Posts Tagged ‘Roop Sundari’
Pyaar kar le milaa le nazar
Posted on: May 27, 2024
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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Today’s song is from a Costume film Roop Sundari-1964.
This routine ” King-Queen-Vazir” type C grade film was directed by Chandrakant (Gaur). His name is not very famous, but he was one of those artistes of the first generation of Hindi films, who was a multi-faceted person. He was an actor, producer, director, Lyricist and a music director. In the early phase of the Hindi films, being “a jack of all trades’ was a guarantee of a permanent job in a film studio and a sure way of survival with respect. I remember another such artiste – Badri prasad. He was an actor- first as a Hero and then as a character artiste, Producer, Director, lyricist, Singer, Music Director and also a Choreographer. (He was a Sanskrit scholar too and an author, according to his daughter). I remember his roles in films like ” Albela”-1951 and ” Hum sab chor Hai”-1956.
Perhaps it was a necessity in the days of ” Studio Culture’ in the early times. Every studio wanted to run most economically, and hence such multi-talented people were their assets. As such, in a studio system, no one was employed as an actor, director, singer or with any other label. The rule was one had to do work as per the studio’s needs. Thus a Canteen manager-Ameya Chakrawarti- became a film director when Devika Rani needed it and a Choreographer- Guru Dutt -became a director when Prabhat needed it. An extra- Omkar Devaskar sang a song to test Indi’s first sound machine in Imperial studios and another extra-mehboob Khan- became a film director. There are many such examples.
Roop Sundari-1964 was actually a remake of a film of 1949, having the same title. Although remakes of old films were nothing new in Hindi films, the remade film’s title also being the same was unusual. You will be surprised to know that the remake with the same title was first started by the Pioneer of films in India – Dadasheb Phalke. He made India’s first full length silent film ” Raja Harishchandra”- in 1913 and after 4 years he made its remake, with the same title in 1917 as a silent film again. In fact, in all 14 Hindi films and 1 marathi film were made on the same story from the beginning of film history in India.
The very first silent feature film made in 1913 by Dadasaheb Phalke was based on this story. From 1913 onwards there were 6 silent films made on this story, in the years 1913, 1917 (2 films-one from Bombay and the other from Calcutta),1924, 1928 and 1929. After the Talkie films started, in the first year itself, i.e. in 1931, there were 2 films made on this story. The first was Harishchandra-1931 made in Bombay by Krishnatone film co. and the other was Satyawadi Raja Harishchandra-1931 made in Calcutta by Madan Theatres. Following is the list of films based on this story….
1931- Harishchandra
1931- Satyawadi Raja Harishchandra
1932- Ayodhya ka Raja ( Hindi version of the First Marathi Talkie ” Ayodhyecha Raja”, by Prabhat Films )
1952- Raja Harishchandra
1958- Harishchandra
1963- Harishchandra-Taramati
1970- Harishchandra Taramati
1979- Raja Harishchandra.
Then in the 1950’s there were many films remade on older films, but all had different titles. The list would be a long one, but here are a few such film remakes, for example…..
1. Film Aurat-1940 was remade as Mother India-1957. Actor Kanhaiyalal did the same role of ‘Sukhilala’ in both films.
2. Film Mala-1941 remade as Amar-1954. Naushad was MD for both films. Jayant did the same role in both films.
3. Film Grihasthi-1948 remade as Ghar BasaKe Dekho-1963
4. Film Pugdi-1948 was remade as Dil Duniya Daulat-1972
5. Film Badal-1951 and film Shamsheer-1953 had the same story
6. Film Malkin-1953 remade as Biradari-1966
7. Film kathputli-1957 and the film Sitaron se aage-1958 had the same story and same Heroine- Vaijayantimala. etc. etc.
Film Roop Sundari-1964 was directed by Chandrakant (Gaur)………
Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 7 films.Midnight Mail-39, Maataa-42, ‘Maharathi Karna’ (1944) (he had a small role), Swarn Bhoomi-44, Seedha Rasta-47, Mere laal-48 and Chhatrapati Shivaji-52. His name clashes with another Marathi actor Chandrakant Gokhale, who acted during the same period. Chandrakant Gaur was born in UP on 7-11-1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.
During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 26 Hindi films, mostly B grade, stunt/action and Mythological films only.
He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived the Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973). His name also appears as MD for film Do Dost-60, as a Lyricist for film Neelam Pari-52 and even as a singer in a trio song of film Neera aur Nanda-46. It is presumed that he was also a producer for some films . He died on 23-7-2012 at Bombay. (Ack: Marathi Cinema in retrospect-Sanjit Narvekar , Asli Nakli chehere by Vithal Pandya, HFGK,muVyz and my notes).
The cast of the film was Anita Guha, Mahipal, B.M.Vyas, Ratnamala, Sundar, Bela Bose and many more. In Hindi films, 3 actresses had earned a name for depicting roles of Goddesses, in Mythological films. They were Shobhana Samarth (speciality Seeta), Nirupa Roy (speciality Parvati) and Anita Guha (speciality Santoshi Mata).
Anita was born on 17-1-1939 on the Indo-Burma border, where her father was a Forest Officer. Her childhood was spent in the North-East, but after Partition her family shifted to Calcutta. She did her schooling here. In the early 50s, she became “Miss Calcutta”. In 1952, she also won in the Kolynos Talent competition in Bombay, along with Chand Usmani and Peace Kanwal.
A R Kardar signed a contract with her for 2 years and she returned to Calcutta. However, she started getting many film offers in Bangla, so she cancelled her contract with Kardar and did many films in Bangla Language. Meanwhile she also picked up Hindi fluently.
Actor producer Omprakash met her in one of his visits to Calcutta and he offered her the Heroine’s role in film Duniya Gol Hai-1955, opposite Karan Dewan. She accepted the film and shifted to Bombay. Not having proper guidance, she started accepting any film that came to her. As a result in A grade films, she did side roles and in B grade films she became a Heroine. After Duniya Gol hai and Tangewali, she did many Hindi films. Her first Mythological film was Pawanputra Hanuman in 1957 and then she was branded a Religious film heroine. She however did some social and comedy films like Gateway of India, Dekh kabira Roya, Goonj uthi shehnai etc etc.
In 1961, she appeared as Sita, in Babubhai Mistry’s Sampoorna Ramayana, which made her a household name. But it was her title role in Jai Santoshi Maa (1975) that brought her the most fame. She had never even heard of goddess Santoshi until she was offered the role, as this was a little- known goddess. It was only a guest appearance, and her scenes were shot in 10–12 days. She fasted during the shooting. The low-budget movie was a surprise hit and broke box office records while becoming a cultural phenomenon. The goddess Santoshi now became a famous goddess, and women all over India worshipped her. People treated the movie theatres showing Jai Santoshi Maa as a temple, bringing offerings of food, leaving slippers at the door. Guha claimed that people came to her asking her to bless them, as they perceived her to be a real goddess.
Other mythological films she acted in include Kavi Kalidas (1959), Jai Dwarkadesh (1977) and Krishna Krishna (1986). She wasn’t happy that she became typecast as a mythological actress, because acting offers eventually stopped coming her way. Her earlier credits include period films such as Sangeet Samrat Tansen (1962), Kan Kan Mein Bhagwan (1963) and Veer Bhimsen (1964). She played Rajesh Khanna’s adoptive mother in the huge hit Aradhana (1969).
Anita Guha was married to actor Manik Dutt, they had no children. After her husband’s death, she lived alone in Mumbai where she died of cardiac failure on 20 June 2007. Anita Guha is the maternal aunt of actor Prema Narayan and Prema is the daughter of her sister Anuradha Guha. She is also the aunt of another film actress Mithu Mukherjee.
She acted in more than 100 films and did acting in Hindi,Bangla, Rajasthani and Bhojpuri films. (The post is based on information culled from beetehuedin.com, S. Sarvaiya’s article, muVys, HFGK, Ateet ke sitare,wiki and my notes.)
The short story of this film is…..
Sundari was as beautiful as her name. Her step mother and step sister tortured her after the demise of her father. Sad Sundari meets the Prince of Kundanpur. They fall in love and get married. She becomes the queen. This is not tolerated by the kingdom’s tantrik, who wishes to usurp the throne. He contacts Sundari’s step mother and promises her daughter Sundari’s place as queen. They together create misunderstanding with the Prince and Sundari is thrown out with her newborn baby. However the prince with the help of his friends finds out the truth and arrests the tantrik and gets him killed. Sundari returns as queen with honor and all is well in the end.
With today’s song, the film Roop Sundari-1964 gets YIPPEED, with all its songs covered.
Song- Pyaar kar le mila le nazar (Roop Sundari)(1964) Singer- Asha Bhosle, Lyricist- Bharat Vyas, MD- Sardar Malik
Lyrics
Pyaar kar le mila le nazar r r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
pyaar kar le mila le nazar r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
raat rangeelee rut nasheelee
aur ghataayen chhaa raheen
raat rangeelee rut nasheelee
aur ghataayen chhaa raheen
apnee ulfat ke taraane
ye hawaayen gaa raheen
o o
ye hawaayen gaa raheen
gaa raheen
gaa raheen een
aay haay
ye ishaare samajh de khabar(?)
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
pyaar kar le mila le nazar
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
ang phhadke
dil kyun dhhadke
aaj qasmein tod do
ang phhadke
dil kyun dhhadke
aaj qasmein tod do
jaadoogar ho tum agar to
tootaa sheeshha jod do
o o
tootaa sheeshha jod do
jod do
jod do o o
haaye haay
aa muhabbat ka dekhen asar
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
pyaar kar le mila le nazar r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
Naiyya kaun lagaaye paar
Posted on: July 10, 2022
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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5105 | Post No. : | 17044 | Movie Count : |
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Today’s song is from the film ‘Roop Sundari’ (1949).
‘Roop’ is yet another favorite word of filmmakers. A total of 17 films carried the word ‘Roop’ in the beginning of titles. The first such film was ‘Roop Basant’, made in 1933 and the latest is ‘Roop Ki Rani Choron Ka Raja’ from 1993. As expected there were repetitions of the titles. The stats say ‘Roop Basant’ (3), ‘Roop Ki Rani Choron Ka Raja’ (2), ‘Roop Kumari’ (2), ‘Roop Lekha’ (3), and ‘Roop Sundari’ (2). Five titles were exclusively once only.
In the early era of the silent and talkie films, getting girls to do the female roles was extremely difficult, as it was considered below the dignity to work in films. Dadasaheb Phalke wrote that out of frustration and compulsion, he even visited the ‘Red Light’ area of Bombay, met some prostitutes and offered them to work in his cinema. The (dis)honorable women there told him that it was below their dignity to work in cinema !
In such a situation, many European and Anglo Indian girls joined silent films to make money. There was no need of knowing Hindi or singing, as there was no sound. Thus many of them joined films. They had no qualms about giving intimate scenes or wearing short or revealing dresses. Some names of such actresses were – Iris Gasper, Susan Solomon, Effie Hippolet, Bonnie Bird, Esther Abraham, Renee Smith, Beryl Classen, Winnie Stewert, Muriel Alexander etc.
The advent of talkie films brought difficulty to most of these actresses as they could not speak Hindi or sing. 99% of them left. Only few like Madhuri, Sabita Devi, Pramila etc survived as they took a break to improve their Hindi diction and rejoined films. This situation also gave opportunity to many tawaifs and singing girls on the Kothas to join films as they had the privilege of speaking in Hindi and also singing. Suddenly a whole lot of such girls joined the films.
However, all these girls did not have the noble aim of serving the Hindi film industry. These girls joined films with 2 hidden agendas.
1. To catch a good husband and lead a respectable life and
2. To attain fame and money to settle down to a cozy life.
Most of these girls achieved the first agenda, a few achieved the second agenda and those who could get anything either left films or continued working till old age and died without a trace. In the first category, the famous Hira Mandi street in Lahore, famous for Kothas, provided well known actresses to Hindi films – notably Sardar and Bahar Akhtar. They married Mehboob Khan and AR Kardar respectively. Then there was Zubeida Sr., Zubeida Jr., Mehtab, Jaddanbai and many more who married rich people and settled well in life. Their list is too big to give here.
In the second category, we have Jahan Ara Kajjan who not only became very rich but also very famous. She was a fashion icon in the rich class of Calcutta social field. Her every fashion was followed avidly by the elite women of Calcutta. Another name in the second category is that of singer/dancer Rampyari. A tawaif from the lower class of Hyderabad (Nizam), she shone brightly in Hindi films of New Theatres and other companies of Calcutta and Bombay. She was also invited in other countries like Ceylon and Burma to give performances of song and dance.
[Author’s Note: Based on information from the book – ‘Mother, Maiden, Mistress’ by Bhavna Somaiya, Jigna Kothari and Supriya Madangarli, with thanks.]
Today’s song is sung by Rampyari. Let us know more about her. Actress Rampyari’s life story is interesting. Though from a singing family (tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programs in other countries, in those days. Additionally, she became famous in Calcutta when there was a letter-war between her and the New Theatres. Local newspapers tastily published the correspondence.
Let’s take a look at her Life.
Rampyari was from low caste and profession, but was a highly polished and sophisticated actress in those days. She hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.
She was born on 27-8-1908. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.
In 1926, a film producer from Kohinoor Film Company, Bombay, visiting Madras, saw her dancing and invited her to Bombay. It was the era of silent movies. Her first film was ‘Gunsundari’, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film ‘Vile Woman’ was also successful. She acted in more than 20 films as a heroine and dancer and established her name as a seasoned actress of the 30s.
With the advent of talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in ‘Paak Daman’, ‘Laila Majnu’ and ‘Ghar Ki Laxmi’. These were followed by ‘Gunsundari’ in 1934 and ‘Azad Abla’, ‘Meethi Nazar’ and ‘Hamlet’ in 1935.
Famous director Debaki Bose from New Theatres, Calcutta invited her and signed up for ‘Sunehra Sansar’ (1936) and ‘Vidyapati’ (1937), which was a mega hit. After this, she did few films in Calcutta with other companies. Her film ‘Milap’ (1937) was famous for being the first to show the prototype of a ‘vamp’ in Indian Cinema. Rampyari was shown wearing ‘an off-shoulder dress’ and using a cigarette-holder, with the intent of seducing the hero Prithviraj Kapoor. The scene was later used by Raj Kapoor on Nadira in his film ‘Shree 420’ (1955) for the song “Mud Mud Ke Na Dekh“.
She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She also performed in Burma. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.
She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.
She acted in 30 films. Her last film was ‘Dak Bangla’ (1947). She sang 14 songs in 8 films.
She died on 28-8-1970 at Bombay. There was no news in any paper.
[Author’s Note – Thanks to P Kamlakar ji’s blog and his book ‘The Lost Treasure’ and my notes.]
The cast of the film ‘Roop Sundari’ (1949) was Jamu Patel, Umakant Desai, Babu Raje, Shyam, Sadiq, Pinakin Shah etc. Pinakin Shah was a name famous in Gujarati films. He operated in Hindi films but was not that famous. He was born on 27-1-1921 at Mehsana. His father Damodar Das was a musician and singer. After passing 10th std., he took lessons from his father and came to Bombay in 1944. He stayed with his sister in Bandra. His brother-in-law Pitambar Shah was employed in the film industry. Pinakin first started singing on AIR stations. Soon Avinash Vyas gave him training and an opportunity to sing in Gujarati films.
Pinakin acted in 3 Hindi films. ‘Gaurav’ (1947), ‘Roop Sundari’ (1949) and ‘Narad Muni’ (1949).
His first Hindi song was a solo with chorus, in ‘Gaurav’, under composer Shanti Kumar Desai. Then came ‘Ghar Ki Bahu’ (1947), ‘Nanad Bhowjai’ (1948), ‘Roop Sundari’ (1949), ‘Mahapooja’ (1954), ‘Jagadguru Shankaracharya’ (1955) and finally ‘Matlabi Duniya’ (1961). His last film song was in ‘Matlabi Duniya’, along with Purushotham. His most famous song was “Haariye Na Himmat”, a Kabir bhajan, sung along with Amirbai Karnataki, in the film ‘Mahapooja’. After this he shifted to Gujarat and continued with composing and singing successfully.
He however, returned to Bombay to give music to a Hindi film ‘Ek Aurat Do Joote’ (1978). To his misfortune, the film was not released at all, so he went back dejected.
He died on 9-5-2010.
The story of the film ‘Roop Sundari’ was. . .
Sundari was as beautiful as her name. Her step mother and step sister tortured her after the demise of her father. Sad Sundari meets the Prince of Kundanpur. They fall in love and get married. She becomes the queen. This is not tolerated by the kingdom’s tantrik, who wishes to usurp the throne. He contacts Sundari’s step mother and promises her daughter Sundari’s place as queen. They together create misunderstanding with the Prince and Sundari is thrown out with her newborn baby. However the prince with the help of his friends finds out the truth and arrests the tantrik and gets him killed. Sundari returns as queen with honor and all is well in the end.
Today’s song is very melodious. Let us now enjoy the song, sung by Rampyari. Incidentally, this was her last song in Hindi films, before retiring from films.
With this rare song, ‘Roop Sundari’ (1949) makes its debut in the blog.
Song- Naiyya kaun lagaaye paar (Roopsundari)(1949) Singer-Rampyaari, Lyrics-Neelkanth Tiwari, MD-Indrawadan Bhatt
Lyrics
naiyya kaun lagaaye paar
meri toot gayi patwaar
naiyya kaun lagaaye paar
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaye paar
naiyya kaun lagaye paar
ho kar bhi main nahin tumhari
mere jeewan swami
mere jeewan swami
ho kar bhi main nahin tumhari
mere jeewan swami
mere jeewan swami
mann se nirmal sada tumhari
jaane antaryaami
jaane antaryaami
mann se nirmal sada tumhari
jaane antaryaami
jaane antaryaami
ek ek aansoo hai mera
tumko raha pukaar
ek ek aansoo hai mera
tumko raha pukaar
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaye paar
naiyya kaun lagaye paar
aao swaami ee ee ee ee ee
aao swaami ee ee ee ee ee
aao swaami ek baar mein
door se darshan kar loon
aao swaami ek baar mein
door se darshan kar loon
tumse keh kar karun kahaani
paap ko halka kar loon
tumse keh kar karun kahaani
paap ko halka kar loon
phir chaaho to maroon khushi se
khaa kar zahar ??
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaaye paar
naiyya kaun lagaaye paar
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
नइय्या कौन लगाए पार
मेरी टूट गई पतवार
नइय्या कौन लगाए पार
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार
हो कर भी मैं नहीं तुम्हारी
मेरे जीवन स्वामी
मेरे जीवन स्वामी
हो कर भी मैं नहीं तुम्हारी
मेरे जीवन स्वामी
मेरे जीवन स्वामी
मन से निरमल सदा तुम्हारी
जाने अंतर्यामी
जाने अंतर्यामी
मन से निरमल सदा तुम्हारी
जाने अंतर्यामी
जाने अंतर्यामी
एक एक आँसू है मेरा
तुमको रहा पुकार
एक एक आँसू है मेरा
तुमको रहा पुकार
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार
आओ स्वामी॰॰इ॰॰इ
आओ स्वामी॰॰इ॰॰इ
आओ स्वामी एक बार मैं
दूर से दर्शन कर लूँ
आओ स्वामी एक बार मैं
दूर से दर्शन कर लूँ
तुमसे कह कर करुण कहानी
पाप को हल्का कर लूँ
तुमसे कह कर करुण कहानी
पाप को हल्का कर लूँ
फिर चाहो तो मरूँ खुशी से
खा कर ज़हर ??
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार
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.
“Roop Sundari”(1964) was directed by Chandrakant for Chitradoot films, Bombay. The movie had Mahipal, Anita Guha, B.M.Vyas, Sunder, Ratnamala, V.Gopal, Laxmi Chhaya, Bela Bose, Shabnam etc in it.
Read more on this topic…
Main tumhaari raagini tum geet ho
Posted on: July 7, 2014
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.
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Atul Song-A-Day 10K Song Milestone Celebrations – 2
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People familiar with the blog may have noticed that the blog was living upto its name these days and just a few songs were being discussed in a day for the last several weeks.
Read more on this topic…
Mera pyaar amar meri preet amar
Posted on: March 14, 2014
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.
“Roop Sundari” (1964) was directed by Chandrakant for Chitradoot Productions. The movie had Anita Guha, Mahipal, B. M. Vyas, Sunder, Ratnamala, Bela Bose, Rajraani, V. Gopal, Laxmi Chhaya etc in it.
Read more on this topic…
Ek jhalak dikha gayi
Posted on: August 5, 2013
“Roop Sundari”(1964) was a Chitradoot production movie. It was directed by Chandakant Desai. The movie had Mahipal, Anita Guha, Bela Bose, Laxmi Chhaya, B. M. Vyas, Shabnam etc in it.
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Ab to aisa lagta hai
Posted on: July 5, 2012
“Roopsundari” (1964) as the name suggests was a mythological movie produced on a B grade budget.
Like most B grade movies of those days, the music was A grade.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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