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

Posts Tagged ‘Rammurty Chaturvedi


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 : 3681 Post No. : 14577

“Naseeb”(1945) was directed by Vedi for Silver Films, Bombay. The movie had Pramila, Kumar, David, Krishnkant, Sunetra, Jillo, Nazma, Leela Mishra, Chandabai, Moone Agha, Agha Jaan, Ghori etc in it.

This “social movie”, also called “Can’t help it” had nine obscure songs in it that were penned by three lyricists and the songs were sung by at least four singers.

Three of these songs have been covered in the past.

Here is the fourth song from “Naseeb”(1945) to appear in the blog. This song is sung by Khan Mastana and Hamida Bano. Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

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.


Song-Deewaani teri do din ki zindagaani (Naseeb)(1945) Singers-Khan Mastana, Hamida Bano, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram

Lyrics

deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

ghar mein teri maata rowe
baahar sakhi saheli
ghar mein teri maata rowe
baahar sakhi saheli
tu mahlon ki raani bankar
karti hai athhkheli

tu mahlon ki raani bankar
karti hai athhkheli
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
bhool gaye bachpan ke saathhi
ho gaye saare sapna

bhool gaye bachpan ke saathhi
ho gaye saare sapna
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

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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 : 3670 Post No. : 14547

Is Raj Kapoor singing a song for himself?

That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).

During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.

Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.

Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.

It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:

Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).

An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:

From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.

I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.

When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.

Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.

Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.

As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :

SN Song Co Singer Movie
1. Piya milne naveli nadi jaaye re Solo Jail Yatra (1947).
2. Lehraaye mori laal chunariya with Nalini Mulgaonkar Jail Yatra (1947)
3. Jab se Dekha hai tumhen Solo Gopinath (1948)

In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.

I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.

Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.


Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re


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.

“Bindiya”(1946) was directed by C M Luhar for Sun Art Pictures, Bombay. The movie had Raagini, Amar, M Shaqir, E Billimoria, Pratima Devi, Bhagwan Das, Leela Mishra, Leela Pawar, Qayam Ali, Madhukar Gupte, Sukumar, Himmat Lal, Mehar Banu, Bhimji etc in it.

There were eleven songs in the movie. One song has been covered in the past.

Here is the second song from “Bindiya”(1946) to appear in the blog. The song is sung by Kalyani Das. Pt Rammurty (who I assume is same as Rammurty Chaturvedi) is the lyricist. Music is composed by Kamal Dasgupta.

My guess is that this song is picturised on Raagini. Nevertheless, I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

I have not been able to get one word (may be more) right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Jeewan sargam pe gaaye jaa geet suhaane(Bindiya)(1946) Singer-Kalyani Das, Lyrics-Rammurty Chaturvedi, MD-Kamal Dasgupta

Lyrics

jeewan sargam pe
gaaye ja
gaaye ja
gaaye ja
geet suhaane
jeewan sargam pe
gaaye ja
gaaye ja
gaaye ja geet suhaane
ismein dukh ki ghire ghataaye
sukh is mein
haan
sukh ismein khele holi

megh malhaar isi mein goonje
megh malhaar isi mein goonje
ae ae ae ae
yahi vasant kare atkheli ee ee ee
yahi vasant kare atkheli ee ee ee ee
komal bachpan ismein jhoole
jovan bhi ismein hi phoole
komal bachpan ismein jhoole
jovan bhi ismein hi phoole
isi geet ke madhur taan se
naach rahe
naach rahe
naach rahe parwaane
gaaye ja
gaaye ja
gaaye ja geet suhaane

iske swar mein lahraati hai ae
jeewan ki sundar phulwaari
iske kanchan(?) mein gaati hai
kunj kunj mein koyal kaari
is sargam ke man ?? par
dol rahe
dol rahe
dol rahe dharti aur baadal
insaanon pe swarg nichhaawar
insanon pe swarg nichhaawar
ho jaaye deewaane ae ae
gaaye ja
gaaye ja
gaaye ja geet suhaane
jeewan sargam pe
gaaye ja
gaaye ja
gaaye ja geet suhaane


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.

“Parinde”(1945) was produced and directed by Acharya Atre for Atre Pictures, Bombay. The movie had Surendra, Vanmala, Dixit, Babu rao Pendharkar, Sitara, Sunalini Devi, Balwant Parchure, D R Gokhale, Chandabai, Lallu, Vasant sawkar, Jairam Desai etc in it.

The movie had eight songs in it. Two songs from this movie have been covered in the past.

Here is the third song from “Parinde”(1945) to appear in the blog. This song is sung by Surendra and Parul Ghosh (credited as Shrimati Ghosh in the credits). Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

The song is picturised on Suendra and Vanmala.

Video


Audio

Song-Oopar ho chaand taara neeche jahaan saara(Parinde)(1945) Singers-Surendra, Parul Ghosh, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram
Both

Lyrics

oopar ho chaand taara
neeche jahaan saara
upar ho chaand taara
neeche jahaan saara
beech mein hum tum pyaar karenge
haan
beech mein hum tum pyaar karenge
pyaar karenge
hum vihaar karenge
pyaar karenge
hum vihaar karenge

hum tum mil kar pyaar karenge
haan
hum tum mil kar pyaar karenge

ek oar dolye parindon ki toli
ek oar taare khelen aankh michauli
ek oar doley parindon ki toli
ek oar taare khelen aankh michauli
kirnon ka hum tum singaar karenge
kirnon ka hum tum singaar karenge
upar ho chaand taara neeche jahaan saara
upar ho chaand taara niche jahaan sara
beech mein hum tum pyaar karenge
haan
beech mein hum tum pyaar karenge

udte udte unche unche jaayenge hum dono
udte udte, unche unche jaayenge hum dono
sota hua suraj jagaayenge hum dono
sota hua suraj jagaayenge hum dono

jag mein savera bataayenge
gaayenge
jag me savera jagaayenge
gayenge
meethe suron se hum gulzaar karenge
haan
meethe suron se hum gulzaar karenge
gulzaar karenge
ham vihaar karenge
gulzaar karenge
ham vihaar karenge
jag mein ham tum pyaar karengen
haan
jag mein ham tum pyaar karenge

udte udte sajan kahin baadal jo chhaayen
udte udte sajan kahin baadal jo chhaayen

manzil humaari hamen nazar na aaye
manzil humaari hamen nazar na aaye
phir
phir
haathon mein haath liye himmat ka saath liye
haatho me hath liye himmat ka sath liye
manzil ko apni hum paar karenge
haan manzil ko apni hum paar karenge
paar karenge hum vihaar karenge
paar karenge hum vihaar karenge
jag mein hum tum pyaar karenge
haan jag mein hum tum pyaar karenge


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.

After an enforced hiatus of over a month, I am back again with yet another song from the yore.

During this period, I acutely realised how much this Blog, its people, Hindi old films and songs had become a part of my life and I missed all this. When I was younger and ran after my career, the same feeling used to be there. Now of course, there are deadlines,commitments,accountability and work satisfaction, but of different kind. Equally important, nevertheless. I was overwhelmed with the good wishes and prayers for me from friends during this period. God is Great and everything fitted in place finally and I am once again ready to pour my heart here in discussing songs, people and films. Thanks to all.

Today’s song is from a film called Gopinath-48. This film is known to many, only for the original song and tune, used by Raj Kapoor in his film ‘Satyam Shivam Sundaram ‘-78 in the song “Yashomati maiyya se poochhe Nandlala, Radha kyun gori, main kyun kaala “.

But there is much more to this film than only this song.

The film belongs to the Bengali tradition of melodramas. The main Heroine Tripti Mitra has given a remarkable performance. In shifting the tragedy from Devdas type male anxiety for a woman’s condition, the film chronicles how women get caught in the traditional environment. Mahesh Kaul, who wrote the story, screen play and dialogues, besides directing it, picked a delicate subject and handled it skilfully. He also acted in this film in the role of a movie director.

This was Raj Kapoor’s first major appearance on screen, before he became a legend later on. He excelled as an actor here. The film ends with an unusual scene.

When the film was released, it was hailed by critics as a work of art, much ahead of its time. It was creditable for Mahesh Kaul to have made this film, when the Indian Cinema was yet to become an adult. No wonder, the Government of India has preserved a print of Gopinath-48 in its National Film Archives for posterity. The acting of Raj Kapoor confirmed, his greatness would have matched any actor in the world, only if he had not wasted his talent in imitating Chaplin. This is my personal opinion.

There were two Heroines. One was Tripti Mitra, a big name in Bangla films and stage movement. She acted in only 3 Hindi movies. Gopinath-48, Dharati ke Lal-46 and Munna-54. Munna was a sequel to Dharati Ke Lal- both films directed by K.A.Abbas.

Smt. TRIPTI MITRA, née Tripti Bhaduri (Born 25 October 1925 – Died 24 May 1989), popular Indian Actress of Bengali Theatre and Films. She was the wife of Sombhu Mitra, noted Theatre & Film Director, with whom she co-founded pioneering theatre group Bohurupee in 1948. She has acted in films like Jukti Takko Aar Gappo and Dharti Ke Lal.

She was awarded Padma Shri and the Sangeet Natak Akademi Award, the highest Indian recognition given to practicing artists, given by Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.

Tripti Mitra was born in Dinajpur (British India) on 25 October 1925. Her father was Ashutosh Bhaduri and mother was Shailabala Debi. In Dinajpur Minor School she studied up to class six, then she came to Kolkata and got admission in Pyaricharan School. After passing Higher Secondary Examination from that school, she got admission in Ashutosh College. But she could not complete her studies since she got a job. She married Sombhu Mitra in December, 1945. She has a daughter Shaoli Mitra, who is also an actress and director.

Tripti Mitra had been acting in theatre since her teens. She first acted in her cousin Bijon Bhattacharya’s play Agun (Fire) in 1943. After watching her stage performance in noted IPTA play, Nabanna (Harvest) based on Bengal famine of 1943, director Khwaja Ahmad Abbas took her to Bombay to act in Gana Natya Sangha’s film Dharti Ke Lal in 1943, partly based on the play. Her first Bengali film was Pathik in 1953, the film was directed by Debaki Kumar Basu. She also acted in Ritwik Ghatak’s last film, Jukti Takko Aar Gappo (1974).

In 1948, Shombhu and Tripti Mitra founded their own theatre group named Bohurupee. She acted in innumerable plays mostly along with her husband Sombhu Mitra,a colossus in the field of theatre, to become one of the most legendary beings of Bengali theatre, most famous for her role as Nandini, the protagonist of Rabindranath Tagore’s Rakta Karabi. She also acted in Jago Hua Savera, a 1959 Urdu movie produced in Dhaka, East Pakistan (now Bangladesh), based on a Manik Bandopadhya’s classic novel Padma Nadir Majhi. Tripti Mitra died on 24 May 1989.

The second Heroine was Latika. In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.

” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.

The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.

Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.

In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).

Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.

It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.

Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too become a Jehovah’s Witness.

Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had became a hotel but I’m not sure what has happened to it now.

Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.

Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”

On 25-9-2012, I had written this review of Gopinath-48, in this Blog–

GOPINATH-1948 was a Shanti lok Chitra film.It was produced and Directed by Mahesh Kaul, who not only wrote its story,screenplay and dialogues,but also acted in it.

The music was by Ninu Muzumdar and lyrics by Ram murthy Chaturvedi.There were 9 songs in the film, including 2 Bhajans of Meerabai and Surdas each.

The cast was Raj Kapoor,Tripti Mitra,Latika,Randhir,Anwari Bai, Sachin Ghosh etc.

This was a story of Gopi (Tripti Mitra), who is an orphan in the house of Mohan (Raj Kapoor). She is abandoned by her only brother. Gopi loves Mohan, but Mohan loves Neela Devi, an actress (Latika).

Gopi is frustrated and is mad,when Mohan returns to her after getting fed up and disillusioned by Neela Devi.

I saw this movie in its IInd run in early 1950s, but I had my notes on this movie.

Although some critics had actually lauded Raj Kapoor’s performance in this film, I felt that Tripti had outclassed RK in this film.

There are in all 9 songs in the film. Today’s song is only the second song to be discussed here. All songs,videos and the film are available on YT. This song is sung by Shamshad Begum and chorus. This dance song is very melodious, with a lilting tune. You will enjoy it….


Song-Baali umar piyaa mor mor mor (Gopinath)(1948) Singer-Shamshad Begam, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar
Chorus

Lyrics

baali umar piyaa mor mor mor
jiyaraa naa maane
haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane

haay jiyaraa naa maane
o o o

jabse dekhaa hai tumhen aen aen aen
bas kho gaye hain ham kahin
naa tasalli hai
naa ji ko chain hai ae
ek dam kahin
chhaayi ghataa ghanghor ghor ghor
jiyaraa naa maane

haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane

haay jiyaraa naa maane
o o o

par nahin
ud kar tumhaare paas jo aa jaayen ham
aa jaayen ham
aa jaayen ham

dil samajhtaa hi nahin
kyun kar ise samjhaayen ham
samjhaayen ham
samjhaayen ham

chhoot jaaye gham ke haathon se
jo nikle dam kahin
khaaq aisi zindagi par
tum kahin aur ham kahin
pi pi papihaa kare shor shor shor
jiyaraa naa maane

haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane
haay jiyaraa naa maane

o o o


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.

“Usha Haran”(1949) was produced by Prakash and directed by Shanti Kumar. The movie had Aroon, Ulhas, Jeevan, Yashodhara Katju, Indu, Arvind, Ratnamala etc in it.
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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.

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.
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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.

I had never thought highly of producer-director Kishore Sahu until I read an article written in August 1942 issue of ‘Filmindia’ by Hyacinth (a pseudo name for Susheela Rani Patel) a few months back. Until then, I had come across his name as the director of ‘Dil Apna Aur Preet Paraayi’ (1960) which I had seen in the theatre. Then, I was also aware of him of his association with ‘Kaalighata’ (1951) and ‘Mayur Pankh’ (1954). But in all these films, Kishore Sahu was not in my radar as my attention was more on Shankar-Jaikishan for their melodious songs in these movies.
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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.

This is an interesting song composed by C Ramchandra, for the film Saajan-47. It is sung by Mohd.Rafi, Geeta Roy and Lalita Deulkar. The lyricist was Rammurty Chaturvedi.
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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.

“Parinde”(1945) was produced and directed by Acharya Atre for Atre Pictures, Bombay. The movie had Surendra, Vanmala, Dixit, Babu rao Pendharkar, Sitara, Sunalini Devi, Balwant Parchure, D R Gokhale, Chandabai, Lallu, Vasant Sawkar, Jairam Desai etc in it.
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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 14900 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

14994

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4103

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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