav).

The Hero of this film was Navinchandra.

Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermidiate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yogasanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie “The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.

His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.

His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.

Today’s song is a rare song. The film had 11 songs (4 duets and 4 solos of Puri and 3 solos of Sarojini) The tune and style of the song is typical of the 30s period and quite a slow one, with long music prelude. With this song, film Sansar naiya-39 and singer Sarojini will make their Debut on the Blog.

( Thanks to shri Harish Raghuwanshi ji, Sadanand Kamath ji, ‘Asli Naqli chehere’ by Vithal Pandya, ‘ Silent cinema’ by Dr. Varma, MuVyz, HFGK and my notes, for information used hereabove.)


Song-Ritu basant ki aayi pyaari (Sansaar Naiyya)(1939) Singers- Sarojini, S L Puri, Lyrics- Pandit Anuj, MD- Damodar Sharma
Both

Lyrics

ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

shaakhon pe baagh ke jhoolo
shaakhon pe baagh ke jhoolo
bulbul ban gulon ko chhoo lo
bulbul ban gulon ko chhoo lo

titli ban ke phool phool mein
titli ban ke phool phool mein
jaaun waari waari
jaaun waari waari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

bhanwra ban ke main ud jaaun
bhanwra ban ke main ud jaaun
kali kali ka ras le aaun
kali kali ka ras le aaun

kunj kunj mein prem ki beena
kunj kunj mein prem ki beena
bajwaaun(?) sukh gori
bajwaaun(?) sukh gori
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari ee


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.

“Actress”(1934), also known as “Bambai Ki Mohini”(1934) was directed by Balwant Bhatt for Prakash Pictures, Bombay. This was the debut movie for this production house. The movie had Miss Panna, Miss Alaknanda, Bachhu, Kashinath, Lallubhai, Harishchandra etc in it.
Read more on this topic…


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.

“Actress”(1934), also known as “Bambai Ki Mohini”(1934) was directed by Balwant Bhatt for Prakash Pictures, Bombay. This was the debut movie for this production house. The movie had Miss Panna, Miss Alaknanda, Bachhu, Kashinath, Lallubhai, Harishchandra etc in it.
Read more on this topic…


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.

“Actress”(1934), also known as “Bambai Ki Mohini”(1934) was directed by Balwant Bhatt for Prakash Pictures, Bombay. THis was the debut movie for this production house. The movie had Miss Panna, Miss Alaknanda, Bachhu, Kashinath, Lallubhai, Harishchandra etc in it.
Read more on this topic…


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.

“Actress”(1934), also known as “Bambai Ki Mohini”(1934) was directed by Balwant Bhatt for Prakash Pictures, Bombay. THis was the debut movie for this production house. The movie had Miss Panna, Miss Alaknanda, Bachhu, Kashinath, Lallubhai, Harishchandra etc in it.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a ellow enthusiast of Hindi movie music and a regular contributor to this blog.

The 7th song in ” The flavour of the 30s ” series is from a Prabhat film-Gopalkrishna-1938, sung by a young Ram Marathe and composed by Master Krishnarao.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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