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

Posts Tagged ‘Refugee


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5067 Post No. : 16982

Today’s song is from the film Refugee-1948. This film was made by Harishchandra Pictures and it was directed by Tara Harish. Lyricist was Pt. Phani and the music director was Ajit Merchant. The cast consisted of Urmila, Harishchandra rao kadam,Hamid (actor Ajit), Majnu (Harold Lewis), Dalpat Joshi, Sulochana Kadam and others.

This was a film depicting the life story of a Hindu refugee from Lahore, who comes to Bombay and his love story. Though Harischandra rao Kadam was basically an action/stunt film actor and director, this was his first and last attempt of making a social film. The film was not successful and Kadam went back to his comfort zone of stunt/action films. This Kadam was the one who gave the first opportunity of directing a film to Master Bhagwan and also to C Ramchandra as a Music Director of a Hindi film for the first time. That film was Sukhi Jeevan-1942.

1948 was an year in which, after the turmoil caused by the Partition, the film industry was trying to come back on track. While the year 1947 saw the highest number of films made-181 films, the Indian film industry did not suffer so much, even after the exodus of film artistes,,because the sheer number of majority in the films was Hindus.Additionally, the vacancies were immediately filled by the II line of artistes in every department, waiting for their turns. Thus 1948 made a respectable number of films- 149, indicating the inherent strength of the film industry.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of filmmaking. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.

Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….

” The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.”

Following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. Journalist and author of several books, Ambarish Mishra writes, ” when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and the next day Mehboob also died !

Film Refugee-48 is also an example of how the film industry reacted to the partition Blues. For the Music Director Ajit Merchant, this was his first film as an independent MD. Earlier he was working as an assistant to Ashok Ghosh and Anil Biswas. For actor Ajit (credited as Hamid), this was just his second film in a side role. Later he became the hero in the film Janampatri-1949. Singer Sulochana kadam (later Sulochana Chavan) acted for the first time. She acted in one more film and then settled as only a singer.

After Partition, 10 to 20 million people became refugees on both sides, with at least 10 million people losing their lives. This was easily the largest Refugee crisis in the world. India was the only country which has faced Refugee problem several times in recent history. In 1937, Burma was separated. First ruled by Japan and then the Thais. Finally the British ruled it and Burma was free on 4-1-1948. Every time lakhs of refugees came to India. At Least 2 names can be quoted- Helen and V.K.Naidu, MD, who were Burma refugees. Ceylon’s independence in 1948 gave us refugees. Bangladesh refugees still give us trouble though Bangladesh was formed in 1971. Pondicherry in 1954 and Goa was liberated in 1961, without much refugee crowds, which were manageable.

The film’s Heroine Urmila is a name having Same Name Confusion. Urmila Sr.and Urmila Bhatt are two Urmilas. This film’s Urmila …You will find the name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Gupta was born on 31-3- 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in the film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in the film Aansuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamasha-42, Kirti-42, Salma-43, Bansari-43, Refugee-48 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, maybe for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

Now something about the Producer, actor of this film, Hero of many stunt films, was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by the age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in the Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. From 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as an actor, director and producer. He sang a few songs also.

Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Refugee, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

Today’s song is a qawali, sung by Ram kamlani and chorus. Though the uploader of this song claims that Mukesh is also one of the singers, I did not find this song in the Mukesh Geet Kosh. The singer obviously must be one from the chorus itself.


Song- Hamen ghar sanam ke to jaana manaa hai 9Refujee Singers- Ram Kamlani, Lyricist- Pt. Phani, MD- Ajit Merchant
Chorus

Lyrics

hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa
miley raah mein to bulaana manaa hai
miley raah mein to bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai

arre haaye ulfat jataayen to kaise
arre haaye ulfat jataayen to kaise
usey daagh dil ke dikhaayen to kaise
zabaan par muhabbat ka laana manaa hai
zabaan par muhabbat ka laana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

arre bulaaana manaa hai jee
bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai

muhobbat ka naatak
kabhi hum jo khelen aen aen
mohobbat ka naatak
kabhi hum jo khelen
ke ghar saamne
uske ghar ke jo le len
museebat hai phir bhi
ke gaana manaa hai
museebat hai phir bhi
ke gaana manaa hai

agar geet gaa kar rijhaaya bhi usko o o o
agar geet gaakar rijhaaya bhi usko o o
bahut gidgidaakar
manaaya bhi usko
to wo baat dil ki
jataana manaa hai
to wo baat dil ki
jataana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

haay haay bulaana mana hai jee
bulaaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4950 Post No. : 16813

Hullo Atuldom

‘Pehli Baar’ (First Time) is a program that is aired on a channel of the DTH service that I am subscribed to. It gives background about how some celebrities met or got together for the first time ever. Of course the incidents, and content in that program is possibly stuff that many of us have read over the years over-and-over again, and also in all the Filmfares, Screen (the magazines of yesteryear), Star & Style, Stardust, Cine Blitz etc. that were available in all the circulating libraries of those times. Stories like how Nargis had batter in her hand when she opened the door for Raj Kapoor, how Balraj Sahni saw Johnny Walker mimicking actors as he sold tickets in Mumbai’s BEST buses etc.

When I write a post I try to bring songs from the first movie of the celebrity who I am focusing on. The ‘Pehli Baar’ of the artistes who have made a place in our hearts and minds. The Pehli Baar that I mentioned star-kid (now a grown-up man) Abhishek Bachchan in a post, must have been this song – “Happy Days Are Here Again“.

But that was not his debut in Hindi films, his debut was in JP Dutta’s ‘Refugee’ in 2000. The movie was also the first released film for Kareena Kapoor. Jackie Shroff, Suneil Shetty, Reena Roy, Anupam Kher, Kulbhushan Kharbanda, Shadaab Khan (Amjad Khan’s son), Ashish Vidyarthi and a whole set of known faces forming the supporting cast were part of the film which was about a Muslim family from Bihar that had migrated to East Pakistan post the partition of India in 1947. But after the formation of Bangladesh in 1971 this family along with several such families are forced to relocate to West Pakistan. For this they choose the Dhaka-Guwahati-Delhi-Ajmer route. From Ajmer they go to Haji Peer in Pakistan through Bhuj in Rann of Kutch. In this endeavor they are assisted by an agent who is simply addressed as Refugee (Abhishek Bachchan). He normally is very impersonal when escorting people across the border and is unaware that he is assisting terrorists too. But he begins to like the daughter (Kareena Kapoor) of this family and keeps visiting her even after the family is settled into Pakistan. The rest of the movie talks about the hardships the lovers face due to involvement of the border security forces, terrorism in the region etc. And as in all JP Dutta movies there is exchange of fire, across the border, between the Indian and Pakistani forces and a thought provoking question at the close of the film when Kareena Kapoor delivers her baby in the no-man’s land area between the two nations.

‘Refugee’ was an average grosser at the box-office and both the debutantes got positive reviews too. Following its release Abhishek was seen in ‘Tera Jadoo Chal gaya’ and ‘Dhai Akshar Prem Ke’ in the same year. ‘Dhai Akshar Prem Ke’ was the Pehli Baar that we saw Aishwarya Rai with AB Jr. (as he is popular in the social media world). There were other 10-12 movies of AB Jr’s that released between 2000 and 2004, all of which were not-so-commercially successful. But most of them had the critics appreciating Abhishek. ‘Yuva’ (2004) by Mani Ratnam is a point in case. ‘Bunty Aur Babli’ (2005) and ‘Dhoom’ (2004 ) were his biggest successes in that period. He has been trolled (a term that is in vogue in this age and times) for being his parents’ son and wife’s husband for the past few years. But he is a person who has never responded to any of the negatives that are being thrown at him and has been quietly working with a movie of his releasing every year.

Let me clear my stand here:- I am his parents’ fan not his. But I really like his work and the sincerity with which he dances and emotes. I don’t think there is any harm in appreciating good work and Abhishek does have some good movies in his filmography. I have seen him switch between atrocious comedy and absolute serious scenes with ease in Rohit Shetty’s ‘Bol Bachchan’ (2012) and ‘Zameen’ (2003). He is definitely his parents’ son (and I am not mentioning it in a negative way here). He has been around for 22 years and nobody will invest money on a flop actor if he was not going to give good returns.

So let us wish him well on his birthday today.

I have a whole set of possible songs to go with this post, but I shall stick to AB Jr’s first screen appearance. ‘Refugee’ had six songs of which the following two are on the blog – “Aisa Lagta Hai Jo Na Hua Hone Ko Hai” and “Raat Ki Hathlei Par Chaand Jagmagaata Hai“.

The first song appeared almost 10 years ago. Here is the next. It is sung by Sonu Nigam and Alka Yagnik, written by Javed Akhtar and Anu Malik is the music director. The song shows the young lovers building their future home.

Song – Taal Pe Jab Ye Zindgani Chali (Refugee) (2000) Singer – Alka Yagnik, Sonu Nigam, Lyrics – Javed Akhtar, MD – Anu Malik
Chorus

Lyrics (Provided by Sudhir)

aaaa aaaaa aaaaaa
aaaa aaaa
haa..aaye
ho  oo

taal pe jab ye zindgani chali
taal pe jab ye zindgani chali
hum hain deewaane
hum hain deewaane
ye kahaani chali
oo oo oo oo oo
aaa aaa aaa aaa aaa

taal pe jab ye zindgani chali
taal pe jab ye zindgani chali
hum hain deewaane
hum hain deewaane
ye kahaani chali
oo oo oo oo oo
aaa aaa aaa aaa aaa

[sargam]

oo oo oo oo oo oo
aaa aaa aaa aaa aaa aaa

teri nazar ki dhoop hai jis ne mujh ko roop diya hai
nikhar gai hoon
sanwar gai hoon
jab se pyaar kiya hai
teri nazar ki dhoop hai jis ne mujh ko roop diya hai
nikhar gai hoon
sanwar gai hoon
jab se pyaar kiya hai
sach to ye hai sanam
hai ye tera karam
hosh saara ganvaa ke deewaani chali
taal pe jab ye zindgani chali
taal pe jab ye zindgani chali
hum hain deewaane
ye kahaani chali
oo oo oo oo oo
aaa aaa aaa aaa aaa

————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ॰॰आ आ॰॰आ आ॰॰आ
आ॰॰आ आ॰॰आ
हा॰॰ये
हो ओ

ताल पे जब ये ज़िंदगानी चली
ताल पे जब ये ज़िंदगानी चली
हम हैं दीवाने
हम हैं दीवाने
ये कहानी चली
ओ ओ ओ ओ ओ
आ आ आ आ आ

ताल पे जब ये ज़िंदगानी चली
ताल पे जब ये ज़िंदगानी चली
हम हैं दीवाने
हम हैं दीवाने
ये कहानी चली
ओ ओ ओ ओ ओ
आ आ आ आ आ

[सरगम]

ओ ओ ओ ओ ओ ओ
आ आ आ आ आ आ

तेरी नज़र की धूप है जिसने मुझको रूप दिया है
निखर गई हूँ
संवर गई हूँ
जबसे प्यार किया है
तेरी नज़र की धूप है जिसने मुझको रूप दिया है
निखर गई हूँ
संवर गई हूँ
जबसे प्यार किया है
सच तो ये है सनम
है ये तेरा करम
होश सारा गंवा के दीवानी चली
ताल पे जब ये ज़िंदगानी चली
ताल पे जब ये ज़िंदगानी चली
हम हैं दीवाने
ये कहानी चली
ओ ओ ओ ओ ओ
आ आ आ आ आ


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This is ‘ Desert ‘ song no. 9. I have not really planned these posts serial or order, just writing and sending posts for whichever song is found and inspiring some writing.
Read more on this topic…


When I was a pre teen and even teenager, I did not like old songs at all. In fact, I and my peers found old songs as sources of inadvertent amusement when we were tired of disliking them. We wondered all the time why old singers could not sing like the present day singers.
Read more on this topic…


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

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