Posts Tagged ‘RC Boral’
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.
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5440 | Post No. : | 17832 |
Today’s song is from the film ‘Anaath Ashram’ (1937). This film was made by New Theaters, Calcutta.
During the period from 1931 to 1955. New Theaters was one of the premiere film production companies of India. This was not only a commercial organization, but also a school for developing new talents in the fields of acting, direction, cinematography, editing, sound recording, costume designing and other departments of film making. Almost all who learnt from here, became big names in their later careers. It was here that the artists were encouraged to become editors from cinematographers, and directors from editors. Names like Nitin Bose and Bimal Roy are enough to prove this point.
The company also invested a fortune in developing new techniques and new traditions in every field of film making. Because of these, this premiere Bengal studio became a veritable institution and a promoter of talents that largely influenced the whole course of Indian films. In addition to this, New Theaters gifted the style of film songs introducing the Prelude and the Interlude.
Its biggest contribution, however, was the ‘Playback System’ of songs in the films. Birendranath Sircar, founder proprietor of New Theaters sustained it for 35 years, holding a record of making 177 films under this banner. The nearest ever to come was Sardar Chandulal Shah’s Ranjit Movietone, Bombay with 175 films ! New Theaters was also making films in Hindi and other languages from the beginning.
In 1928-29 BN Sircar founded International Filmcraft and made two silent films. Then the company closed. He then established New Theaters in February 1931 as a family concern, holding all shares within the family and becoming its Managing Director. He employed artistes and technicians on monthly salaries. His first success was ‘Chandidas’ (1932). In the same month he and IA Hafiz ji (who later married actress Ratan Bai) went on an all India tour to appoint distributors for his Hindi films to capture the Indian market. In this tour, he appointed distributors in Madras, Madurai, Trichinapally, Erode, Bangalore,Poona, Bombay, Cawnpore (now Kanpur), Lucknow, Kangra Valley and Lahore. The entire Eastern India and the North East was already in his pocket. Such was his vision !
The film business in Bengal was dominated by Marwadi and Gujarati communities. Some of them were – Lal ji Haridas had distribution rights of all major Bombay film companies, Bajranglal Khemka owned East India Film Co., Radha Kishen Chauria owned Radha Film co., Babulal Chowkhani had Bharat Laxmi pictures. All of them realized that making only Bangla films was not enough, making films in Hindi and other languages was necessary for survival and growth. However, BN Sircar had an upper hand here, being ahead in multi language films !
Films based on famous and popular novels and the film songs and music were the strengths of New Theaters. Ms Panna Raii ji, the first one to do Ph.D on Indian films wrote that “Though I did not know Bangla, I loved to listen to the film songs”. New Theatres popularised Rabindra Sangeet throughout India, which otherwise rotted in Shanti Niketan walls, till then. This was also a tough winner on Bombay’s stale stage and drama songs. Audience soon chose film songs from New Theaters films and discarded Bombay songs in preference.
Directors like Pramathesh Barua, Phani Mujumdar, Debaki Bose etc made films which became hits. New Theaters was on the top during 1932 to 1940, holding the uncontested No.1 position. The first blow came to New Theaters when the second World War broke out in 1939. Due to rationing, the raw film was allowed only for 6 films a year. At that point of time expenses of only the salaries of New Theaters studio was in the range of 45000 to 50000 rupees per month. Imagine how much it would be today at the current inflation rate. It would be about 11 lakhs per month !
In 1940 there was another blow to New Theaters in the form of the exit of Pramathesh Barua from the studio. Then on there was a string of actors, directors and Music Directors leaving New Theaters to join Bombay. Prithviraj Kapoor, Kedar Sharma, Nitin Bose, Debaki Bose, Kanan Devi, Uma Shashi (she ran away while shooting on sets to elope with her future husband), KL Saigal and many more left New Theaters. Added to it was the communal riot in 1946 in Bengal and India’s Partition in 1947. Many stalwarts left the company due to disputes with BN Sircar. Only Pankaj Mullick stayed there with him.
In the 1950’s New Theaters started going downhill. In 1954 New Theaters, due to the financial crisis, was handed over to Aurora Film Company. In January 1956 the company closed down and in 1962 it went into liquidation. It was the End of a Giant ! (based on some information from Sharmila Gooptu’s article ‘The Glory that was New Theaters’ and my notes ).
Cast of the Film ‘Anaath Ashram’ (1937) included Uma Shashi, Najmul Hasan, Jagdish Sethi, Prithviraj Kapoor, Nemo, Manorama, Trilok Kapoor, Kalyani, Harimati and many others. The story screenplay and song lyrics were by Kedar Sharma. The cinematographer was Yusuf Mulji – who was a heavyweight in the New Theaters affairs and a close associate of BN Sircar. He had done films like ‘Devdas’ (1935), ‘Pujarin’ (1936), ‘Anaath Ashram’ (1937), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Jawani Ki Reet’ (1939), ‘Doctor’ (1940), ‘Nartaki’ (1940), ‘Savitri’ (1940), ‘Hamara Sansar’ (1945), ‘Azaadi Ki Raah Par’ (1948), ‘Ladki’ (1953) etc.
Let us know more about Uma Shashi and Najmul Hasan…..
Uma Shashi (1915 – 6 December 2000) was a Bengali film actress who appeared in many roles from 1929 to 1951. Her on-screen pairings with actors such as Durgadas Bannerjee, KL Saigal, Pahari Sanyal and Prithviraj Kapoor were popular in those days.
Uma Shashi was born in 1915 in a poor Brahmin family of Calcutta. Her father Nilmani Chattopadhyay’s ancient home was in Dhaka, East Bengal, British India but he later settled in Calcutta. He was a kirtan artist and sometimes acted as a jatra artist in a local jatra groups. As a child Uma received a very little formal education in a local school due to poverty. She received dance and music training from the age of four. Miss Satkari Ganguly was her first music and dance teacher. As Satkari Ganguly was herself an actress, she introduced Uma Sashi to stage and theatre where she started work as a group dancer in theatrical plays of companies like Minerva, Alfred and Russa. Soon after, she started playing minor roles and became a part of a touring jatra group from Calcutta (now Kolkata) to different parts of undivided Bengal like Chittagong, Cox Bazar etc. She was a perfectionist and received elocution lessons from several Hindi, Urdu and English tutors to perfect pronunciation of these languages. After her debut in ‘Bangabala’, a silent movie she had to quit the stage because the authorities would not allow their paid staff to work in films.
Uma Shashi started as an actor in the silent movie ‘Bangabala’ in a small role – Subarna. The other silent films she acted in are ‘Bigraha’ (1930) and ‘Abhishek’ (1931). During this time she started recording songs for Columbia Records (India) and then for Hindusthan Musical Products as Smt. Uma Devi. Uma Sashi appeared in many silent movies as an actor. In 1931, She appeared in the first Bengali language sound film, ‘Dena Paona’ (1931), which was a major hit. In this movie she acted in a crowd scene of Gajan and also sang a song “Baba Apan Bhola Modern Pagal Chhele“ along with Miss Abhavati. She received training in singing from the legendary music director Pankaj Kumar Mullick and recorded songs such as ‘Duniya Rang Rangili Baba’ with him for the movie ‘Dharti Mata’ (1938). Uma Sashi’s first leading role was in ‘Chandidas’ (1932) movie of New Theaters where she played the role of Rami.
Uma Shashi married Mr Guru Prasad Dev, an attorney by profession, and a member of the Shobhabazar Rajbari when she was at the top of her career (she ran away from the shooting sets to elope with him). In those days it was not easy for a glamorous actress to become a member of such a conservative family. So she had to wait for quite some time to be allowed into the ancestral house of Mr Guru Prasad Dev. Uma Sashi was Guru Prasad Dev’s second wife and had to share the house of her husband with his first wife. Later she became a mother of three sons and a daughter. After her marriage she mostly remained outside the film industry. In her later years, Uma Sashi occasionally gave interviews in the print and electronic media and attended film functions, on rare occasions.
Uma Shashi died on 6 December 2000. The news of her death only came to light in the media a few days later. [Based on Film Diary-46, wiki and my notes].
Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She strongly recommended his name to Himanshu Rai. His screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behavior, he still selected him for the first film of Bombay Talkies, opposite Devika Rani in ‘Jawani Ki Hawa’ (1935).
During ‘Jawani Ki Hawa’ (1935), which was loosely based on Agatha Christie’s ‘Murder On The Orient Express’, published in 1934, Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film, ‘Jeevan Naiyya’ (1936) went on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali boss Himanshu Rai. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned and Himanshu Rai pardoned her, but not Najmul Hasan.
Najmul Hasan did not come back to Bombay. He joined the New Theatres in Calcutta and did films like ‘Anaath Ashram’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939), ‘Jawani Ki Reet’ (1939), and ‘Nartaki’ (1940). Even in Calcutta, Najmul Hasan had a rocking affair with superstar Jahanara Kajjan. After doing the film ‘Meenakshi’ (1942), Najmul Hasan did some films like ‘Daasi’ (1944) , ‘Ragini’ (1945) and ‘Kaise Kahoon’ (1945) in Lahore and then he decided to migrate to Pakistan in 1947. In Pakistan he did some films like ‘Eid’ (1951), ‘Ashiyana’, ‘Doctor’, ‘Mirza Jatt’, ‘Taxi Driver’ and ‘Heer Ranjha’ etc.
Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan. [Based on Film Diary-46, my notes and Pak sites].
The story of the film ‘Anaath Ashram’ was (as per film booklet),
It is a reformist melodrama about widow-remarriage. Jai Narain (Jagdish Sethi), owner of a colliery, forms a happy family with his wife (Manorama), his daughter Saroj (Uma Shashi), son-in-law Kailash (Trilok Kapoor), an engineer at the colliery, and their son Nannha (Master Satu). Kailash dies in a colliery accident caused by Jai Narain. Nannha is sent to an orphanage and Saroj marries Ramesh (Najamul Hasan), who loves her but is unaware of her previous marriage or of being a stepfather, while Saroj misses her dead husband and longs for her absent son. A former suitor, Ranjit (Prithviraj Kapoor) appears, knowing her past history. Repeated scenes show Nannha pining for his mother.
This story has resemblance to the film story of Prabhat’s ‘Mera Ladka’ (1938) (‘माझा मुलगा’ in Marathi). In this film all the Mangeshkar siblings are seen in one song.
Today’s song is a comedy song. It is sung by children of the ‘Anaath Ashram’ (Orphanage), during their Annual Day function. We do not know the names of singers.
Song – Sarkar Ye Ghulam Geedad Khan Kehlaata Hai (Anaath Aashram)(1937) Singers – Unidentified Child Voice, Lyricist – Kedar Sharma, MD – RC Boral
Chorus
Lyrics (Provided by Sudhir)
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
aaa aaa
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
main sher hoon is waqt lagi bhookh hai mujhko
main sher hoon is waqt lagi bhookh hai mujhko
ab dekh thodi der mein kha jaaunga tujhko
ab dekh thodi der mein kha jaaunga tujhko
tum hum ko mat khaavo
aavo idhar aavo
tum hum ko mat khaavo
aavo idhar aavo
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
main sher hoon is waqt lagi bhookh hai mujhko
main sher hoon is waqt lagi ki bhookh hai mujhko
ab dekh thodi der mein kha jaaunga tujhko
haan ab dekh thodi der mein kha jaaunga tujhko
tum hum ko mat khaao
aao idhar aao
tum hum ko mat khaao
aao idhar aao
sarkar ye ghulam geedad khan kehlata hai
bazaar se ye halwa poori lene jaata hai
poori lene jaata hai
halwa lene jaata hai
aaa aaa
sarkaar
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
आsss आsss
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
तुम हमको मत खाओ
आओ इधर आओ
तुम हमको मत खाओ
आओ इधर आओ
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
मैं शेर हूँ इस वक़्त लगी भूख है मुझको
अब देख थोड़ी देर में खा जाऊंगा तुझको
हाँ अब देख थोड़ी देर में खा जाऊंगा तुझको
तुम हमको मत खाओ
आओ इधर आओ
तुम हमको मत खाओ
आओ इधर आओ
सरकार ये ग़ुलाम गीदड़ खान कहलाता है
बाज़ार से ये हलवा पूरी लेने जाता है
पूरी लेने जाता है
हलवा लेने जाता है
आsss आsss
सरकार
Ik Bangala Baney Nyaara
Posted on: January 18, 2020
- In: "Bangla" (Bungalow) Song | "Gramophone" song | aspirations | Devnagri script lyrics by Sudhir | Guest posts | K L Saigal Film songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1969 | Songs reused again in subsequent movies | Yearwise breakup of songs
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This article is written by Sudhir, 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 : | 4201 | Post No. : | 15387 |
Songs Repeated in Hindi Films – 15
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And so, we do get to a song in Saigal Sb’s voice song in this series. Memory serving right, I would have preferred to start the series with this song. But oh well. Actually, we do have a Saigal Sb song earlier in this series. But that song – “Babul Mora, Naihar Chhooto Hi Jaaye”, is rerecorded in Jagjit Singh Chitra Singh voices.
Remembering the memorable singer KL Saigal Sb – it is 73 years today, since this Divine Voice departed from this mortal world. The singer has gone away, his voice, the sound captured in the songs recorded by him, are still alive.
The re-use film is ‘Do Raaste’ (1969) and this song is used as a backdrop in two places in the film. In both scenes, the song is being played from a 78 rpm record on an old styled gramophone. Almost the entire cast of the film gets presented in the two short clips. We see Balraj Sahni, Veena, Kamini Kaushal, Rajesh Khanna, Junior Mehmood and Jayant in the first clip. There is a lady actor sitting with Kamini Kaushal in the first part – is she Kumud Bole? Also, the baby girl with Junior Mehmood – I have seen her in other films also, but I am unable to put a name to her face. Then in the second clip, in addition to the above listed cast, we also have Prem Chopra, Bindu and Mumtaz. And yes, it is Krishnakant who gazes back at us from his perch in the portrait on the wall.
In its time, ‘Do Raaste’ was a popular hit film. Rajesh Khanna was the rising star at that time, plus the music of the film became very popular. Times were when a middle class joint family homes, were presented on screen quite realistically so. The story of the film is a typical loving family scenario, and then we have unhappiness and strife intervene – a new lady joining the household and sows the seeds of step-brotherly misunderstandings. The divide goes to extremes, before things get reformed and patched up. And then it is a joint happy family all over again.
This song appears twice in the film, once at the beginning, when everything is in a relaxed mood, and the household is the blessed ‘nyaara bangla’. And then, this song is presented again close to the end of the film, when all misunderstandings have been removed, and whole family reunites and returns once again to the ‘nyaara bangla‘.
In both the scenes, the song is being played on an old gramophone, which is manually operated. It has a big sound horn attached, as we remember from the old HMV logo. Ah, the pleasures of pure sounds from the 78 rpm records – no electronics, just a very authentic reproduction of the original sound as stored in electric impulses on the shellac. The wonders that were, without the later technologies and advancements. No creation of sound reproduction technology can even come close to the sound of a 78 rpm record playing on an HMV 102 machine – hand cranked, not even electricity to power the turntable. It continues to be a marvel of that age, which is also exemplified by another unique accomplishment – single mike recording with orchestra and multiple singers. The marvels of modern acoustic technology pale in comparison.
The song also brings back the memories of the heady days in the year 2011, going across the months of May through September. The blog was a ‘song-a-day’ platform for Saigal Sb songs. By the time we ended, we had brought on board all the Hindi/Urdu songs of Saigal Sb, which are available in public domain. The mind just cannot believe it is already more than 8 years ago that we went on that exhilarating journey. The joy of getting that done was surely a wondrous taste. But then I also think with some melancholy – that no more Saigal Sb songs are to be posted on our blog. Today’s post in this series is a device that makes us remember and revisit this miracle of nature that was – the voice of Saigal Sb. I take back my words – I would prefer to use ‘is’ instead of ‘was’. I am sure you will agree – for the voice continues to be with us. That peerless, unmatched, incomparable voice, that can only be replayed now.
Our dear Arun ji has mentioned in his previous post – “Door. . . Bahut Door” from yesterday – it was Raj Khosla’s (producer director of ‘Do Raaste’) own childhood memories that probably brought this song into the film. His father loved KL Saigal songs that would often play the records at home on an old gramophone. Those memories were relived by Raj Khosla himself, as he directed ‘Do Raaste’. Wonderful revival, wonderful renewal, wonderful memory stimulant. Thanks Raj Khosla ji, and thanks to Arun ji for bringing in this connect.
The original credits of this song are – lyrics by Kedar Sharma and music by RC Boral. Singing voice of course, is the inimitable Saigal Sb. Listen yet once again to this wondrous original voice – a benefaction of God Himself.
Song – Ik Bangala Baney Nyaara (Do Raaste) (1969) Singers – KL Saigal, Lyrics – Kedar Sharma, MD – RC Boral
Lyrics
ek bangla baney nyaara
ek bangla baney nyaara
rahe kunba jis mein saara
ek bangla baney nyaara
ek bangla baney nyaara
sone ka bangla, chandan ka jangla
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
vishvakarma ke dvaara
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
ati sundar pyaara pyaara
ek bangla baney nyaara
ek bangla baney nyaara
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
इक बंगला बने न्यारा
इक बंगला बने न्यारा
रहे कुनबा जिस में सारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
सोने का बंगला चंदन का जंगला
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
विश्वकर्मा के द्वारा
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
अति सुंदर प्यारा प्यारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
Hum Chale Nai Duniya Rachne
Posted on: February 23, 2018
- In: Aparesh Lahiri - Sandhya Mukherjee Duet | Aparesh Lahiri Songs | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Sandhya Mukherji Songs | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
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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.
| Blog Day : | 3507 | Post No. : | 14092 |
Today’s song is from film ‘Pehla Aadmi’ from 1950.
India became an independent nation on 15th August, 1947. It saw the end of about 100 years of protest, riots, mutinies and revolutionary attacks on the British Raj, who had ruled us for so many years – 190 years, to be exact. That is after Robert Clive won the battle of Plassey in 1757. Besides political upheaval, independence had different impact on different people in India.
Firstly, those millions of freedom fighters who were busy 24 x 7, shouting, protesting and marching against the British, suddenly had no work no do. They faced a big void in their life. Those students who had left their education half way to join the freedom struggle found that they were nowhere now. No education, no jobs and no activity. This led to finding ways of making quick money – like black marketing, political exploitation of the society to make quick bucks, illegal activities etc.
Secondly, the writers and authors who were suppressed and prohibited from writing anti-British articles or even patriotic songs and dramas, found that they now could do so, but there were no takers. The relevance of such writings was lost because India was independent now.
Thirdly, the film makers, who could not express their patriotic urges through films were now free to make such films. There was no need to be symbolic now. Direct expressions were now allowed without restraint.
Even in the patriotism or the independence struggle, there were two divisions. One, which followed the footsteps and teaching of Ahimsa by Mahatma Gandhi and two, was the revolutionary explosive type who believed in bloodshed, punishment and overthrowing the rulers by weapons. For making a film the Gandhi ji’s way was too mild, without any drama, suspense or heroism. So it was the revolutionary way to independence struggle which was opted by film makers. There were many films about freedom struggle – Bhagat Singh and Netaji Subhash Chandra Bose, but very few on Gandhi ji’s teachings like ‘The Last Message’, ‘Ahimsa Path’ (both 1949) and some docu-films.
On the other hand, some films were made about the freedom struggle of revolutionaries like, ‘Azaadi Ki Raah Par’, ‘Desh Seva’, ‘Hua Savera’, ‘Refugee’, ‘Shaheed’, ‘Soldier’s Dream’ (all in 1948); ‘Apna Desh’, ‘Matrubhoomi’ (both in 1949); ‘Hindustan Hamara’, ‘Kashmir Hamara Hai’, ‘Pehla Aadmi’, ‘Samadhi’, (all in 1950); ‘Andolan’ (1951), ‘Anand Matth’ (1952) etc. As the euphoria diminished, such patriotic films too were made infrequently.
The life and times of Netaji Subhash Chandra Bose has always fascinated every Indian. Despite the step motherly treatment and a total neglect many times by the Congress Party, Netaji occupies the number one position as a revolutionary, who had a clear goal, organisational skill, leadership qualities and a well cut out plan to achieve independence. But for the support of Congress leaders of the times, he sure would have achieved his target. Most Indians believe this even today. So, no wonder film makers made films on Netaji in every Indian language.
Calcutta’s New Theatres too did not lag behind and they made a film on the life and times of Netaji. The title of this film ‘Pehla Aadmi’ is very intriguing. To know the background of how this title was selected, let us go back a little and peep into history which few Indians know.
Subhash Chandra Bose as the Supreme Commander of Azad Hind Fauj (aka Indian National Army – INA) adopted in 1943, a variant of Purna Swaraj flag that included the words ‘AZAD’ on the saffron band on top, ‘HIND’ on the bottom green band and in the centre white band a ‘Springing Tiger’ in lieu of Gandhi ji’s ‘Charkha’, symbolising INA’s strength and their indomitable will to fight.
The Indian National Army was born during World War II. Originally, it was founded by Captain Mohan Singh in Singapore in September 1942 with Indian prisoners-of-war (POWs) held by the Japanese army in the Far East. This was with the support of the Indian Independence League, headed by expatriate nationalist leader Rash Behari Bose. However, the first INA was disbanded almost immediately in December 1942 after disagreements between Hikari Kikan and Mohan Singh, who came to believe that the Japanese High Command was using the INA as a mere pawn and propaganda tool. [Ed Note: The Hikari Kikan was the Japanese liaison office responsible for Japanese relations with the INA and the Azad Hind Government in exile.]
However, the idea of a liberation army was revived with the arrival of Subhas Chandra Bose in the Far East in 1943. In July, at a meeting in Singapore, Rash Behari Bose handed over control of the organization to Subhas Chandra Bose. Bose was able to reorganize the fledgling army and gained massive support among the expatriate Indian population in South East Asia, who supported the INA both financially, as well as by enlisting with the INA. At the peak of its activities, INA consisted of about 85,000 troops, including a separate women’s unit, the Rani of Jhansi Regiment, headed by Capt. Lakshmi Swaminathan (aka Capt. Lakshmi Sehgal). Under the leadership of Subhash Bose, this rejuvenated INA fought along with the Imperial Japanese Army against the British and Commonwealth forces in the campaigns in Burma, Assam, Imphal and Kohima, and later, against the successful Burma Campaign of the Allies. The INA stormed and captured the Andaman Islands, and had reached within shouting distance of Chittagong, when the Japanese army surrendered after the atomic bomb attacks on Hiroshima and Nagasaki.
Moirang in Manipur was the headquarters of INA. Colonel Shaukat Malik hoisted the Tricolour for the first time on Indian soil on 19 March 1944, in Moirang with the help of Manipuris like Shri Mairembam Koireng Singh and others who were members of the INA. It is on this historical episode that Bimal Roy made the film ‘Pehla Aadmi’ in 1950.
The star cast of the film is Balraj Vij, Smriti Biswas, Pahadi Sanyal, Ashita Bose, Paul Mahendra, Zahar Roy, Heeralal, Asit Sen, Bela Bose etc.
Smriti Biswas, a protestant Bangla Christian was born in Calcutta on 17-2-1932. She studied in a Missionary girls’ school. Her father and mother both were Headmaster and Headmistress in other schools. Smriti had a liking for acting. When she was just 12 year old, she acted in film ‘Hamraahi’ (1945) and ‘Dwand’ (Bangla). When this was became at her home, she was put in another school. Later, the family shifted to Lahore. There Smriti acted in film ‘Ragni’ (1945), opposite Pran and also some other films.
After Partition, the family came to Delhi. Smriti met actor / producer / director Dr. SD Narang. He cast her in the film ‘Ek Aurat’ (1948) and Bangla film ‘Chinni Putul’, which became a hit. In 1951, Smriti shifted base to Bombay. According to her interviews, before coming to Bombay she had acted in 26 films. However no details are available for this. In 1953 she acted in ‘Shamsheer’ and also as a heroine opposite to Dev Anand in ‘Hum Safar’.
Though she was a star in Calcutta and Lahore, in Bombay she mostly got roles as a vamp or other supporting roles. She claims to have worked in 90 films. Some of her well known films are, ‘Dilli Ka Thug’, ‘Baap Re Baap’, ‘Bhaagam Bhag’, ‘Sailaab’, ‘Jaagte Raho’, ‘Aab e Hayaat’, ‘Hamdard’, ‘Teen Batti Chaar Raasta, ‘Abhimaan’, ‘Daaka’ etc .
Smriti was proficient in English, riding, swimming and cooking. She could play sitar, harmonium and guitar. She was very jolly like a tomboy. Smriti got married to Dr. SD Narang in 1960 and left films for ever. She gave birth to 2 sons. After the death of Dr. Narang in 1986, she gave her bungalow for development to a builder, who cheated her and she became homeless. She changed 28 houses in Bombay. She also lost her houses in Delhi and Mahabaleshwar due to crooked relatives. Finally, poor Smriti shifted to Nashik and has lived in a 500 sq.feet flat. Till last year she was in Nashik.
The story of ‘Pehla Aadmi’ was written by actor Nazir Hussain (ex INA), the lyrics were by Prakash (ex INA), and the music was by RC Boral. The film was directed by Bimal Roy, assisted by Hrishikesh Mukherjee. This was Bimal Roy’s last film with New Theatres. When he came to Bombay for the premier of the film, he met Hiten Chaudhari, who had worked in NT earlier. He was the first to leave NT and join Bombay Talkies in Bombay. Hiten took Bimal Roy to Bombay Talkies where he was offered the director’s position for the upcoming film ‘Maa’ (1952). Bimal Roy accepted it and settled in Bombay thereafter.
The story of ‘Pehla Aadmi’ is summarized below.
Vijay Kumar and Chaudhari are thick friends, living in Rangoon, Burma. They have a son Kumar and daughter Lata. The children fall in love when young, and decide to get married, with elders’ consent. The year is 1943. Netaji Subhash Chandra Bose arrives in Singapore and tours Far Eastern areas. He invites the youngsters to join his INA to serve the motherland.
Kumar decides to join INA and promises Lata that they will get married after the war is over. Before going, Kumar’s father gives him a sword to use in the war. Kumar, after his training is over, is sent to the war front. During a battle, his leader is shot. Before dying he gives Indian flag to Kumar and asks him to hoist it after victory.
The battle is won by Kumar’s unit and Kumar proudly unfurls the Indian Flag first time on a liberated Indian town. He becomes the ‘Pehla Aadmi’ to do so. Unfortunately, after hoisting the flag Kumar is shot dead. His body is brought to Rangoon for last rites. Lata is weeping. Kumar’s collegue in the war tells Lata to fulfil Kumar’s job in liberating the country. Lata too joins INA. (No.650)
The film has 11 songs, as listed in the Geet Kosh. Today’s song is the second song on the blog. It is sung by Aparesh Lahiri and Sandhya Mukherjee. Aparesh Lahiri is the father of the jewellery laden music director Bhappi Lahiri. The video shows Balraj Vij and Smriti Biswas.
[Author’s Note: Acknowledgements and thanks to lallantop.com, mukundsathe.com, Harish Raghuvanshi ji, Wikipedia, HFGK and my notes.]
Song – Hum Chale Nai Duniya Rachne (Pehla Aadmi) (1950) Singer – Aparesh Lahiri, Sandhya Mukherjee, Lyrics – Prakash BA, Music – RC Boral
Lyrics (Provided by Sudhir)
hum chale
hum chale
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye
wo raat andheri barkha ki
olay barse chamke bijli
wo raat andheri barkha ki
olay barse chamke bijli
par thaan liya jab mann me to
hum jaan pe apni khel chale
tum badho
tum badho
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
o janewale ja tu ja
bhagwan tumhara bhala kare
o janewale ja tu ja
bhagwan tumhara bhala kare
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye
suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
main asha deep
main asha deep jalaaye teri raah takun
tu aan miley
main asha deep jalaaye teri raah takun
tu aan miley
jaayenge
jaayenge
jaayenge ab hum tum mil kar
lo prem milan ke din aaye
hum chale
ha ha ha
hum chale
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम चले
हम चले
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली
वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली
तुम बढ़ो
तुम बढ़ो
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
मैं आशा दीप
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले
जाएंगे
जाएंगे
जाएंगे अब हम तुम मिल कर
लो प्रेम मिलन के दिन आए
हम चले
हा हा हा
हम चले
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.
“Pahla Aadmi”(1950) was a “historical” movie which was directed by Bimal Roy for New Theatres, Calcutta. The movie had Smriti Biswas, Balraj Vij, Pahadi Sanyal, Ashita Bose, Pal Mahendra, Zahar Roy, Vijay Kumar, Heeralal, Asit sen, Bhoopendra Kapoor, Bela Bose, Puttan, Pt Natwar, Chandtara, Maya etc in it.
Read more on this topic…
Sapnon Mein Koi Aata Hai
Posted on: September 16, 2017
This article is written by Sudhir, 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.
Saga Of Sleepless Nights – 2
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koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .
Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.
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Nimai Chaand, Gore Chaand
Posted on: September 16, 2017
- In: Binota Chakravarty Solo Songs | Binota Chakravarty Songs | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Missing the loved ones | Post by Arunkumar Deshmukh | Separation song | Songs of 1950s (1951 to 1960) | Songs of 1953 | Yearwise breakup of songs
- 6 Comments
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 is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).
During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.
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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.
The most common milestone in this blog is century of songs in the blog. Then we also have some associated milestones viz centuries by artists, contributors etc.
After this blog touched the five figure mark of songs on 20 july 2014, some of the regulars began to point out some “special” numbers that the blog was approaching. Though not round figures like centuries, these numbers held arithmetic significance and we in the blog decided to associate these numbers with special writeups.
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Ban Main Bhi Jo Mehke Phool
Posted on: July 29, 2016
This article is written by Sadanand Kamath, 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.
I was in the midst of writing a short write-up on a song from the film ‘Jawaani Ki Reet’ (1939) produced under the banner of New Theatres. The film was not available to view in DVD/VCD format. Luckily, I could get a short review of the film in February 1940 issue of ‘Filmindia’ magazine which gave me some indication as to the theme of the story. The story reminded me of the film ‘Kangan’ (1939) produced under the banner of Bombay Talkies, as I had watched the 40-minute snippet of the film on YT a few days back.
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Sapne Huye Saanche
Posted on: October 9, 2015
This article is written by Srinivas Ganti, a fellow enthusiast of Hindi movie music and a new 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.
Journey Through Lata’s Melodies – 02
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Even though this is my first post, I don’t feel like a new comer on this forum, since I have already met several of you in person. Thanks to Sudhir ji for making this possible by inviting me to Mumbai Gangout last year.
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This article is written by Sudhir, 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.
The first lady of Bangla cinema. And the first lady singing superstar of Indian cinema. It is said that at the height of her popularity, she required protection when she was traveling.
Remembering Kanan Devi on the anniversary of her birth today (22nd April). (It is her 99th anniversary)
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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