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

Posts Tagged ‘R C Boral


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 :

4603 Post No. : 16231

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Blog 10-Year Challenge (2011-2021) – Song No. 13
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This day ten year ago, which was 23 February 2011, saw 6 songs being covered in the blog from six different movies.

Here are the details:-

3553 Loot liyo mandheer Jawaani Ki Reet (1939) 4 songs covered so far out of 8
3554 Meri majbooriyon ne mera daaman chaak kar daalaa Hospital(1943) 4 songs covered so far out of 8
3555 Saanwri soorat man bhaayi re piyaa Adaa(1951) Movie YIPPEED by now
3556 Meri zindagi mein tum kyun aaye Goonj(1952) 9 songs covered so far out of 11
3557 Aah ko chaahiye ik umr asar hone tak Mirza Ghalib(1954) Movie YIPPEED by now
3558 Sa sa sa sa re Naughty Boy(1962) Movie YIPPEED by now

Three movies whose songs ere covered ten years ago have been YIPPEED by now. The remaining three movies are eligible for Blog Ten Year challenge today.

“Jawaani Ki Reet”(1939)is one of them. This movie was directed by Hem chandar for New Theatres, Calcutta. The movie had Kanan devi, Najmul Hussain, Nemo, Jagdish, Bikram Kapoor, Kalavati, Nand Kishore, Chhabi Irani, Heera Bai, Raajlakshmi, Baid, Shor etc in it.

The movie had eight songs in it. Four songs have been covered so far.

Here is the fifth song from “Jawaani Ki Reet”(1939) to appear in the blog. The song is sung by Najmul Hussain. Aarzoo Lucknoi is the lyricist. Music is composed by R C Boral.

Only the audio of the song is clear. Those were the days of actors-singers so it is clear that the song was picturised on Najmul Hussain himself.

Lyrics of the song were sent to me by Prakashchandra.


Song-Jawaani sabko dhokha de (Jawaani Ki Reet)(1939) Singer-Najmul Hussain, Lyrics-Aarzoo Lucknavi, MD-R C Boral

Lyrics(Provided by Prakashchandra)

jawaani sabko dhokhaa de
jawaani sabko dhokhaa de
aap sanwaarey aap bigaadey ae
aap sanwaarey aap bigaadey ae
hansaake rulwaa de ae jawaani
hansaake rulwaa de ae jawaani
sabko dhokhaa de
jawaani sabko dhokhaa de

madmaathi rut bann`ke aaye
rang nikhaarey ae roop badhaaye ae ae
mast banaa ke mat paltaaye
sukh ke bhes mein aen aen dukh pahunchaaye
mast banaake mat paltaaye
sukh ke bhes mein aen aen dukh pahunchaaye
banaa mahal dhaa dey ae jawaani
sabko dhokha de
jawaani sabko dhokhaa de

roop ke angaarey dehkaaye
angaaron ko phool banaaye ae
roop ke angaarey ae dehkaaye
angaaron ko phool banaaye
phool ka joban mann lalchaaye
lalchaa kar jab chaah mein aaye
phool ka joban mann lalchaaye
lalchaa kar jab chaah mein aaye
door se hi tarka dey jawaani
door se hi tarka dey jawaani
sabko dhokha de
jawaani sabko dhokhaa de ae ae


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 : 4138 Post No. : 15298

Today’s song is from film Manzil-1936.

The film was made by Calcutta’s New Theatres. It was directed by P C Barua – who also acted in the film. P C Barua (24-10-1903 to 29-11-1951) had acted in 8 Hindi films and directed 14 films in Hindi. In film Jawab-42, he even sang one song. The lyricists for this film were Arzoo Lucknowi and A H Shor. The music was composed by R C Boral, duly assisted by Pankaj Mullick. Though there were 9 songs in the film, it seems only 4 songs were issued on commercial records. 2 songs are already discussed and today’s song will be the 3rd song from Manzil-36. The cast of the film was Jamuna, Molina Devi, P C Barua, Prithvirasj Kapoor, Nimo, K C Dey, Harimati, Sitara, Shor etc.etc.

In the first decade of Talkie films, films made by New Theatres, Calcutta were more popular than Hindi films made in Bombay. There were 3 reasons. One- Bangla films were strong on story content. Two- music was appealing – especially of Saigal films and three- their distribution network was very wide and strong, thereby reaching a larger audience. It covered, South, West, North, in addition to East and Burma.

The story content was strong, because almost every film was based on famous Bangla novels. This ensured that the audience was familiar with the theme and now they wanted to see and hear the characters from the book. Film makers from Bengal were all well educated and rarely resorted to made up stories. They invariably made films on famous novels. Films from Bombay were made either from folk tales, Parsi-Gujarati- Marathi stage dramas or on stories cooked up by the so called ” story Departments” of the studios.

While there were films based on stories by authors from many languages, the most such films were based on works from Bengal.The reasons were simple. The film makers from and in Bengal were educated and secondly,those film makers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal. One name stands out ,whose works outnumber all other authors on whose novels Hindi films were made and that name is SARAT CHANDRA CHATTOPADHYAYA (Chatterjee)-1876-1938.

Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers,friends, relatives etc. and ended with happy events. These were entertaining, surely.

Some of his novels on which films were made are…

1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
( This list is only indicative and not exhaustive)

Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).

The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.

To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be upto date with modern times.

Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.

One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.

Manzil-36 was a story of this conflict.

MAHIM (Pramathesh Barua) is a poor but educated young man. His friend Suresh (Prithviraj Kapoor) is a rich playboy. ACHALA ( Jamuna ) is brought up in a modern Bramho family, who has the liberty to choose her own life partner. Both Suresh and Mahim love Achala. She chooses Mahim, impressed with his intellectual power and education, though she is also impressed with the riches of Suresh. After marriage, both move to another town. In a short time Achala gets disillusioned about Mahim, due to his poverty. She remembers Suresh. Once Mahim gets this doubt and they fight. Their relations become strained. Mahim falls ill seriously. Meanwhile Suresh arrives in that town and meets Achala. While treating and nursing Mahim, Achala is in two minds.

One day she elopes with Suresh, but in a month’s time she realises her blunder. She sees the playboy ways of Suresh and realises that he is not loving her truly. With remorse, she shows the courage to return to her husband Mahim. He also,with great magnanimity,forgives her and accepts her. Thus the traditional principals have won over the modern outlook.

The cast of this film includes Jamuna and Molina Devi, about whom, not much information was available here. Jamuna’s name is a ” same name confusion” case. I know atleast 3 Jamunas, who worked in Hindi films. Luckily, they all operated in almost different time periods, still Internet makes lot of mistakes in their Filmographies.

Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.

Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.

She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations from the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.

Molina being an uncommon name there was no other actress of this name. Molina Devi was born in 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.

In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a break through in Puran Bhagat and, Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.

Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed for formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.

She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment , Molina Devi received the Sangeet Natak Akademi Award for Acting.

Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.

Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.

The singer of today’s song, Harimati Dua was one of the three singers of the First playbback song in Hindi Film History recorded for film Dhoop Chhaon-1935, along with Parul Ghosh and Suprova Sarkar.

She acted in 2 films and sang 9 songs in few films like, Manzil, Dhoop chhaaon, Maya, Ananth Ashram and Khudai khidmatgar.


Song-Aaye sajni shubh din aaye sab ki bigdi Raam banaaye (Manzil)(1936) Singer- Harimati, Lyrics- Aarzoo Lucknowi, MD- R C Boral

Lyrics

Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
dekh dekh ke man lalchaaye
dekh dekh ke man lalchaaye
aankh mili
dil bhi mil jaaye
aankh mili
dil bhi mil jaaye
moh ka rasiya ras barsaaye
moh ka rasiya ras barsaaye
jalti agni maar bujhaaye
jalti agni maar bujhaaye
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye

?? nahin hansi ye ro dena
?? to nahin hansi ye ro dena
na apni na wo kahin aap hi se ro dena
na apni na wo kahin aap hi se ro dena
sadabahaar bane ye tumhaara raaj suhaag
sadabahaar bane ye tumhaara raaj suhaag
jo sukh dukhon se mila hai
wo phir na kho dena
jo sukh dukhon se mila hai
wo phir na kho dena
ye rog wo hai jo dil ?? ke jaan leta hai
ye rog wo hai jo dil ?? ke jaan leta hai
usi ki jeet hai jo haar maan leta hai
usi ki jeet hai jo haar maan leta hai
Aaye sajni
shubh din aaaaaaaye


This article is written by Sadanand Kamath, 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 : 3477 Post No. : 13968

The year 1940 can be regarded as a benchmark year for Hindi film industry to assess its progress in the talkie era as it marked about a decade since talkies came into being. Although studio systems (in which artists were on the payrolls of the studios) continued, slowly the star system was evolving in which the star actor commanded the salary acccording to his success rate in box office collections. During this period, actors with star values emerged. They commanded good salary from their respective studios to ward off poaching by the competing film production companies. Films with K L Saigal, Prithviraj Kapoor, Chandramohan, Surendra, Motilal, Ashok Kumar, Durga Khote, Madhuri, Sabita Devi, Kanan Devi, Shobhana Samarth, Leela Chitnis, Naseem Bano etc were expected to be box office hits.

If one goes by the estimates done by ‘Filmindia’ magazine of prominent stars’ salaries in the early 40s, most of these stars were getting a monthly salary ranging from Rs.3000-5000/- from their respective studios. (If we relate it to the cost of indexing to 2013, the amount is equivalent to about Rs.48000-80000/- per month). With the World War-II, the cost of production of films had shot up. There was an acute shortage of raw films. Many film production companies had reported to have bought raw films in the black market.

On the one hand, the cost of film production went up, with less purchasing power at the hands of cinegoers due to World War-II, perhaps they became choosy in watching films. Those days, publicity of films was mostly by words of mouth of the cinegoers. As a result, many Hindi films with star actors failed at the box office. For example, a few films listed below with star value released in 1940 failed at the box office:

1 .Bharosa (1940) – Chandramohan, Sardar Akhtar, Mazhar Khan

2. Deepak (1940) – Prithviraj Kapoor

3. Geeta (1940) – Chandramohan, Durga Khote

4. Main Haari (1940) – Naseem Bano

5. Sajni (1940) – Prithviraj Kapoor, Sabita Devi

‘Haar Jeet’ (1940) produced under the banner of New Theatres was one such film which failed at the box office in spite of having star value and a reputed banner. The film was directed by Amar Mullick. The star cast included Kanan Devi, Pahadi Sanyal, Nawab, Nemo, Nand Kishore, Meera Dutta, Pannalal etc. The film was based on a Bengali short story ‘Shubhojog’ written by Upendranath Ganguli.

The story of the film was as under:

It is the story of two theatrical companies competing with each other. Kamala (Kanan Devi) is the star actress of the Ruby Theatre. Narendra (Pahadi Sanyal) is the star actor of the Bina Theatre. Narendra leaves Bina Theatre and joins Ruby Theatre. Here he falls in love with Kamala. They get married in a rural setting among the peasantsand stay in the rural area. In keeping with the rural setting, Narendra forbids Kamala from acting in the theatres. However, she does not heed his advice and continues to acts in the plays of the Ruby Theatre. They are separated.

After staying among the peasants for some time, Narendra also re-joins Bina Theatre. While the Bina Theatre achieves success, Ruby Theatre goes bankrupt. This is regarded as the punishment for Kamala who has refused to be a dutiful housewife. At the end, Kamala and Narendra are united.[Based on the review of the film in ‘Filmindia’ magazine, November 1940 issue with some additional inputs from ‘Encyclopaedia of Indian Cinemas’].

The ‘Filmindia’ review has blamed inept direction and a weak story line for the failure of the film. I feel that the film’s ending is a reflection on the male dominated society of rural India in the early 20th century which one would often find in Hindi films of 1930s and 1940s.

‘Haar Jeet’ (1940) had 9 songs written by Arzoo Lucknowi and Kidar Sharma. However, individual accreditation to the song is not available. It may be noted that Kidar Sharma had left New Theatres in 1937 after the completion of the shooting of ‘Vidyapati’ (1937). So, I guess, his contribution as a lyricist, if any, may be only marginal and most of songs may have been written by Arzoo Lucknowi. Songs were set to music by R C Boral.

I am presenting the first song ‘mast pawan shaakhen lahraaye’ from the film ‘Haar Jeet’ (1940) which marks the debut for the film in the Blog. The song is sung by Kanan Devi and Pahari Sanyal. The main feature of the song is that it has a long musical prelude of 1:34 and thereafter there are no musical interludes. I guess, this song may have been the earliest one to have the longest duration of the musical prelude in any Hindi film song of that time. Perhaps this record was broken by this song which had a musical prelude of 1:50.


Song-Mast pawan shaankhen lahraayen (Haar Jeet)(1940) Singers-Kanan Devi, Pahadi Sanyal, MD-R C Boral
Both

Lyrics

mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahrayen
phool
phool
phool phool par bhanwre jaayen
jaa kar
preet ke
geet sunaayen
phool phool par bhanwre jaayen
jaa kar preet ke geet sunaayen
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
gaa sajanwaa gaa
sajanwaa
gaa sajanwaa gaa

mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen


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.

Today’s song is from the film Hamrahi-45, a remake of Bangla film ‘Udayer Pathey’-44, made by New Theatres, Calcutta and a maiden Directorial Debut by Bimal Roy, both for Bangla and Hindi.
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.

“Dard e Dil”(1953) was produced and directed by Nitin Bose for Nitin Bose Ltd, Bombay.. The movie had Nimmi, Premnath, Meenakshi, Murad, Nawab, Protima Devi, Sultan Mazhar, Ratan Kumar, Shriram 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.

“Street Singer” (1938) was directed by Phani Majumdar for New Theatres. The movie brought together K L Saigal and Kanan Devi together for the first time. This movie had thirteeen songs in it. As many as ten songs from this movie have been covered in the blog.
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.

New Theatre, Calcutta’s “Dhoop Chhaaon”(1935), a remake of their Bangla movie “BhagyaChakra”(1935) was directed by Nitin Bose. The movie had Biswanath Bhaduri, Vikram Kapoor, K C Dey, Ajmat Bibi, Nawab, Kidar Sharma, Uma Shashi, Dev Bala, Nagendra Bala, Giridharilal Vaidhya, Babulal, Ahi Sanyal, Indu Mukherji, Trilok Kapoor 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.

New Theatre, Calcutta’s “Dhoop Chhaaon”(1935), a remake of their Bangla movie “BhagyaChakra”(1935) was directed by Nitin Bose. The movie had Biswanath Bhaduri, Vikram Kapoor, K C Dey, Ajmat Bibi, Nawab, Kidar Sharma, Uma Shashi, Dev Bala, Nagendra Bala, Giridharilal Vaidhya, Babulal, Ahi Sanyal, Indu Mukherji, Trilok Kapoor 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.

New Theatre, Calcutta’s “Dhoop Chhaaon”(1935), a remake of their Bangla movie “BhagyaChakra”(1935) was directed by Nitin Bose. The movie had Biswanath Bhaduri, Vikram Kapoor, K C Dey, Ajmat Bibi, Nawab, Kidar Sharma, Uma Shashi, Dev Bala, Nagendra Bala, Giridharilal Vaidhya, Babulal, Ahi Sanyal, Indu Mukherji, Trilok Kapoor etc in it.

This movie had the distinction of being the first movie where the concept of playback singing was introduced.
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.

“Saugandh”(1942) was directed by Hem Chandra for New Theatres, Calcutta. The movie had Asit Baran, Bharati devi, Pahadi Sanyal, Chandravati, Suprabha Mukherji, Srilekha, Chhabi Biswas, Vinay Goswami, Khagen Pathak, Farooque Mirza, Dar Kashmiri, Nemo, Tulsi Chakraborty, Puttan, Narayan Rao, Maya Bose, Gopal Das, Kali Ghosh, Hira Bai, Natwar, Jawaharlal, Kaalo, Dwijen Sanyal etc in it.
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 TWELVE years. This blog has over 16200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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