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

Posts Tagged ‘Ramchandra Pal


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 : 3630 Post No. : 14456

Today’s song is from film ‘Kunwara Baap’ (1942).

Hindi film industry is a funny place. Great stories of the world fail when made into films and some ‘made to order’ stories become so successful films that the subsequent film makers copy the films, with slight alterations. Sometimes identical titles have nothing in common and sometimes remakes are made with different titles – not matching the original one in any way.

There was a film ‘Kunwaara Baap’ in 1974 also, made by the comedian Mehmood. There was absolutely no similarity in the story of these films. Mehmood’s film was essentially based on Polio Protection, while the 1942 film was a total comedy. In this case only the title is same, everything else is different. There is interesting information on ‘Kunwara Baap’ of 1942.

‘Bachelor Mother’ (1939) was a popular Hollywood film directed by Garson Kanim, with Ginger Rogers and David Niven in the lead. It was a story of a single girl, who finds an abandoned child and raises it. She is stamped as unwed mother and many hilarious situations are created with her lover.

This film was copied by Kishore Sahu, who produced and directed it under the banner of Acharya Art Prodns. He was the hero and the heroine was Pratima Dasgupta. The film was ‘Kunwara Baap’ (1942). The theme was reversed here and the rich bachelor boy finds a child left in his car. Not finding its parents he decides to keep the child, which causes misunderstandings with his lady friend etc.

The noted Hindi novelist Amritlal Nagar (famous for his novels – ‘Boond aur Sagar’ and ‘Shatranj ke Mohre’ etc.) wrote the dialogues and lyrics of this film. He also acted in the film. Nagar had earlier written for films ‘Sangam’ (1941) and ‘Kisi Se Na Kehna’ (1942). Later he also wrote for ‘Raja’ (1943).

This film became very popular. Later on many films in many languages were made on this theme. Even Hollywood made a remake called ‘Bundle of Joy’ in 1956 with Debbie Reynolds and Eddie Murphy in the lead.

In Madras the AVM supremo saw these two films and decided to make a Tamil film ‘Vazhkai’, on this story. He got his cast ready except the heroine. He wanted a fresh face, preferably a debutante. Anyway, a young Telugu actress Pandhari Bai was selected, but it was found that she could not speak Tamil fluently.  MV Raman, AVM’s Director suggested a name of a young dancer Vijayantimala, who was the daughter of actress Vasundhara Devi and MD Ramaswami. She was called and a contract for 3 years was signed .

When ‘Vazhkai’ was being made, AVM supremo saw the Hindi film ‘Khidki’ (1942) with C Ramchandra’s music. This he liked so much that as many as 3 songs from ‘Khidki’ were copied and used in ‘Vazhkai’ by the MD – Sudarshanam. ‘Vazhkai’ was released in 1949 and it was a super duper hit. AVM made a Telugu remake – Jeevitham (1950). This too was a hit.  Then AVM decided it was time to invade the Hindi films and a film called ‘Bahaar’ was made in 1951 with Vijayantimala and Karan Dewan. Karan Dewan was considered a lucky star in those days. This film also became a hit. ‘Bahar’ also had a  similar story as ‘Kunwara Baap’.

The cast of this film was Kishore Sahu, Pratima Dasgupta, Anjali Devi, Master Dhulia, Moni Chatterjee, Nana Palshikar etc. The film was made by Acharya Art Productions, owned by NR Acharya (ex Bombay Talkies). The film was directed by Kishore Sahu. The music was composed by Ramchandra Pal, for the lyrics by Amritlal Nagar, Balam, Satyakam and Sharma. However, in HFGK, none of the songs of the film are specifically credited to any one lyricist.

The story, dialogues, screenplay and some lyrics were by Amritlal Nagar (17-8-1916 to 23-2-1990). He was an extraordinary person. He handled almost every department of literature – except perhaps poetry and autobiography. Short stories, novels, dramas, travelogues etc. were written by him. During 1940 to 1947 he was associated with the film industry. He wrote stories, screenplays, dialogues of as many as 20 films in Bombay, Kolhapur and Madras. He dubbed MS Subbulaxmi’s Tamil film ‘Meerabai’ (1947) into Hindi. He also worked to translate Russian films like ‘Zoya’ and ‘Bukhara’ into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya Academy award. He was one of the very rare Hindi literature stalwarts to work in film industry for such a sustained period.

Music Director Ramchandra Pal, born in 1909 was actually a medical Doctor, who entered this profession in various capacities. As an actor he did 3 films – ‘Manmohan’ (1936), ‘Deccan Queen’ (1936) and ‘Aazad’ (1940). He produced and directed a film ‘Raj Nandini’ (1962), made under his own banner – Pal Films. However, this film was never released.

He started his music career with  Tamil films, ‘Bilwamangal’ (1932) and ‘Sarangdhara’ (1935). He shifted to Calcutta and gave music to Bangla films, ‘Rajani’ (1936) and ‘Indira’ (1936). His first Hindi film was ‘Prem Sagar’ (1939), a film made in south by a Bombay film company. This he confirmed in the interview given to Harmandir ji (LB-69).

He was connected as MD with Bombay Talkies films ‘Kangan’ (1939), ‘Punarmilan’ (1940), ‘Bandhan’ (1940), ‘Aazad’ (1940) and ‘Naya Sansar’ (1941). His last film as MD was ‘Raj Nandini’ of 1962. In all he gave music to 20 films. He also sang 15 songs in 7 films. Incidentally, today’s song was his last song as a singer. After 1942 he left singing and after 62 he left film industry and started his private medical clinic in Shivaji Park, Dadar, Bombay. He practiced till his death.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi (8-12-1927 to 13-1-2014), who acted in films like ‘Ek Tha Raja’ (1951) (dubbed film), ‘Shuk Rambha’ (1953), ‘Ladki’ (1953), ‘Devta’ (1956), ‘Suvarn Sundari’ (1957) etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali Devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress. She joined Ranjit Films and worked in film ‘Pardesi’ (1940). The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘Punarmilan’ (1940), directed by Najam Naqvi. When a section of artistes, led by S Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors NR Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya. She acted in 3 films of Acharya, ‘Kunwara Baap’, ‘Uljhan’ (1942) and ‘Aage Kadam’ (1943). She later on acted in ‘Paristan’ (1944), and ‘Parivartan’ (1949). She then got married to NR Acharya and settled as a housewife.

Film’s heroine was the dashing Pratima Dasgupta.  She was an actress, producer and a director. She was born on 5-9-1921 into a wealthy family of Bhavnagar. Though many sources mention name of the place of Bhavnagar, which is in Gujarat, I doubt it very much. There are no mentions or references that she was in anyway connected to Gujarat in her lifetime. I believe she was born in Bhanagar – a town just 31 kms. from Calcutta city. This unknown Bhanagar must have become well known Bhavnagar. Her family was related to Ravindranath Tagore. So, after the initial education in England, she came to Shantiniketan and completed her studies. She was a favourite and a favoured student throughout.

Looking at her acting skills,it was Tagore himself who recommended her to act in the Bangla film ‘Gora’ (1938), based on his own novel. Her role of Latika – daughter of Paresh Babu in the film – who falls in love with Bijoy and marries him – was liked by Tagore. She did one more film ‘Na Honewali Baat’ (1938) in Hindi,followed by the Hindi version of ‘Rukmini’ in 1939. After doing 4 Bangla films, she did the Trilingual film (Bangla, Hindi and English)- ‘Raj Nartaki’ (1941). This was made by Wadia Movietone in Bombay and was directed by Modhu Bose, husband of the heroine Sadhona Bose – the international dancer. During her Bombay visit, she got married to an aspiring actor Madsrurul Haq, son of a rich Zamindar Ehsanul Haq of Jallundhar. Madsrurul Haq’s younger sister, Begum Para was a sizzling actress of the 1940s and 1950s

Her other Hindi films were ‘Kunwaara Baap’ (1942), ‘Raja’ (1943) and ‘Shararat’ (1944), all directed by Kishore Sahu. She also did ‘Namaste’ in 1943. After this she turned to direction and did her first film ‘Chhamiya’ in 1945, with Begum Para and David as a Lead pair. She repeated this team again in ‘Pagle’ (1950) also. However her second film ‘Jharna’ (1948) was banned by Morarji Desai, the then Chief Minister of Bombay Province, on the plea that the film had explicit sexual scenes in it. No wonder, as her sister in law – the sizzling Begum Para, had given some uninhibited scenes in this film. This film was a financial disaster for Pratima and she decided to quit films.

In all, Pratima Dasgupta did 10 Hindi films and 8 Bangla films.

Out of the 9 songs of film Kunwara Baap, I have heard 6 songs. Some of them are quite interesting like “Chai Piyogi Rani” and “O Meri Rani, Meri Rani ”, but I felt we must have at least one song of Ramchandra Pal on our blog. This is the only song listed for the film, for which HFGK mentions the singer’s name . Other songs are without names of singers or lyricists. The song’s tune is not very catchy or lilting but the song has a historical value.

The singer and the film both make a debut on the blog.

 

[Author’s Note: Credits – Khalid Hasan from TFT, Pakistan; Isak Mujawar; A.I. Film directory; HFGK; MuVyz; LB-69; Harish Raghuwanshi ji; Wikipedia; and my notes.]

 


Song – Kaahe Paap Se Paap Chhipaaye (Kunwaara Baap) (1942) Singer – Ramchandra Pal, Lyrics – [Unattributed], Music – Ramchandra Pal

Lyrics (Provided by Sudhir)

kaahe. . .
kaahe. . .

paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye

bigdi baat banaane ko tu
bigdi baat banaane ko tu
hari se aankh churaaye
bigdi baat banaane ko tu
hari se aankh churaaye
karni karta ?? ?? ??
phir paachhe pachhtaaye
re paapi mann..nn
paap se paap chhipaaye

phool ki ?? hovey phir bhi
phool ki ?? hovey phir bhi
bhog doosra paaye
ye kaisa nayay jagat ka
ye kaisa nayay jagat ka
ye kaisa nayay
re paapi mann..nn
paap se paap chhipaaye
paap se paap chhipaaye

paap se paap chhipaa..aaye. . .

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

काहे॰ ॰ ॰
काहे॰ ॰ ॰

पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए

बिगड़ी बात बनाने को तू
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
करनी करता ?? ?? ??
फिर पाछे पछताए
रे पापी मन॰॰न्न
पाप से पाप छिपाए

फूल की ?? होवे फिर भी
फूल की ?? होवे फिर भी
भोग दूसरा पाये
ये कैसा न्याय जगत का
ये कैसा न्याय जगत का
ये कैसा न्याय
रे पापी मन॰॰न्न
पाप से पाप छिपाए
पाप से पाप छिपाए

पाप से पाप छिपा॰॰आए॰ ॰ ॰

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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 : 3466 Post No. : 13910

“Laaj”(1946) was directed by Shahzada Ayyaz, Saiyyad Munawwar H Qasim for Ayyaz Productions, Bombay. This social movie had Shamim, Radharani, Ramesh, H Prakash, Rajan, Rehana, Gadagkar, Master Nisar, Madhurika, Mumtaz, Moti etc in it.

The movie had ten extremely rare songs in it.

Here is the first song from “Laaj”(1946) to appear in the blog. HFGK mentions this song as sung by Radharani, but the voice is clearly that of Shamshad Begam. So the HFGK entry for this song needs correction.

Saghar Nizami is the lyricist. Music is composed by Ramchandra Pal.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. Perhaps Radharani was the actress who lip synced the song, but we cannot be sure.

With this song, “Laaj” (1946) makes its debut in the blog.


Song-Kya saath hamaara aur unka (Laaj)(1946) Singer-Shamshad Begam, Lyrics-Saghar Nizaami, MD-Ramchandra Pal

Lyrics

kya saath hamaara aur unka
kya saath hamaara aur unka
masroor hain wo
ranjoor hain hum
go raas nahin aata jeena
jeene ke liye majboor hain hum

khud apni kahaani keh na sake
ae ae
aur unka fasaana sun na sake
dekho to hamaari majboori
dil se kitne majboor hain hum

dil par jo qayaamat beet gayi
dil par jo qayaamat beet gayi
bedard zamaana kya jaane
jo bojh uthhaaya thha hamne
us bojh se ab tak choor hain hum

wo bhed jo duniya paa na saki
wo bhed jo duniya paa na saki
wo raaz jise ham keh na sake
duniya se nahin lekin tumse
keh dene par majboor hain hum

in khaana-badoshon par jaane aen
aankhon se dhalak kar kya beete
gurbat mein museebat ke aansoo
peene ke liye majboor hain hum
kya saath hamaara aur unka
masroor hain wo
ranjoor hain hum


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 : 3458 Post No. : 13873

Today’s song is from film Aazaad-40, made by the famous Bombay Talkies.

Bombay Talkies was one of the premiere production companies of India in those times. Its films became very popular and the music was lapped up by the audience. There were other equally famous production houses like Prabhat Films,Ranjit studios and New Theatres of Calcutta, all churning out block busters. While Ranjit showed how to make money, Bombay Talkies added prestige to films.

Language in Hindi films was a great issue in those times and it is here that Bombay Talkies won hands down ! Prabhat films had its Hindi totally influenced by Marathi ( and hence was popular in western India), and New Theatres films had their Hindi straight lifted from books of Hindi Prachar Sabha- too pure ! It was only Bombay Talkies films which used the colloquial language of India- easily understood by the masses and acceptable to all classes equally. While Prabhat called it “Preet” , and New Theatres said ” Prem”, Bombay Talkies used the words like ” Pyar” and “Muhabbat” – a mix of Urdu and Hindi ( called Hindustani). Prabhat dialogues were too formal, while New Theatres’ were highly literary and Bombay Talkies used day to day language understood easily over the length and breadth of India.

Surprisingly,it was not by design. Himanshu Rai’s Hindi was not good. Whenever a new film story was read out to him, he would insist for simpler language so that he understood it. This culminated into the strongest point of Bombay Talkies films !.

Bombay Talkies was run on Hollywood style. Very systematic, disciplined and maintained a conducive atmosphere for best performance by all. All facilities were provided to the staff, with a common canteen for all- high and low. Bombay Talkies believed in recruiting talented people and also developing their own staff. From the begining, it was considered a Heaven for Bangla artistes. But to its credit, it never neglected or denied opportunities to any Non Bangla artistes. This enabled the Film industry- in later years – benefitting with a variety of experts in all fields of cinema making.

In the initial period, Devika Rani used to be the Heroine in all films, but in 1939, Bombay Talkies invited Leela Chitnis to work in film Kangan-39, opposite Ashok Kumar. The usual director Franz Osten had directed it. The film was a hit and Bombay Talkies went ahead with another film Bandhan-40. When the shooting of Bandhan started in end 1939, its Director Franz Osten and all other German Technicians of the studio were arrested by British police and interned at Deolali, near Nashik, Maharashtra. The film was then completed by the assistant director N.R.Acharya, who graduated to Director’s post. Even this film was a Hit. Yet another film was launched with the pair of Askok Kumar and Leela Chitnis, viz. Aazaad-40 and this film too was directed by N.R.Acharya.

N.R.Acharya – was a Hindi director born in Karachi. He was a government contractor when he joined East India film Company in Calcutta (1934). Later he worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. He became a producer with KISHORE SAHU’s Kunwara Baap (1942). He continued producing under the Acharya Arts Production banner until 1950. He also made Gujarati films, e.g. Lagna Mandap. In 1942, when there was a split in Bombay Talkies and one group left to establish Filmistan, Acharya too left but did not join any group and he became a free lancer. Later he started a company,’N.R.Acharya Productions.’

FILMOGRAPHY:

1940: Bandhan; Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru. ( adapted from Ency.of Indian cinema )

In early 1940, Bombay Talkies’ expert writer and Himansu Rai’s long time associate Niranjan Pal left Bombay Talkies, and Sardendu Bannerjee, a noted Novelist from Bengal was recruited. However his first film Aazaad-40 did not click unlike other films of the lead pair. The film had a cast of Ashok Kumar, Leela Chitnis, Hansa Wadkar, Rama Shukul, Mumtaz Ali, Nazir Bedi, Ramchandra Pal, Nana Palshikar etc etc. Hansa Wadkar was new to Bombay Talkies, having worked as a Heroine in its earlier film ” Navjeevan-39″, opposite Rama Shukul. She had impressed the company and hence even in film Aazaad she was paired opposite Rama Shukul again.

Hansa Wadkar’s real name was Ratan Bhalchandra Salgaonkar. She was born at Bombay on 24-1-1923 in a family of professional singers or ” Kalawanteen” as they are called in Maharashtra.These Kalawanteens were similar to courtesans or Devdasis. They earned their living by entertaining guests by their singing,but they could not get married. They would have their ” Seths ” or benefactors to look after their living needs and sometimes they would have children also from them. However Hansa’s mother had married an upper caste person Salgaonkar. Hansa’s father was a useless person,who lived on wife’s earnings and drank whole day and night.

Hansa was beautiful and knew singing and dancing. She wanted to work in films. There was a family friend-a distant relative- Bandarkar,who would take Hansa to various studios for finding work. She got a film,” Shaadi ka mamla”-1936 at the age of 13 years. this was actually a Marathi drama ( ” Vijayachi Lagne” by Mama Warerkar) shot as a film,which became a flop. meanwhile Hansa was made pregnant by Bandarkar and to save face,she was married to this 10 year older person. She was just 14 year old then.

her next film was Modern Youth-37. Then she did a few B grade films. Hansa changed her name to Hansa Wadkar,which was her maternal surname. She was not only attractive but also expert in dancing and singing. She was offered films by Bombay Talkies ,where she did 3 films-Durga,Navjeevan and Azaad. Later Prabhat also called her for Sant Sakhu in 1941. She did 3 films for Shantaram-Sant Sakhu,Ramshastri and Matwala Shayar.

Hansa worked with top banners and opposite Top actors in her heydays. She did 28 Hindi films. From 1949 onwards,she did 25 Marathi films, including Record breaking ‘Sangatye Aika-59,Ramshastri-44 etc .

Hansa’s life was was in two extremes.On her professional front,she was very successful,but on her personal front,she was very sad. She always sought Love,but she got deception,heartbreaks and torture. Her first husband Bandarkar was a very suspicious character. Due to him she had many abortions,which spoiled her health. She tried many men in search of Love,but she was a disappointed soul throughout.

Hansa Wadkar wrote her autobiography ” Sangtye Aika ” in 1970. It was the same title of her most successful film in Marathi.The book created many waves in the industry since she was very candid and open in the book. After retirement,she lived with Rajan Javale,a handsome Marathi film actor ( he did many Hindi films too ). She called him Baba. She was always ready to give Interviews,because she wanted that people should know the truth. She died on 23-8-1971.

Hansa’s Filmography- Shadi ka mamla, Modern youth,Bahadur kissan,Sneh lagna,Zamana,Durga,criminal,Navjeevan,Azaad,Sant sakhu,Apna paraya,Dillagi,mwera gaon,Ramshastri,Meena,Aarti,main kya karun,begram khan,matwala shayar,gaurav,Dhanyawaad,Dhanwale,Mere Laal,Sant janabai,Shrikrishna Darshan,Maya machhindra,Shrikrishna Satyabhama and Shri Gurudev dutt from 49 to 66, she did 25 Marathi films.

Shyam Benegal made a film on her autobiography-Bhumika-1977. Hansa’s role was done by Smita Patil and Bandarkar was Amol palekar The film was very successful and won many awards.

Film Aazaad-40 did not become a hit film, because the popular romantic pair of Ashok Kumar and Leela Chitnis was shown as an old couple in the later part of the film, which probably was not liked by the audience. The story of the film is….

AAZAAD(1940) was a Bombay Talkies’ film,in which two composers were there. Ramchandra Pal also composed one song in this film. He also acted in this film.

The screenplay and story were of Sardendu Bannerjee, while the Dialogues and Lyrics were by Jamuna swaroop Kashyap “Natawaa”.

Azad was a story of three friends and the ageold conflict of conservatism v/s Modernism. Vijay(Ashok Kumar) is a wealthy young collegian with modern thinking and rebellion against bad customs.Loknath is a conservative while Jagdish is oscillating between the two.

One day they come accross a girl Jamuna(Leela Chitnis) hunted by a badman. Loknath and and Jagdish stay away,but Vijay rescues her and takes her home.She is stamped a fallen woman,but Vijay knows she is pure and courageous.They fall in love, marry and go away to another villege Ratanpur,to avoid trouble from society.

After 25 years, Jagdish settles as a Lawyer in Calcutta.He has one motherless daughter Seeta(Hansa Wadkar),who is rescued from Train dacoits,by Anand ( Rama Shukul),the Doctor son of Vijay.Jagdish calls him home and learns that he is Vijay and Jamun’s son.He is in a dialemma now.

However love triumphs and the youngsters finally get married in presence of Vijay,Jamuna,Jagdish and Loknath.

This was a film in the tradition of bringing new thinking through films by Bombay Talkies, for which they were known.

Film Azad-40 had 9 songs. only one song was composed by Ramchandra pal and he sang this song. He also acted in the film, but this song is not picturised on him. The song is basically a Kabir bhajan, but patched with some lines by Jamuna prasad Kashyap.


Song-Haariye na himmat bisaariye na Raam (Aazaad)(1940) Singer- Ramchandra Pal, Lyrics-Lyricist- Kabir and Jamuna Swaroop Kashyap, MD- Ramchandra Pal

Lyrics

haariye na himmat
bisaariye na raam
haariye na himmat
bisaariye na raam

tu kyun soche bande
sab ki soche raam
tu kyun soche bande
sab ki soche raam

haariye na himmat
bisaariye na raam
deepak leke haath mein
andha raah dikhaaye
auran aage chaandna
aap andhere jaaye
paap puny aur bhale bure ki wo hi karta tol
paap puny aur bhale bure ki wo hi karta tol
ye saadhe nahin jagat haath ke
ye saadhe nahin jagat haath ke
tu kya jaane mol

jaisa jiska kaam
paata waise daam
jaisa jiska kaam
paata waise daam
tu kyun soche bande
sab ki soche raam
tu kyun soche bande
sab ki soche raam
haariye na himmat
bisaariye na raam
haariye na himmat
bisaariye na raam


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.

Today’s song will take us back to the earliest decade of Hindi Films. This famous song is from the film Bandhan from 1940, a Bombay Talkies prodcution. The song is in 3 parts. It is composed by Ramchandra Pal, who was the joint MD with Saraswati Devi for this film. All the songs of this film were written by Kavi Pradeep.
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.

“Santaan”(1946) was directed by Ramprakash and B Damania for Janak Pictures, Bombay. This movie had Nayampalli, Benjamin, Rehana, Lalita Pawar, David, Girish, Hemawati, Janak, Irshad, Viman Bannerji, Sumati Gupte, Raj Shekhar, Prashant Pandey, S Ranjan 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.

“Santaan”(1946) was directed by Ram Prakash and B Damaniya for Janak Pictures, Bombay. The movie had Nayampalli, Benjamin, Rehana, Lalita Pawar, David, Girish, Hemawati, Janak, Irshad, Viman Bannerji, Sumati Gupte, Zeb Qureshi, Rajshekhar, Prashant Pandey, S Ranjan etc in it.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. 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.
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“Naya Sansaar” (1941) was written by Khwaja Ahmad Abbas and directed by N R Acharya. The movie had Ashok Kumar, Renuka Devi, David Abraham, Shahnawaz, V H Desai,P F Pithawala, Azurie, Sushir Kumar, Suresh, Mubarak, Jagannath etc in it.
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I just came to know (thanks to information given by Khyati Bhatt) that today (9 september) is the birth anniversary of Leela Chitnis (9 september 1909 -14 july 2003). Leela Chitnis was born on 9 september 1909, and that makes her date of birth a perfect 09-09-09 whether you write it in the British style or the US style.
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Today (14 july) is the death anniversary of Leela Chitnis (9 september 1909- 14 july 2003). She was one of the pioneers of Hindi cimema during its early days. She was a well educated lady from a respectable family who entered movie world which was till then considered the preserve of courtesans. Her association with Bombay Talkies, where she forged a popular pair with Ashok Kumar gave us some memorable movies as well as memorable songs.
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What is this blog all about

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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15038

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4123

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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