Posts Tagged ‘S D Batish’
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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Blog Day : |
5644 | Post No. : | 18135 |
Today’s song is from a Costume drama film Naqab-1955.
This was yet another film weaving a beaten-track story of the King – Queen and the evil Vazir. Initially I was quite amused with such stories and was keen to see these films. Slowly and in due course as I expanded my world, I started getting weary of such set stories. The basic plot used to be the same, only the names of places and the characters and actors used to be different. I guess, even the filmmakers got tired with these stories. In reality, the generation which enjoyed such child pleasing stories was receding in the background with the growing age and the next generation was eager to broaden its visions with different Genres of films like Comedy, Real life adventure, Religion, Love stories, Musicals, Historicals and what not !
Filmmakers who survived on the theatre-going crowds and their choices, realised the changed tastes and the Indian films turned a new leaf of films made. By the end of the 50’s and finally by the middle of the 60’s such films made a retreat and they slowly disappeared into the History pages finally. Looking back now, I remember how I enjoyed such films in my younger age. In those days, the leading stars too had no anathema to working in such costume dramas. One can easily quote names of this type of films in which great stars appeared in their early careers. They crossed this stage and the second, third and the fourth level artistes acted and sustained action/stunt costume films.
Today’s film Naqab-1955 had in its cast Madhubala, Shammi Kapoor, Asha Mathur, Ajit, Heeralal, Yashodhara Katju, Maruti (Parab) and others. Madhubala, Shammi Kapoor and Ajit graduated from these types of films in due course and became “A” grade actors in different types of films. Shammi Kapoor, who debuted in 1953 – at the age of 22 years – with the film Jeewan Jyoti, did 17 films, before the film ” Tumsa Nahin Dekha”-1957 changed his life forever – never to look back what types of films he did in his early career. He became a big star. He ruled the 60’s with musicals and comedies starring opposite top and debuting actresses, Pran typically as the Villain and Rafi as his voice amid the beautiful Kashmir background.
It was in 1955 only that he secretly married Geeta Bali, without informing his family, during the shooting of the film ” Miss Coca Cola”. Unfortunately Geeta Bali died in 1965, when he was shooting for the film ” Teesri Manzil”. The shooting was stopped, but the director Vijaya Anand kept the sets intact for 3 months – paying heavy rents. When Shammi Kapoor reported for shooting, he shot for the song ” Tumne mujhe dekha hokar meherbaan” !
Madhubala started as a child artiste and after doing 14 films, became the heroine opposite Raj Kapoor in film ” Neel Kamal”-1947, which changed her career. Ajit did 15 films before his film ” Beqasoor”-1950 became one of the most successful films of 1950. It was in this film that he changed his name from Hamid Khan to Ajit. After doing Hero and second lead films, he established himself as the most stylish and suave villain of Hindi films. As the coolest villain, he became famous for his dialogues like, Mona Darling, Smart Boy, Lilly- don’t be silly, How very interesting and Saara shehar mujhe Loyan ke naam se jaanata hai ! For many successful actors and actresses of the 60’s, Costume films were the road to their career heights.
Today’s film was directed by Lekhraj Bhakri. Here is some information on him…..
A youngster, like millions of displaced Punjabis ,crossed over to India in 1947 from Abbottabad ( Now Pakistan), when the Indian subcontinent was divided. He and his family, like hundreds of other refugee families from Punjab, were given shelter in Kingsway camp located in north Delhi.
It was by chance that the youngster named Hari Kishan Goswami (Manoj Kumar) met his distant cousin Lekh Raj Bhakri, a filmmaker, who was on a visit to Delhi. The well experienced movie maker was impressed with the personality of the lanky handsome man & inquired from him if he is interested in being an actor. The young lad, who was a fan of Dilip Kumar , readily agreed & reached Bombay. Those days Bhakri was making a film Fashion-1957, with his favourite actor Pradeep Kumar ,Mala Sinha,Chandra Shekhar,Jabeen & Kammo & the shooting was in progress . Mr Goswami was told to be in the studio , to get himself acquainted with the nitty gritty of the film making .
So Goswami started working as an assistant to director Lekhraj Bhakri- for the film Fashion-57. There was a song in the film, in the voice of Hemant Kumar, to be shot on a Beggar on the screen. On the day of shooting, the actor who was supposed to do the role of the beggar and sing this song, did not come. Lekhraj Bhakri caught Harikishen Goswami, put on the make up of the bearded beggar and made him sing this song on camera. Thus the debut of Goswami took place with Hemant Kumar’s song ! As a Beggar !!
No one from the audience could ever imagine that the person with dishevelled hairs, having a big beard , and with a song on his lips is a handsome young man of 19 years . The movie was ‘Fashion’, released in 1957 & the song was Composed & crooned by Hemant Kumar. It was the young man’s first exposure before camera. The song was to chide a wayward hero (Pradeep Kumar),who has left his wife (Mala Sinha),for another woman (Kammo) having ill intentions.The song was ” Dharti ki godh mein…” After Fashion-57, Bhakri made Sahara in 58 ,with M Rajan & Meena Kumari & Hari Kishan Goswami ( who now wanted to be called as Manoj Kumar, the name Dilip Kumar had in a film), was given a substantial role . Bhakri, true to his words, took on Manoj Kumar in his subsequent movies Panchayat, Chand & Honeymoon (1960).
Lekh Raj Bhakri directed his first film Rajpoot-51 and thereafter he regularly directed movies ,like Resham,Thokar, Dak Babu etc within a modest budget. He directed Nineteen movies during 1950 to 1962. His last film was Banarasi Thug-1962. He made most of his movies under the banner Tasviristan, owned by Kuldip Sehgal and his sibling Mulkh Raj Bhakri’s Golden movies. Mulkh Raj Bhakri, besides being a producer of Hindi/Punjabi movies ,was also a writer & lyricist . He wrote the famous song ‘Haye Chanda Gaye Pardes’ for Chakori, which is still appreciated by connoisseurs of film music. Mulkh Raj Bhakri also made Bhangra ,a super hit musical in Punjabi,which had Sunder & Nishi in lead roles.
Lekh Raj Bhakri made many family oriented movies, like Maa Beta, Tange Wali, Naya Zamana,HoneyMoon etc. At the same time ,he had no problems directing films of other genres for those who wanted to watch fantasy & Arabian Nights movies. For them he made Naqab, Alladin Laila & Nag Padmini. Later,he made a musical Muslim social ‘Shama’ which had Suraiyya & Nimmi & music was composed by Ghulam Mohammad.
Besides Manoj Kumar, Lekh Raj Bhakri introduced music director Kanu Ghosh with his film Naya Zamaan (1957 ) & Iqbal Qureishi with Panchayat (1958). He also introduced actor Vijay Dutt with Shama. Lekh Raj Bhakri hung his boots after Banarsi Thug, a hugely entertaining movie, released in 1962. He did not further attempt to make movies, as after the arrival of colour, the budget of Hindi movies was increased many fold & now it was a risky business. It did not suit the temperament of a simple soul like Bhakri Saheb. Mr Bhakri, who did not believe in showing off, always kept a low profile despite being a successful director, bade adieu to show business. Much later, he passed away on 03 March 1976 at the age of sixty years. It was a matter of time, when the era of principled film makers, who made purposeful movies with message , came to an end & proposal makers having no regards for ethical values arrived with the sole aim of earning money .( adapted from the article by shri M.N.Sardana ji, with thanks, and my notes. )
You can see one more name Maruti in the cast. Most people consider him only as a Comedian-which he was, but he was also a director. He was a comedy actor and father of Comedienne Guddi Maruti. Earlier to him there was another actor called Marutirao Pehelwan ( father of Dancer Gopi Krishna), who operated from Silent films to Talkie films till early 40’s. Although they had the same name, these actors did not cause any ” Same Name Confusion”, because they operated one after another – without overlapping their career period. However, I still found that some sites are making a mix up of their Filmography.
His full name was Marutirao Ganpatrao Parab. He was born on 12-2-1927 at Ahmednagar, near Poona. After completing his Matriculation, he came to Bombay to try his luck in film acting. His first few films like Pagli Duniya-44, and Gajre-48 were without his name in credits. He got his credits firmly from the film Albela-51. Then he featured in many many films…Footpath-53, Baap re Baap-55, Baghdad ka chor-55, Chori chori-56, Guest House-59, Opera House-61, Parasmani-63, Lutera-65, Ustad 420-69, Shor-72, Kunwara Baap-74, Don-78 etc etc. In the 60’s he mainly worked in Dara Singh films.
He acted in a total 221 films and featured in 34 songs on screen. He also directed 7 films, namely Baghi Shehzada-64, Hum sab ustad Hai-65, Killers-69, Bank Robbery-69, Mangu Dada-70, Kahin aar kahin paar-71 and Hum sab chor hain-73. His last film as an actor was Bandish – 1980. As an actor he was not much satisfied, but film direction gave him joy and satisfaction. After his last film he retired from films. However several films like karate-83 and Naya Bakra-85 got delayed releases. He died peacefully on 12-3-1981.
He had married his co-star Miss Kamal, a small time actress who worked in films like Dashehra-56, Tatar ka chor-55, Garma Garam -57, Darbar-55, Riyasat-56 etc. etc. Their daughter Guddi Maruti had better luck in films than both of them. ( Thanks to a note by Rajni kumar Pandya ji, book ‘Eena, meena deeka’ by Sanjit Narvwekar, HFGK, muVyz and my notes).
The story of the film Naqab-1955 was….
Princess Rukhsana was engaged to Prince Kamran of the neighbouring kingdom. She loved him. The Vazir loved Rukhsana very much but she did not respond. To get her, Vazir kills the king and imprisons her. Kamran comes with sister Yasmin and a few friends. Yasmin is roaming at night when she is arrested and taken to the Police station.There, Inspector Anwar falls in love. He releases her but she finds from him where Princess is kept. She tells her name as Roohi. She informs Kamran, who goes and meets Princes. Vazir comes to know this. He arrests Anwar, catches Roohi and orders Anwar to shoot Roohi. Here, Kamran frees Princess and comes to the court in disguise, with his friends.
Anwar, instead of Roohi, shoots at the Vazir. Kamran and his friends also attack the Vazir and kill him. Kamran and the Princes get married. Kamran becomes the king and Anwar is made Vazir.He marries Yasmin.
Today’s song is a qawali sung by S.D.Batish and S.Balbir, with Chorus. It is a two part song of almost 6 minutes. Enjoy the qawali.
Song- Majnu bana diya humen Farhaad kar diya (Naqaab)(1955) Singers- S Balbir, S.D.Batish,Lyricist-Prem Dhavan, MD- Pt Gobind Ram
chorus
Lyrics
Majnoo bana diya hamen
Farhaad kar diya
ahhahahaaha
subhan allah
kya baat hai
muqarrar
Majnoo bana diya hamen aen aen aen aen aen aen
Majnoo bana diya hamen
Farhaad kar diya
teree nazar ne humko to
barbaad kar diya
aa aa aa
ulfat ka hamen nazla hai ae ae ae ae
ulfat ka hamen nazla hai
to pyaar ka aa bukhaar
mar mar ke jee raha hai tere ishq ka aa beemaar
arre miyaan
isi liye to chacha Ghalib farma gaye hain
kya farma gaye hain
Ishq ne Ghalib nikamma kar diya
Ishq ne Ghalib nikamma kar diya
warna hum bhi aadmi thhe kaam ke ae
warna hum bhi aadmi thhe kaam ke
Ishq ne Ghalib nikamma kar diya aa aa aa aa aa
Ishq ne Ghalib nikamma kar diya
warna hum bhi aadmi thhe kaam ke
warna hum bhi aadmi thhe kaam ke
ab jigar thhaam ke baithho
meree baaree aayee
lo aur suno
arre bhai inki bhi baaree aayee
hahahahahaha
haan aan
ab jigar thhaam ke baithho
meree baaree aayee
haan ladakpan hee se
ishq kee beemaaree aayee
aise dilphenk thhe
jaate thhe jis kooche mein ae ae
aise dilphenk thhe
haaye
aise dilphenk thhe
jaate thhe jis kooche mein aen aen aen aen
log kehte thhe ke aashiq kee sawaaree aayee
magar chacha
ab
arre miyaan
ab to aashiq hain baraaye naam ke
ab to aashiq hain baraaye naam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
haan aan aan aan
haan aan aan aan
o o o o o o
warna hum bhee aadmee thhe kaam ke ae ae
warna hum bhee aadmee thhe kaam ke
phir kaho barkhurdaar
ik dilruba thhi ikdin
ye dil jo mera atka
kadmon pe ja ke uske
sar maine apna patka
kadmon pe ja ke uske
sar maine apna patka
ye sar maine apna patka
shaamat jo meree aayee
abba ne khabar paayee
thhappad pe diya thhappad
phatke pe diya phatka
aur phir
rah gaye rote jigar ko thhaam ke ae
rah gaye rote jigar ko thhaam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
ishq ne Ghalib nikamma kar diya aa aa aa aa
ishq ne Ghalib nikamma kar diya
warna hum bhee aadmee thhe kaam ke ae ae
warna hum bhee aadmee thhe kaam ke
kar de jo tu ishaaraa
taare falak se laa doon
kar de jo tu ishaaraa
taare falak se laa doon
kadmon pe tere laa ke
main chaand ko jhuka doon
kadmon pe tere laa ke
main chaand ko jhuka doon
na jaane tere aage
kyun zor nahin chalta
na jaane tere aage
kyun zor nahin chalta
warna to jaise chaahoon
duniya ko main mitaa doon
warna to jaise chaahoon
duniya ko main mitaa doon
magar haay ree qismat
din bure hain aashiq e naakaam ke
din bure hain aashiq e naakaam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
ishq ne Ghalib nikamma kar diya aa aa aa aa aa
ishq ne Ghalib nikamma kar diya
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke ae ae
Jeewan gaadee chaltee jaaye
Posted on: December 22, 2023
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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Blog Day : |
5635 | Post No. : | 18124 | Movie Count : |
4868 |
Today’s song is from the maiden film Hotel-1956.
The film was made by Bright Light Productions, Bombay. After the II World War, a lot of Black Money came into the film industry. People having this type of unaccounted money were on the look out for investing it clandestinely so that they could earn legitimate profit on it and a part of their money could become White. Many times it was also a way to show huge losses and escape from the Income tax levies. In addition, Film industry glamour was an added attraction. Moving and mixing with well known stars and the late night parties where wine and women were freely available were very alluring too. some of such financiers had an ambition to become Director or an actor and their ill gotten money was helpful to fulfil such desires. So, during the period of 1946 to the mid-50’s, one can find few ‘ onetime’ directors and actors in the credits of films. In the Geet kosh, one will find the column of ‘producer’ blank in many such films, as remaining anonymous was an early escape from drawing attention.
For today’s film the banner name was a new name and I have not found this name ever again in any film. The producer also remained unnamed. The film was directed by Manmohan Sabir – a half Hindu and half Muslim sounding name. But then this type of names were not uncommon, especially the Surnames. I know many Hindu people having surnames like Bakshi, Munshi, Khankhoje, Dabir, Syed etc. Most such names were titles awarded by the Muslim rulers and the subsequent generations carried them, first proudly and then by habit. In Hyderabad state, where I grew up in the Nizam’s rule, the Kayasth community was in the uppermost level in Government services and such Muslim names were pretty common among them. In my college, one Administrative officer’s name was ” Mehboob Narayan” ! In later years, such names disappeared, were hidden or discarded by changing them.
Coming back to Manmohan Sabir, he directed 10 films namely, Akash-53, Sheeshe ki deewar-54, Hotel-56, Pehli mulaqat-57, Bhagwan aur Shaitan-59, Superman ki wapsi-60, Lucky number-61, Zinda Laash-86, Waqt ka Badshah-92 and Share Bazaar-97. He also wrote 36 songs as a Lyricist in 8 films barring Pehli Mulaqat and Waqt ka Badshah from above list. He died on 26-8-2002.
Most of the Atulites and our regular readers know that I used to write details of every film I saw from the late 40’s to end 60’s in my diary. I had filled up a total of 136 diaries/exercise books with such information. After I joined in the job with Glaxo Laboratories, I was posted all over India locations and I carried 2 cartons full of diaries with me. Finally, when I settled in Bombay, these cartons got a place in one of the lofts of my flat. When they were taken down and opened finally, somewhere in 2010, many of them were unreadable due to faded ink, torn, damaged by termites and by folded pages etc. However a major trove of this treasure was useable and used by me from time to time. After ensuring that all the information is either used or recorded elsewhere, these diaries finally got their ‘Mukti’.
Film Hotel-1956 ( originally titled as Grand Hotel) was seen by me and I had noted down its story and other details in my diary. However, being damaged too much I destroyed it, but only the last part of the film story remained with me. The available part did not give me any idea as to the complete story, as it was seen 67 years ago. When I chose today’s song for posting here, I wished I had the complete story. Then I did the only sensible thing. I wrote to shri Har Mandir Sing Hamraz ji, requesting him to send me the xerox copy of the film booklet of film Hotel-1956, if he had it. As expected and as he is a very helping person, within few hours I got film’s full story from the booklet. Thank you, Sir ji, for your prompt response. This will enable our readers to know about the film in totality. I have added the last portion of the story to the film booklet story, because booklets do not give the story end of any film.
The cast of the film was Geetabali, Jairaj, Jaswant, Shammi, Ram Mohan, Jankidas, Pran and others. Here is the story……..
Jaswant got a job and a place to stay, thanks to the help of Lala Lalchand. Lala’s daughter Geeta had just completed her matriculation. Love blossomed and they got married. Next day, Jaswant got a telegram informing him that he had won Rs. 5 lakhs in the crossword contest. The news came in the newspapers also. There was a big celebration.
Pran, a crook, plans to rob Jaswant of this money. He sent his moll Kitty to lure Jaswant and steal his money. Kitty had her own plans. Within few days, Kitty is murdered and Jaswant is arrested on suspicion of her murder. Inspector Simon was appointed and he started his investigation.
Geeta was sure that Jaswant cant do such work as murder. She meets the inspector and helps him in the investigations. Finally, it is found that Pran has murdered Kitty, as he came to know that she had planned to run away with Jaswant’s money and thus cheat Pran. He is arrested.
All is well when Jaswant returns home.
For this film there were 2 MDs. One was a pair of Suresh-Talwar and the other was S.D.Batish. Out of the 7 songs only 4 songs are credited- 2 to each MD. Rest are uncredited. Many people think that Suresh-Talwar is one person. They were 2 different persons. They were supposed to be the most successful C grade MDs around. They limited their operations to Action films only, though they did do few social and religious films also. Starting with Hotel and Sair e Paristan (both 1958), they did Teerthayatra, Fashionable Wife and Sahil-1959,with D C Datt, their most famous film. Geeta Dutt’s song ‘Khatm kar de dastaan’ was included in her ‘Rare Gems’ cassette by HMV. Another landmark film was Lady of the lake-1960. The song ‘Zun zun baaje’ was included in the best of Sudha Malhotra’s list by HMV. They also gave music to Elephant Queen, Jungle Boy, Rashtraveer Shivaji, Tilismi Duniya, Tarzan and Jadugar and finally Char Chkram in 1965.
Suresh, the Gujarati partner of this pair, also gave music independently to many films. Suresh Kumar- a name not many readers can recollect. readers from Gujarat, perhaps, may remember his name as Suresh kumar Shah had given music to some Gujarati films. Sursh kumar Shah had a 4-fold career in films.
FIRST he started his Musical career with a Gujarati film-” Choodi Chandiyo”-1950 and continued to give music to 22 Gujarati films, the last being-Maaru Saasario sona ni khaan-1998.
SECONDly, he paired with other Music Directors-with Shailesh Mukherjee in Suhag Sindoor, with Talwar and Shankar Dasgupta in ‘Hotel’-1956 and only with Talwar in another 11 films, the last film being-“Char Chakram’-1965.
THIRDly, he gave music independently to 11 films, starting with-Jadui Angoothi-1964 and ending with- Waqt se Pehle-1985.
Thus he featured in 22 Gujarati films and 24 Hindi films as a Music Director.
FOURTHly, he gave music to some Marathi films also, like Gharcha Bhedi, gadbad Ghotala and kuldeepak etc.
I have learnt that these days he lives in Parle, mumbai and is connected with Marathi dramas.
(Thanks to Harish Raghuvanshi ji for the above information on Suresh kumar Shah)
Today’s song is the first song of this film, which makes its Debut on our Blog. It is sung by S.D.Batish, but is composed by the other MD, Suresh-Talwar. Enjoy….
Song- Jeewan Gaadi chalti jaaye (Hotel)(1956) Singer- S.D.Batish, Lyricist- Manmohan Sabir, MD- Suresh – Talwar
Lyrics
Jeewan gaadi chalti jaaye
jeewan gaadi chalti jaaye
bin engine bin paani
koi na jaane kahaan se aayee
aur kahaan hai jaanee
jeewan gaadi chalti jaaye
phool wahee daalee se judaa ho o o
phool wahee daalee se judaa ho
dum bhar jo muskaaye ae
aankh se tapke moti ban kar
aur aansoo kahlaaye
shaam saweraa chamak(??) andhera
aaye aur phir jaaye
beete samay ki yaad suhaanee
reh jaaye ek nishaanee
reh jaaye ek nishaanee
jeewan gaadi chalti jaaye
subah suhaanee jab beete to
aaye saanjh ki belaa aa
jeewan pag par chaltaa raahee
jaaye aaj akelaa
chaar dinon kee duniyaadaaree
chaar dinon ka melaa
soch samajh pag dharna
gar na thhokar pade na khaanee
thhokar pade na khaanee
jeewan gaadi chalti jaaye
ek se din na rahe jagat mein ae ae ae
ek se din na rahe jagat mein
rut aaye rut jaaye ae
hanstee rotee is duniya mein
phool khile murjhaaye
do-dhaaree talwaar hai duniya
raas kise na aaye
jeewan apna behta paanee
samay ki ek kahaanee
samay ki ek kahaanee
jeewan gaadi chalti jaaye
Wo humse jo roothhe hain
Posted on: June 12, 2023
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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Blog Day : |
5442 | Post No. : | 17835 |
“Laaj”(1946) was directed by Shahzada Ayyaz, Saiyyad Munawwar H Qasim for Ayyaz Productions, Bombay. This social movie had Shamim, Radharani, Ramesh, H Prakash, Rajan, Rehana, Gadagkar, Master Nisar, Madhurika, Mumtaz, Moti etc in it.
The movie had ten extremely rare songs in it. So any song from this movie that we bring on board is a minor achievement for us. Only one song from the movie has been covered in the blog so far.
Here is the second song from “Laaj”(1946) to appear in the blog. HFGK is silent as far as name of singers for seven songs are concerned, including this song. For other three songs Radharani is mentioned as the singer. The first song from this movie to be covered in the blog was one such song, but on listening to the song, it turned out that the song was sung not by Radha Rani but by Shamshad Begam.
This second song is sung by S D Batish as mentioned by the uploader, and the voice does sound like S D Batish.
Saghar Nizami is the lyricist. Music is composed by Ramchandra Pal.
Only audio of the song is available. 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 note down a few words to my satisfaction. I request our knowledgeable readers with keener ears to help fill in the missing words/ suggest corrections in the lyrics wherever applicable.
PS-Now we know thanks to Sadanand Kamath jee and Girdharilal Vishwakarma jee, that the singer is not S D Batish, but Ramesh, who was an actor-singer and he has acted in this movie. Thanks are also due to Avadh Lal jee for providing the correct word “samt” thus helping fill up the gap in the lyrics.
With all these new information, we have unearthed a new actor-singer Ramesh that we were unaware of till now.
Song-Wo humse jo roothhe hain (Laaj)(1946) Singer-Ramesh, Lyrics-Saaghar Nizami, MD-Ramchandra Pal
Lyrics
wo humse jo roothhe hain
wo humse jo roothhe hain
naaraaz zamaana hai
naaraaz zamaana hai
ek un ko manaana kya
ek un ko manaana kya
duniya ko manaana hai
duniya ko manaana hai
wo humse jo roothhe hain
dekhen wo kidhar jaayen
ulfat ke doraahe pe
ek samt muhobbat hai
ek samt muhobbat hai
ek samt zamaana hai
ek samt zamaana hai
wo humse jo roothhe hain
toofaan ka bharosa kya
kashti ki shikaayat kya
maujon se kinaare tak
maujon se kinaare tak
khud doob ke jaana hai
khud doob ke jaana hai
wo humse jo roothhe hain
duniya to meri tum ho
tum ho o o o o o
kismat to meri ee tum ho o o o o o
kismat ka gila tum ho
kismat to bahaana hai
wo humse jo roothhe hain
naaraaz zamaana hai
wo humse jo roothhe hain aen aen
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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Blog Day : |
5420 | Post No. : | 17777 |
Today’s song is from an old film Charnon ki Dasi – 1941.
This was a bilingual film, in Hindi and Marathi (as पायाची दासी ). It was made by Atre Pictures, Bombay. The producer was the owner of the banner itself – Acharya Pralhad Keshav Atre. The film was directed by Gajanan Jahagirdar, who also played an important role in the film. The Lyricist was Pt. Anand Kumar and the Music Director was Annasaheb Mainkar. The cast included Master Avinash, Vanmala, Durga khote, Gajanan Jahagirdar, Kusum deshpande, Kelkar, Prem Anand (brother of the lyricist), Ramesh and many others.
The system of making Bilinguals first started in Bombay on a big scale. The First ever Marathi talkie film ” अयोध्येचा राजा ” – 1932 was also made as ‘ Ayodhya ka Raja ‘ in Hindi at the same time. It was made by Prabhat films and directed by V.Shantaram. (Although Shantaram directed the first Marathi Talkie, it is interesting to know that initially, along with others, he was against the Talkie films. He was of the opinion that Talkie films were a seasonal fad and would vanish soon ! ).
Consequent to this first Talkie in Marathi made in Hindi too, many Marathi films were made bilingual and these were very popular. Meanwhile, Calcutta’s New Theatres too decided to go for Bilinguals and made almost all of their Hit and popular films in Bangla and Hindi. Thank God for that. Because of that, the All India audience could enjoy Saigal’s films and songs. This went on till late 40’s and became an inspiration for S.S.Vasan in Madras. He made his Tamil film “Chandralekha ” in 1948 in Hindi also. Of course he did it on a mammoth scale, making more than 600 prints of the Hindi film for an All India simultaneous release on 9-4-1948. Other producers saw this and were keen on making not just Bilingual, but films in Madras were being made in Tamil, Telugu, Kannada, Malayalam, Sinhali and Hindi at the same time.
Consequently Maharashtra and Calcutta stopped making Bilinguals as their own regional cinema became more profitable and big business. However from the South this continues still and that too on a massive scale. Nowadays the trend is to make Remakes rather than bilinguals.
Coming back to today’s film. This film was made in the times when not many educated people were keen to join the film industry, though in the 1940s such artistes, writers, directors etc. started coming into the industry. For this reason the advertisement of today’s film-Charnon ki Dasi-1941 was done with a mention of the qualification of its artistes, like Vanmala B.A;B.T, Gajanan Jahagirdar B.A. and Kusum Deshpande B.A. etc.
The Lyricist Pt. Anand kumar was a successful author. The suffix of Pt. was used to be put before the author’s name just to match the suffix “Munshi” put to Muslim authors’ names. Pt.Anand kumar was born in Delhi on 4-9- 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father.
When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit Marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
Music Director Annasaheb Mainkar is not a name known to the younger generation. He was one of the old style composers, depending on the ‘Natyageet” tunes and classical music. His real name was Shankar Vinayak Mainkar. He was born in Sangli state in Maharashtra, in 1904. His father was a well known Advocate and a political leader. He was fond of music and had gifted an Organ to Shankar to inculcate the musical interests. Surely, he not only picked up the organ but when he joined a Drama Company, after his Matriculation, he also achieved expertise in playing Sitar, Sarod, Sarangi, Been, Dilruba and Harmonium etc. With all this he formed his own Music Group.
He was trained in classical music at Poona,Baroda,Indore, Mysore and Lucknow. Before joining the filmline, he had cut many discs of his songs. His first film was in Marathi in 1932.
His first Hindi film was AWARA SHEHZADA-1933. Incidentally, this was also India’s first Hindi Talkie film having a double role. Shahu Modak had done the roles of a Rajkumar and a commoner Bholaram in it. It was also the first film of Master Vithal as a Director. He himself was the first to do a double role in a silent film in 1928.
Annasaheb worked for Saraswati cinetone, Imperial, Venus, Huns, Atre and Sunrise films. He was the favourite MD for Master Vinayak. He gave music to 21 Hindi films, composing 187 songs. His singers were,Master Vinayak, Vanmala, Shahu Modak, Shanta Hublikar, Kalyanibai, Sarla Devi, Vatsala Kumathekar etc. His last film was Ashirwad-1943. He died young at 41 in 1944 due to severe Diabetes. He was fondly called Annasaheb. In the Hindi film industry, there were 3 MDs called Annasaheb…. Mainkar as stated herein, Datta Korgaonkar aka K.Datta and C.Ramchandra aka Ramchandra Narhari Chitalkar.
The story of the film was a typical Marathi reform social film consisting of the age-old friction of ”Saas-Bahu“. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.
Today’s song is only the second song from this film, coming to you after the film’s first song 5 years ago ! Enjoy….
Song – Dekho re logon chor churaaye liye jaaye hai (Charnon Ki Daasi)(1941) Singer- S.D.Batish, Lyricist- Pt. Anand Kumar, MD- Annasaheb Mainkar
Lyrics
Haan dekho re logon
o o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon
chor churaaye liye jaaye hai
baandh boondh sat sheel(??) ki gathdi
chala musaafir ghar se ae ae
bhoola bhatka bacha akela
gaya kaafila taj ke
saanjh huyi
aur ghana andhera aa aa
saanjh huyi
aur ghana andhera aa
hua beech jungle ke
hua beech jungle ke
saanjh huyi
aur ghana andhera aa aa
hua beech jungle ke
hua beech jungle ke
haath liye
maaya kee jeewat
aaya chor nikal ke ae
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chhaliya ??
dekho chhaliya ??
liye jaaye hai
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dhyaan kee jeewat
dhyaan ki aasha
apne haathhon kar le ae ae ae
dheer ka dhan
santosh ki poonji
vipda mein sang dhar le ae ae
aankh khol kar r re a a aha
aankh khol kar chor ?? mein
aap ise samajh len
jab jungle ke chauraahe mein ae a ae ae
jab jungle ke cchun le
maarag ?? jin logon (?)
haan haan
maarag jin logon
haan haan
maarag jin logon ??
?? ki jalna paaye hai
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon o o o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye
dekho chor churaaye liye jaaye hai
Gora na pade ajee kaala na pade
Posted on: March 29, 2023
This article is written by Avinash Scrapwala, 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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Blog Day : |
5367 | Post No. : | 17603 | Movie Count : |
4733 |
#the Decade of Fifties –1951 – 1960 #
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#Debutant movie-Zaalim Teraa Jawaab Nahin-1960 #
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In this post we launch a movie from the year ‘1960’ on the blog. This movie is titled as ‘Zaalim Teraa Jawaab Nahin’.
This movie seems to be an obscure movie of its time and also I guess that the songs of this movie were not available on internet earlier. The couple of songs from this movie I came across have been uploaded only recently. I would like to thank the up-loader for providing the songs of this movie on ‘YouTube’.
“Zaalim Teraa Jawaab Nahin-1960” was directed by Ramanlal Desai for ‘R.D. Productions’. It was produced by G. C. Trivedi. This movie had Chitra, Azad, Agha, Vasantrao Pahalwan, Nazar, Saroj, Ramlal, Shyam Lal and others.
As per information about this movie provided in HFGK Vol-III (1951-1960), this movie was passed by Censor Board on 28.07.1960. So that is almost sixty-three years ago 🙂
“Zaalim Teraa Jawaab Nahin-1960” has seven songs in it which were composed to by S.D. Batish.
Three lyricist viz. Aziz Siddiqui (one song), Fareed Tonki (three songs) and Shadab (three songs) shared the writing of these seven songs for this movie.
| SNo | Song Title | Lyricist | Singer/s |
|---|---|---|---|
| 01 | Jab usko dekha… uthha ye shor ki zaalim tera jawaab nahin | Shadab | Sudha Malhotra, chorus |
| 02 | Suno ji mohe dar laage chalo haule haule | Fareed Tonki | Sudha Malhotra |
| 03 | Mere dildaar wai wai, hai tumse pyaar wai wai | Aziz Siddiqui | Not known |
| 04 | Goraa naa pade kaala naa pade | Fareed Tonki | Sudha Malhotra, S.D. Batish |
| 05 | Apne man ka raaja hoon main naam hain mera agha | Shadab | Not known |
| 06 | Aaj mere yaar ki tedhhi tedhhi chaal hai | Shadab | Not known |
| 07 | Maalik tere bandon ne kyon aisi khataa ki hai | Fareed Tonki | S.D. Batish |
(It can be seen from the above table that the singer’s names for three songs have not been provided with the details in HFGK or they are not known as of now.)
Today we listen to a song sung by Sudha Malhotra and S.D. Batish from this movie. This is a ‘nok-jhonk’ type song.
Lyrics are by Fareed Tonki and music is composed by S.D. Batish.
Let us now enjoy this song and welcome this movie ‘Zaalim Teraa Jawaab Nahin-1960’ on the blog…
Only audio of the song is available.
Song-Gora na pade ajee kaala na pade (Zaalim Tera Jawaab Nahin)(1960) Singers-S D Batish, Sudha Malhotra, Lyrics-Farid Tonki, MD-S D Batish
Both
Lyrics
goraa naa pade ae
aji ee kaala naa pade
ulfat mein koyi dilwaalaa naa pade ae
aurat ki qismat mein
kaalaa naa pade ae
tum jaise mardon se paala naa pade ae
haaye goraa naa pade
aji kaala naa pade
ulfat mein koyi
dilwaalaa naa pade ae
bachnaa luteri hai
har ek chhori
ae dil naa lut jaaye
teri tijori
haaye
ae dil naa lut jaaye
teri tijori
dar hai ke
dar hai ke
tujhmein deewaalaa na pade
ulfat mein koyi dilwaala na pade
haaye goraa naa pade ae
aji ee kaala naa pade ae
arey tum jaise mardon se
paala naa pade ae
jhoothhi muhabbat jataate
hain jhhoothhe
taubaa meri inse qismat naa phoote
aji taubaa meri inse qismat naa phoote
aaloo ke ae
aji aaloo ke chhakar mein
khaala naa pade
tum jaise mardon se
paala naa pade ae
dilwaale inko naa apnaa banaayein
ham to yahi maangte hain duaayein
haaye ham to yahi maangte hain duaayein
peechhe koyi
haaye peechhe koyi
saali saalaa naa pade ae
ulfat mein koyi dilwaalaa naa pade ae
goraa naa pade
aji ee kaala naa pade
arey kya
tum jaise mardon se
paala naa pade ae
dekho hawaldaar ji
ye na maane
chori nahin kii
jo le jaayein thhaane
arey baap re baap
bhaago kahin kuchh
ghotaalaa naa pade ae
peechhe hamaare policewaalaa naa pade ae
ulfat mein koyi dilwaalaa naa pade ae
arey jaa
tum jaise mardon se
paala naa pade ae
ho ho o o o o o o
ho ho ho ho ho
ho ho o o o o
hoye hoye
hoye
hoye hoye hoye
hoye
hurrrrrrrrrrrrrr ah
O meri nazron mein tum hi tum ho
Posted on: March 20, 2023
This article is written by Avinash Scrapwala, 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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Blog Day : |
5358 | Post No. : | 17572 |
#the Decade of Fifties –1951 – 1960 #
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Music lovers and regulars on the blog are aware that this blog already has more than 17500 song-posts by now. Many of them are surely aware that we still have a long way to go in bringing many of the songs ‘including from the golden period of HFM’ here on the blog. These songs could well be hidden gems lost with the passage of time despite being ‘good compositions’ because they could not become popular. But then the competition at that time was of a very high class !! So many talented persons (now considered legends) were active at the same time competing for the same space!!
So our journey of unearthing songs and bringing them on board is going to be a long drawn process.
Today’s composition is one such lovely composition which had all the ingredients of becoming pupular had it got the right exposure during its time. I do not remember to have listened to it earlier on radio, so this song obviously could not make it to the popularity charts.
This song is from the movie ‘Saazish-1959’.
“Saazish-1959” was directed by Surya Kumar for ‘Filmistan Limited’.
It had Ranjan, Nalini Chonkar, B.M. Vyas, P. Kailash, Hush Banu, Randhir, Kanu Roy, Badri Prasad, Ram Avtar, Sabita Chatterjee, Indira Bansal, Bhalerao, Manohar Gir, Vithhaldas Panchotiya, Sulochana and others.
“Saazish-1959” has eight songs written by Qamar Jalalabadi and composed by S.D. Batish.
Asha Bhonsle has sung six solo songs in this movie, while in one song she is accompanied by chorus. One song is a duet song of Mohd Rafi and Asha Bhonsle.
Two songs from this movie have been posted on the blog.
Today I present the third song from this movie. It is a solo song in the voice of Asha Bhonsle. Lyrics are by Qamar Jalalabadi while music is composed by S D Batish.
Enjoy this lovely song …
Song- O meri nazron mein tum hi tum ho (Saazish)(1959) Singer-Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-S D Batish
Lyrics
meri nazron mein
o meri nazron mein
tum hi tum ho
naa jaane kahaan
gum ho
zaraa sun’naa
o zaraa sun’naa aa
jaane tamannaa aa
aadhi aadhi raat meri
aankh khul jaaye
aankh khul jaaye
pyaasi pyaasi zindagi
tum ko bulaaye sanam
tum ko bulaaye
chain naa aaye
yaad sataaye ae
o mere sapnon mein
mere sapnon mein
tum hi tum ho
naa jaane kahaan gum ho
zaraa sun’naa
o zaraa sun’naa aa
jaane tamannaa aa
aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa
thhak gaye kaali kaali
zulfon ke saaye
zulfon ke saaye ae
pyaar ke raahi bolo
kyun nahin aaye
kyun nahin aaye
raat suhaani
roothh naa jaaye
o mere shiqwon mein
o mere shiqwon mein
tum hi tum ho
naa jaane kahaan gum ho
zaraa sun’naa
o zaraa sun’naa aa
jaane tamannaa aa
kaisaa toone jaadu kiyaa
o pardesiyaa
o pardesiyaa aa
dil mera loot liyaa aa
o pardesiyaa
o pardesiyaa
saaz dil ka chhed diyaa aa
pardesiyaa
mere naghmon mein
oye mere naghmon mein
tum hi tum ho
naa jaane kahaan gum ho
zaraa sun’naa
o zaraa sun’naa aa
jaane tamannaa aa
meri nazron mein
oye meri nazron mein
tum hi tum ho
naa jaane kahaan gum ho
zaraa sun’naa
o zaraa sun’naa aa
jaane tamannaa aa
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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Blog Day : |
5334 | Post No. : | 17491 |
Today’s song is a duet from the film Chor-1950. For reasons unknown, the name of this film in HFGK is written as Chore, whereas everywhere else, including in Hindi in HFGK itself it is mentioned as Chor only !
The film was directed by Anand Prasad Kapoor (32 films as a director and 2 films as an actor) and the film had music from Pt. Govind Ram. Before we move further, I have a query – do you know which actor in Hindi films had his real name as Indriya Daman (इंद्रिय दमन ) ? I know it is a difficult question and 99% readers will not be able to give the right answer.
It was almost a custom in Hindi films, until recently, to have a ” Filmi” name instead of having the real name. There were many reasons for this, like hiding odd names, religion, caste, language or mostly to avoid having a very common name. Sometimes existing names in the industry also forced the artiste to have a pseudonym. For example, most people know that Meenakumari’s real name was Mehjabin. Do you know there was another actress with the same real name Mehjabin…who ? Ok, who were the well known film artistes having the real names like – Kalyan kumar, Shashikala, Gopal Bedi, Padmavati, Nargis jahangir, Susheela Pawar, Badshah Begum, Roshan Ara, Zulfiqar Ali, Sunita Kulkarni, Khurshid Mirza, Sahebjan, Syed jafri, Vijaya Deshmukh, Yasmin Joseph, Krishna Sarin or Vishwanath ?
There are more than 100 odd names like this, but these names are enough to prove my point. All right, here are the answers…. Real name and Filmi name…
Mehjabin-Jabeen, Kalyan Kumar-Anup kumar, Shashikala-Minakshi Seshadri, Gopal Bedi- Ranjit, Padmavati-Mamta kulkarni, Nargis Jahangir- Shammi aunty, Susheela Pawar- Vanmala, Badshah Begum-Shakeela, Roshan ara- Husn Bano/ Naseem Bano/ Sarojini, Zulfiqar Ali- Feroz Khan, Sunita Kulkarni- Kajal Kiron, Khurshid Mirza- Renuka Devi, Sahebjan- Sulochana Latkar, Syed Jafri- Jagdeep, Vijaya Deshmukh- Sandhya, Yasmin Joseph-Mandakini, Krishna Sarin- Bina Rai and Vishwanath- Nana Patekar.
Now coming to the original first question – Who was Indriya Daman ? He was none other than actor Shekhar- Hero of today’s film, Chor-1950. He was born on 8-10-1923,at Dehradun. He did his schooling in Meerut and Graduated from Agra university. Then he worked as an Announcer in All India Radio,Delhi. He came to Bombay with a desire to act in films. He got the Hero’s role in Devendra Goel’s first production,” Aankhen”-1950,opposite his own dreamgirl Nalini Jaywant. Composer Madan Mohan also made his debut with Aankhen-50. In Spite of 3 debutants,the film became a Hit. The 5′ 8” tall,fair and handsome Shekhar became a star overnight.
Shekhar became very famous when he sang ‘ Tujhe kya sunaun main dilruba ‘ from film Aakhri daon-58 ( melody made by Madan Mohan and inspired by Sajjad Husain’s ‘ye hawa ye raat ye chandni’ from film Sangdil, in Talat’s voice). Shekhar was a very lucky person.In one of the interviews he gave in 1956,he himself has recounted incidents where his luck helped him. This interview can be read on Cineplot. After leaving films,Shekhar looked after his production and Distribution business,expanding it further. Shahid Latif was his close friend and when Shahid made his first film Darwaza-54,he gave the distribution rights for Delhi and U.P. of this film to his friend Shekhar. Thus started his business even while he was still acting. Shekhar acted in about 35 films.
Shekhar’s career as an actor was cut short abruptly,because he decided to become Film producer.He produced Chhote Babu-57,Aakhri Dao-58 & Bank Manager-59.The last one was a total wash out. Not heeding to it, he started” Pyas”,with Phani Mazumdar as director & N.Dutta as M D. Bina Rai was signed as heroine against himself. To arrange finance he accepted C grade films, such as Dilli Ka Dada with Sheikh Mukhtar & Hum Matwale Naujawan, both 62 movies. Soon he was out of the job & worst, his film remained stalled, due to financial crunch. Shekhar completed the film with great difficulty.The film was ultimately released in 1968, with a new title “Apna Ghar Apni Kahani”. As anticipated,the film attracted no audience,due to its dated look & long forgotten, middle aged lead pair. Financially ruined, Shekhar migrated to Canada. He expired there, a long time back.
The music director of this film was Pt. Govind Ram, who was one of the most respected persons in the film industry. C.Ramchandra was very much impressed with his music and work method. Lata Mangeshkar also respected him calling him ” Master ji”. However none of her songs composed by Govind Ram became famous or a hit song. It is very sad that his date of birth or even the date of death is not known.
In the pre-partition period of Hindi films, there were many schools of music directors, many times on a regional basis, but some were just unique. The Punjabi school of film composing was a very important and innovative school among these. This school gained popularity in the 1940s, which also resulted in the immense popularity of Punjabi folk music. Ghulam Haider was considered to be the most important of these, but equally great were Pandit Amarnath , Shyam Sundar , Husnlal – Bhagatram , G. A. Chishti , and Pandit Gobindram .
Pandit Gobindram Ji ( born in 1912) was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. One could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, only second to Gyan Dutt, one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.
Among his landmarks are the introduction of enormous contributions to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi , and also introduced great singer Zeenat Begum to films. He has 32 films to his credit and each one had equally superb music. He composed 302 songs.
Some of his films were Himmat-41,Sahara-43, Pagli-43, Aabroo-43, Naseeb-45, Laila Majnu-45, Sassi Punnu-46, Chalis Karod-46, Ghar ki izzat-49, Nisbat-49, Bholi-49, Raj mukut-50, Chore-50, Sarkar-51 and his last film Naqab-55. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.
Pandit Gobindram Ji started his career with Jeevan Jyoti (1937), but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum Ji, where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.
His last film was Naqaab-55. Gobindram worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor. Some of the other prominent lyricists he worked with include Bharat Vyas , Ram Murti Chaturvedi , Ramesh Gupta , and Qamar Jalalabadi . (adapted from an article by Vidur Sury, with thanks).
Let us now listen to the duet sung by Shamshad Begum and S.D.Batish.
Song- Tere gaaon mein sajan mora dil na lagey (Chor)(1950) Singers- Shamshad begum, S D Batish, Lyricist- Harish Bharadwaj, MD- Pt. Gobind Ram
Lyrics
ho tere gaanv mein
ho tere gaanv mein
tere gaanv mein sajan mora dil na lage re
mohe dilli shahar dikhla de balamwa
jamuna snaan kara de
ho kyun gaanv se
ho kyun gaanv se
kyun gaanv se roothh gayi hai sajaniya
itna to mohe batla de sajaniya
manwa ki baat bata de
dilli shahar mein hai ik bajariya
bikti hai wahaan pe dhaani chunariya
ho o more balma
ho more balma hoy
dillil shahar mein hai ik bajariya
bikti hai wahaan pe dhaani chunariya
dilli ki odhni odha de saanwariya
chaandni chowk dikhla de balamwa
jamuma snaan kara de
main waari jaaun
jamuma snaan kara de
apne gaanv ki kheti baadi
kaise chhod ke jaaun main pyaari
ho o mori janiya
ho mori janiya
apne gaanv ki kheti baadi
kaise chhod ke jaaun main pyaari
kaise chalegi pet ki gaadi
itna tu mohe batla de sajaniya
itna to mohe batla de sajaniya
manwa ki baat bata de
dilli shahar mein bade bade chaudhary
bade bade chaudhary
dilli shahar mein
bade bade chaudhary
unke wahaan tum kariyo naukari
kariyo naukari
milegi tankhva mauj karenge
laal quile ki sair karenge
milegi tankhva mauj karenge
laal quile ki sair karenge
maanegi na tu badi hathheeli
maanegi na tu badi hathheeli
baandh le gathhdi meri chameli
waah re balam to pe waari waari jaaun
rabdi parathe tujh ko khilaaun
zara jaldi se ticket kata de
ho zara jaldi se ticket kata de sajanwa
dilli shahar dikhla de balamwa
jamuma snaan kara de
main waari jaaun
jamuma snaan kara de
ho tere gaanv mein
ho tere gaanv mein
tere gaanv mein sajan mora dil na lage re
mohe dilli shahar dikhla de balamwa
jamuna snaan kara de
main waari jaaun
jamuna snaan kara de
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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Blog Day : |
5332 | Post No. : | 17482 |
Today’s song is a duet from the film Chupke Chupke-1948.
The film, made by the Rajeshwari Films, was directed by two persons – Baij Sharma and K.C.Verma.
When I selected a song from this film for presentation, I was happily reminded of the film of the same name – Chupke Chupke made in 1975, directed by Hrishikesh Mukherjee. That was one of the comedies I truly enjoyed. Both Amitabh and Dharmendra had a terrific sense of timing and comedy, which was at its best in this entertaining film. Besides this fact, seeing the names of today’s film directors- Baij Sharma and K.C.Verma, I was reminded of a pair of MDs who operated in the same time period of the late 40’s, namely Sharma ji and Verma ji (they were Khayyam and Rehman Verma, assistants of Music Director G.A.Chishti for films Yeh hai zindagi-47 and Jhoothi Kasmen-48, at Calcutta).
Director K.C. Verma was basically a Music Director and he gave music to films like Bolti Bulbul-42, Aawaz-42, Bhakta Prahlad-46, Soorat 47 and Bhole Piya-49. Chupke Chupke was the only film he ever directed. I wonder what bit him so hard as to try his hand at film direction ? Director Baij Sharma acted in 3 films- Shukriya-44, Ragini-45 and Namaste ji-1965. His first film as a director was Chupke Chupke-48. He also directed films like Amar kahani-49, Nirmohi-52 and Kanchan-55.
The cast of the film was Zareena, Shanti Kumar, Nirmala Devi, Vilayat Begum, Vishal and few others. Out of these names, I knew only Nirmala Devi, but somehow I thought I knew Zareena too. I spent one day restlessly trying very hard to recollect where I had read the name Zareena. Surely it could not be Zareena Wahab- the actress of films Chitchor -75 and Gharonda-77 etc. Then suddenly I remembered about this Zareena !
Zareena was the daughter of actor, singer and MD Rafiq Ghaznavi and actress Anwari Bai. Zareena wanted to act in films, so she accepted the film Chupke Chupke, which was started in early 1946, but due to various reasons,including financial, got delayed and finally completed and censore3d only in 1948. Meanwhile, Zareena got an offer from A.R.Kardar for a role. She changed her name to Nasreen and acted in Shahjehan-1946 as well as Daud Chand’s film Ek Roz-1947. During this period, her mother Anwari Bai was divorced by her father. Anwari then married Jugal Kishore Mehra (Raj Kapoor’s Mama), who converted to Islam and became Ahmed Salman. He later became the Chief Director of Pakistan Radio also.
He adopted Nasreen and got her married to Agha Liaqat Gul Tajik, a Diamond merchant from London (Diamond merchants were called ‘Agha’) and she left films to become a total housewife. Years later, Nasreen Agha’s daughter Salma Agha became a famous singing star in India and Pakistan. (information collated from various sources including an article by Anis Shakur, Lahore).
Though HFGK gives a list of songs and the record numbers, it is silent about the singers and lyricists of individual songs. I got the singers’ names from the song uploader on YouTube. The Music Director for this film was S.D.Batish who was the cousin of Pt. Amarnath, Bhagatram and Husnlal Batish. He sang 115 songs in 70 films and gave music to 20 films composing 154 songs from 1948 to 1960. He is one of the few Musicians who did a lot to promote Indian music in the UK and the USA.
I have a lot of respect for S D Batish, who did a marvelous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Indian Music, by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.
Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.
In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.
He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.
He died at age 91 on July 29, 2006.
From the memoirs of his son Ashwin……
Born in Patiala, Batish showed promise early. As the story goes, when he was as young as seven, he was regaling audiences and receiving praise from the likes of Hari Singh, the Maharaja of Kashmir. Encouraged by the plaudits perhaps, he forayed into Bombay to forge an acting career. His attempt wasn’t quite successful, though, and he returned to Patiala to study music with Pandit Chandan Ram Charan.
His guru, quite taken by Batish’s sense of rhythm and memory, gave him the moniker Rasik, which Batish adopted as a pseudonym on some compositions crafted later in California. By 1936, he was an artiste with the All India Radio and recording for the label EMI as Master Ramesh – a name he acquired while singing covers of songs rendered by popular singers, especially KL Saigal.
As always, fortune seemed to smile on him. His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.
As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronizing instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.
After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.
Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.
By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.
On October 10, 1965, the series Apna Hi Ghar Samajhiye premiered on BBC1 television and radio. Presented in Hindustani, Urdu and English, its theme music was composed by the multi-faceted Pandit Shiv Dayal Batish, who had already won considerable renown as singer and music composer in the Hindi film world. The series aimed to reach the new immigrant from South Asia: it offered advice on matters like housing, insurance, migration and education, interspersed with music from the subcontinent, especially film music.
SD Batish, as he was better known, was also a recent arrival to England. As his son, the musician Ashwin Batish recounted, he had reached London earlier that year on a “near relative visa” following his older daughter Surendra’s admission to a course in ophthalmology. Word of his arrival spread among fellow musicians such as Keshav Sathe, who worked in the Indian High Commission and moonlighted as a tabla player, and Batish soon became part of the BBC’s outreach programmes.
A multi-instrumentalist, who was proficient at the sitar, tabla and vichitra veena, Batish featured regularly at music festivals across Britain. At one of these, the Cardiff Music Festival, his playing impressed the British parliamentarian and activist Fenner Brockway. Brockway helped Batish secure permanent residency status, Ashwin says. Not long after, Batish’s family joined him from Bombay. It was a decision, Ashwin says, that balanced his mother Shanta Devi’s practicality with his father’s musical dreams.
Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighborhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.
A few weeks later, as Batish recalled, came Sathe’s memorable call inviting him to make up the quartet of Indian musicians assembled to provide accompaniment for the Beatles’ album Help!. The others in the quartet were Sathe on tabla, Diwan Motihar on sitar and Qasim (known just by his first name) on flute.
A kinship must have formed during those musical sessions, for Batish’s association with George Harrison did not end there. Months later, Batish was engaged to teach Harrison’s wife, Pattie Boyd, the dilruba, a stringed instrument that later featured on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album (1967).
Around 1970, the Batish family moved again, this time to Santa Cruz in California. The emigration was not altogether impulsive. Batish had been teaching a short-term course at the University of Santa Cruz, where his colleague, the mathematician Ralph Abraham, had been taking tabla lessons from him. Abraham suggested the Batish family move to the US and the family agreed. As a family, Ashwin quipped, they were as much “move-icians” as musicians.
The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.
The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.
The family set up the Batish Institute of Music and Fine Arts in 1976. It was the third of its kind to come up in California after the Ali Akbar Khan College of Music and the Music Circle, which was set up by Harihar Rao, a long-time associate of Ravi Shankar.
Besides being a recording studio, the Batish Institute continues to offer classes and texts, including several hundreds of Batish’s compositions (his raga lakshan geet set in the Hindustani classical system), and his derivative ragas based on the 72 melakartas of the Carnatic tradition. He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians.
In my memory,the image of S D Batish is etched as a person with a large Fur Cap. Such a type of cap was worn by Shaikh Abdulla and his son Farooq Abdulla. I saw V.Shantaram too wearing that type of cap. Later his son followed by wearing the same ( I mean similar type) Fur cap like father, as if it was a family tradition ! Of late,I have seen the famous film Historian Shri Nalin ji Shah with this cap. When I had met him a few years back,he had jokingly said that this cap is his Trademark !
S D Batish was the cousin brother of Pt. Amarnath and brothers Husnlal-Bhagatram,all bore the same surname – Batish.( Thanks to obituary and bio by Jason Ankeny, an article by Anu kumar in scroll.in dated 24-6-2021, an article by his son Ashwin, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).
Today’s song is a duet sung by S.D.Batish and Nazira Begam.
Song- Aakar hum Pachhtaaye chalo chalen chalo chalen(Chupke Chupke)(1948) Singers- Nazira Begam, S.D.Batish, Lyricist- Not known, MD- S D Batish
Both
Lyrics
aakar hum pachtaaye manwa
chalo chale, chalo chale
aakar hum pachtaye manwa
chalo chalen, chalo chale
ab kyun der lagaye manawa
chalo chalen, chalo chalen
ab kyun der lagaye manwa
chalo chalen, chalo chalen
pyaar unka pehchan liya
pyaar unka pehchan liya
aaj se humne hai jaan liya
aaj se hamne hai jaan liya
ham nahin unko bhaaye ae manwa
hum nahin unko bhaaye
ab kyu der lagaye manwa
chalo chalen chalo chalen
kya samjhenge kya jaanenge
kyunke hum bhi na manenge
kya samjhenge kya janenge
kyunki hum bhi na maanenge
koi laakh manaaye manwa
chalo chalen, chalo chalen
chalo chalen hum sang tumhaare
chalo chalen hum sang tumhaare
prem nagar ko prem sahaare
prem nagar ko prem sahaare
prem ki jyot jagaayen
prem ki jyot jagaayen
ab kyun der lagaaye manwa
chalo chalen chalo chalen
chalo chalen chalo chalen
duniya ko bhoolen
sukh aakash pe jhula jhoolen
sukh aakash pe jhula jhoolen
tan naache man gaaye
tan nzache man gaqye
ab kyun der lagqaye manwa
chalo chalen chalo chalen
Inquilaab zindaabaad
Posted on: January 26, 2023
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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Blog Day : |
5305 | Post No. : | 17382 |
Today is the 74th Republic Day of India, i.e. Bharat. I congratulate all Atulites on this occasion. हार्दिक बधाई और अभिनंदन ।
Have you ever wondered why we have both Independence Day and Republic Day – 2 days of national celebrations ? How many of us really know the difference between these two days ? Let me explain….
After a long British rule, India became an Independent Nation on 15 th August 1947. The British handed over reins of the country to the people of India ( but not before promoting hatred and dividing the Akhand Bharat into 2 Nations on the basis of Religions). When we became Independent, we did not adopt any form of Government and India continued to take Queen Elizabeth as its head of country and also continued following the British Constitution, as we did not have our own Constitution by then. India still had a Governor General appointed by the British Government, of course on the advice of the Government of the newly formed Independent Dominion of India from 21-6-1948 to 26-1-1950. C. RajGopalachary took over as India’s first native Governor General of the Dominion of India from 21-6-1948 onwards.
After independence, India started work on its own new Constitution from 29-8-1947 to 26-11-1949. The total period was 2 years 11 months and 18 days, including 141 days for final drafting. The Constitution Committee was presided by Dr. B. R. Ambedkar and it had 6 other members, namely K. M. Munshi, Mohd. Saadullah, A. K. Iyer, G. S. Ayyangar, N. Madhav Rao ( replacing B. L. Mittar who resigned due to ill health) and D. P. Khetan.
India accepted the new Constitution on 26-1-1950 declaring the nation as the Democratic Republic of India. From 15-8-1947 to 26-1-1950, the head of the country was the Prime Minister but from 26-1-1950, the Head of the country is the President of India. The post of Governor General was abolished and the British rule ended finally ! So, on Independence day, India came from the hands of the British to our hands ( actually it came to the hands of the ruling Congress party ) and on Republic Day India became a form of Government ruled by the Representatives of the people of India.
One more interesting thing which many people are not aware of. On the 15 th August 1947,being the head of the Government the then Prime Minister of India hoisted the Indian Flag. Therefore on every Independence day, the Prime Minister hoists the Flag and because from 26th January 1950, the President became the head of the Government, on every 26 th January the President unfurls the flag. On Independence day the flag is hoisted from below to the top of the pole, but on Republic day the flag is tied at the top and is only unfurled (not hoisted). In spite of so many years of Independence, people do not understand this and the flag is hoisted even on the 26th January in many places !
Today’s song is an inspirational song from the film Hum bhi kuchh kam nahin-1958. It is sung by Asha bhosle and chorus. The mukhada of the song is “Inquilab Zindabad”.
” Inquilab Zindabad ” was first coined by Maulana Hasrat Mohani in 1921 and it soon became a favourite with freedom Fighters. It is an Urdu word, which comes from the Arabic root of ” Inqlab” – which means change, transformation. The Freedom Fighters shouted this slogan to demand change in the governance of the country i.e. Independence.
The first song in a Hindi film using this slogan as its mukhda was in the film ” Shah E Misar “-1946, a film of actor Ajit’s Debut in his real name of Hamid. For reasons best known to Nehru and the Congress, ” Vande Mataram ” was not selected as the National Anthem. Instead, “Jan gana man” became India’s National Anthem. The first film song having ” Jan Gan Man ” in its music was the film ” Insaan ya Shaitan “-1933.
The Hindi film industry was never famous for making Patriotic films in a sizable number. Infact, when I started counting films made on national heroes, I was not only shocked but was utterly unhappy to find a miniscule number of patriotic films on Indian Heroes. For example, I found 6 films were made on Netaji Subhash Chandra Bose-in 1947, 1950,1962,1966,1978 1nd 2004. 5 films were made on Shaheed Bhagat Singh and 3 films were made on Chhatrapati Shivaji. Few films were made on Rana Pratap, Gandhi ji, Padmini, Jhansi ki Rani, Kargil and Udham Singh. These are my cursory observations. There must be some more Patriotic films made in general, but not many on individual Heroes. This, when from 1931 to June 2017, a total of 12891 Hindi films were made !
Similarly, patriotic songs in Hindi films were also much less in number. Apart from films on specific Heroes, some songs were included even in social and family genre films. One can understand the helplessness of filmmakers in making Patriotic films and songs before Independence, due to fear of British backlash. After talkie films started, till Independence in 1946 it was only 16 years, while after 1947 till today, it is more than 70 odd years now. Therefore the reluctance to make films on different Patriotic Heroes and themes is not understandable.
Making patriotic songs before Independence was too risky to invite action from the British government. We all know how Kavi Pradeep had to go underground to avoid arrest by police for the song ” door hato aye duniya walo” in the film Kismet-1943. However, there was atleast one Music Director – Master Mohammed in the early years of Talkie films, who was a specialist in making Patriotic songs in his films and he was never stopped or punished by the British.
Master Mohammed started his career as an actor and composer in Krishnatone’s ” Harishchandra”-1931-one of the earliest Talkie films in the first year itself. He composed 20 songs in ” Seeta swayamvar”-1933. Same year he acted and composed music for India’s First Talkie Fantasy film “Lal E Yaman”-33. He used to sing songs in his films. He was MD of many films of Fearless Nadia, from her First big film ” Hunterwali ” -1935 to ” Sher E Baghdad”-46. He gave music to 24 films, composing 217 songs and sang 41 songs in 18 films. He also acted in 23 films.
His speciality was patriotic songs in his films. Some of his famous songs were, Hum watan ke-jai Bharat-36 and Zanda uncha rahe hamara-Lutaru Lalna-38. Another song from his film, “Jagat ka sapna” was based on Hindu-Muslim Unity. In his every film, there used to be a patriotic song. His last film as an actor was ” Flying Prince “-1946. His last film as a composer was Sati Seeta-46.
The music director of today’s song was S.D.Batish. I have a lot of respect for S D Batish,who did a marvelous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving Indian Music, by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
Now let us listen to this inspiring song….
Song- Inquilaab Zindabad (Ham Bhi Kuchh Kam Nahin)(1958) Singer- Asha Bhosle, Lyricist- Kaif Irfani, MD- S D Batish
Chorus
Lyrics
inquilaab zindaabaad
inquilaab zindaabad
inquilaab
inquilaab zindaabaad
inquilaab zindaabaad
inquilaab
inquilaab
zindaabaad
chalo watan ki raah par
ki tum watan ki shaan ho
watan ko tumpe naaz hai
ki tum watan ki jaan ho
chalo watan ki raah par
ki tum watan ki shaan ho
watan ko tumpe naaz hai
ki tum watan ki jaan ho
inquilaab
zindabad
badhe chalo bahaaduron
ke zulm ko mitaayenge
giraake mahal zulm ke
naya jahaan basaayenge
inquilwab
inquilawb zindawbawd
inquilwab zindaabaad
inquilaab
chalo watan ki raah par
ki tum watan ki shaan ho
wtan ko tumpe naaz hai
ki tum watan ki jaan ho
inquilaab
zindaabaad
kafan saron pe baandh lo zara
ke aaj jung hai
lahu bahe to mat daro
lahu bhi ek rang hai
inquilaab
inquilaab zindaabaad
inquilaab zindaabaad
inquilaab
chalo watan ki raah par
ki tum watan ki shaan ho
watan ko tumpe naaj hai
ki tum watan ki jaan ho
inquilaab
zindaabaad
kuchal do dushmanon ke sar
jala do zaalimon ke ghar
ke ?? baandh ke chalo
ke aayenge to jeet kar
inquilaab
inquilaab zindaabaad
inquilaab zindaabaad
inquilaab
chalo watan ki raah par
ki tum watan ki shaan ho
watan ko tumpe naaz hai
ki tum watan ki jaan ho
chalo watan ki raah par
ki tum watan ki shaan ho
watan ko tumpe naaz hai
ki tum watan ki jaan ho
inquilaab
zindaabaad
inquilaab
zindaabaad
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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Blog Day : |
5298 | Post No. : | 17350 |
Today’s song is from the film “Hum bhi kuchh kam nahin” -1958.
The film, as per its story belongs to a Costume and imaginary genre, but HFGK mentions it as a ” Social ” film. I wonder why ? The cast of the film consisted of Ameeta, Ranjan, Sumitra, P. Kailash, Kanu Roy, Majnu, Ram Avtar, Manju and others. The 7 songs of this film were written by Anand Bakshi, Rahil Gorakhpuri, Kaif Irfani and Sharki Bhopali. The lyricist Rahil Gorakhpuri wrote 30 songs in 12 films from Sun to le haseena-58 to Aaja Sanam-75. In addition, as Anwar in the pair Javed-Anwar, he wrote songs in 8 films. Javed in this pair was Manohar Lal Khanna – father of Composer Usha Khanna. The Music Director for today’s film was S.D.Batish. The film was directed by Raman Desai.
Now, this name Raman Desai is a strong case of ” Same Name Confusion”, because there was another Hindi film Director Raman Desai operating during the same period. Their fathers’ names were different but never mentioned anywhere. Sometimes Raman Desai of today’s film was mentioned as Raman Lal Desai in the film credits-like this film. With this small clue, I found out information about these two film directors to differentiate them from each others. Here we go….
RAMAN (Lalbhai) DESAI
Ramanlal Lalbhai Desai was born on 6-9-1915 at Ahmedabad ( some sources indicate different year and place). His father was a Station master in the BBCI Railway ( Bombay-Baroda and Central India Railway). He was educated in Bombay and he studied up to Inter-Arts. He soon left his studies to work as an assistant cameraman and assistant Director, in Paramount Pictures for Thief of Baghdad-34. In 1935 he shifted to Ganesh Movietone but came back to Paramount. He was assistant director in Fairy of the flute-36, Guru Ghantal-37 ,Black ghost-37, Burqawali-36, Aladdin-33, Vagabond lover-38, Madhur bansari-39 etc. He co-directed films like Patriot-37, Darpan-41 and Mere Saajan-41, in Rex Pictures. He was a good editor and a musician.
He became a full fledged Director with Daughter of the jungle-42, Mohabbat ki jeet-43, Circus girl-43, Bhagata Bhoot-43, Rangila Dost-44, Aadhar-45, Qismat ka Dhani-46, Jadui putali-46, Tiger man-47, Naqli Heera-48, Dhanwale-48, Dilwale-48, Roshni-49,Sangeeta-50, Aab e Hayaat-55, Hum bhi kuch kam nahin -58, Minister-59 and Jalim tera jawab nahin-60. He turned to Gujarati films and directed Sole saaj singar-77 and Kul deepak-78.
He was working as a Production supervisor for the film Nastik-54 (credited).
(Thanks to Shri. Harish Raghuwanshi ji for some info used here along with my notes).
RAMAN (Bhimbhai) DESAI
Raman B Desai was born in Bilimora, Gujarat, on 28-4-1918. At the age of 20 years, he joined Wadia Movietone as an assistant Director. He assisted Director Chaturbhuj Doshi for quite some time.
He became an independent Director with Pehli Pehchan in 1947. Then came Narad Muni-49, Raja Harishchandra-52, Hari Darshan-53, Naag Panchami-53, Chakradhari-54, Rajyogi Bharthari-54, Navaratri-55, Waman Avatar-55, Ram Navami-56, Naag Mani-57, Chandi Pooja-57, Grihalaxmi-59 (he also produced it) and Amar jyoti-1965. He also directed 6 Gujarati films. Due to his expertise in religious films, he was known as ” King of Mythological Films”.
Raman B Desai expired on 22-12-1997. ( He should not be mistaken for another director Raman Lal Desai, who operated in the same period and directed films like Aab-e-Hayaat-55 and Sangeeta-50 etc).
The name KANU ROY in today’s film cast is another instance of ” Same name confusion “. There was a composer (and an actor also) by the name Kanu Roy who gave music in a few films. Most people and many internet sites, including IMDB, consider these two different persons as one and claim films for acting and music together, as if he was an actor and a composer – a Two In One person !
In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishna rao, Vinayak rao Patwardhan, Master Mohammed, Badriprashad, Vithaldas Panchotiya etc can be quoted as actor/composers. Lately, only the name of Kishore Kumar comes to mind in this category, off hand. Let us see who these two Kanu Roys were…
Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born at Jabalpore. He was very fond of acting and so landed at Bombay Talkies,a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here. Kanu Roy started his acting career with the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy worked in 46 films from 42 to 83 ( kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Mahal, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950.
The other Kanu Roy (MD) was an extremely talented music composer of Bengali and Hindi cinema during 1960s and 1970s.. An unsung hero of Indian cinema, despite giving some wonderful songs to Geeta Dutt and Manna Dey, he got very little opportunities in Hindi cinema. He composed songs for Basu Battacharya’s introspective trilogy on marital discord in an urban setting, ‘Anubhav’, ‘Avishkar’ and ‘Griha Pravesh’ in the 1970s, and best remembered for giving the last but finest songs to Geeta Dutt – Meri Jaan Mujhe Jaan Na Kaho, Koi Chupke Se Aake and Mera Dil Jo Mera Hota. Ironically she died 6 months after she made a comeback to playback singing for the last time.
Kanu Roy hailed from West Bengal. He was born on 9th December 1912, in a poor family in the outskirts of Kolkata. During his early days he worked as a welder at Howrah Bridge, engaged in repairing work of the bridge. He worked as an assistant to Salil Chowdhury during his early days. As a full-fledged music composer, Basu Battacharya introduced him to Hindi cinema through Uski Kahani in 1966. He gave some of the finest songs to Geeta Dutt such as three songs of Anubhav (her last and final recordings), Aaj Ki Kali Ghata of Uski Kahani etc. He also composed music for Shyamla, which was recensored as Woh phir na aayee in 1981. ‘Geeton Ki Duniya Mein Sargam’ and ‘Khali Pyala Dhundla Darpan’ of Sparsh, ‘Hasne Ki Chaah’ of Aavishkar and ‘Boliye Surilee Boliyan’ of Grihapravesh are memorable songs of Kanu Roy. He gave music to only 8 films, namely Uski kahani-66, Anubhav-71, Avishkar-74, umhara kallu-75, Mayuri-75, Shyamala-79, Griha Pravesh-79 and Sparsh-1980.
He passed away on December 20, 1981, aged 69. . A less-known but extremely talented music director, very little data is available about him on net, In his colleague Gulzar’s words he was a simple person with a humming song always on his lips, and that he never quarreled or mingled with others. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy.
HUM BHI KUCHH KAM NAHEEN-1958 was a typical B grade film specially made for the front benchers. As these types of films go, it had a story of king, vazir, a rebel, a princess, a joker, stunt fight, few good songs and lot of big animals like,Horses,Elephants tigers etc.
The hero was Ranjan(Ramnarayan Venkatramana Sarma, born in Madras in 1918 and died in USA in 1983) whose name spelt lot of Sword fighting(in real life too Ranjan was an expert Sword fighter).His name guaranteed lot of fighting,stunts and duet songs around trees.In this film also all this was present.
The story, s/play and dialogues were by Ramprakash Ashk.The music was by S.D.Batish who started his singing career in 1944 and Composer career in 1948 with Chupke chupke.Then came Balma, Patjhad, Khush Raho, Bahu beti, betaab, Amar kirtan, Rooprekha, Haar jeet, Toofan, Deewar, Ek arman mera, Saajish, Tipu sultan, Jalim tera jawab nahin, etc. He gave music as Nirmal Kumar in Lal Nishan and Nakhrewali also.
Batish who shifted to UK in 1964,moved to Santacruz,California-USA,in 1970 till he died there in 2006.(He used to say,’ I shifted from Santacruz,Bombay to Santacruz USA’).
Usman(Ranjan) and Mamubhai(Majnu) were fast friends.Usman was a young manwho did nothing, Mamu was King’s employee.Yar Khan(P.Kailash) the evil and crook Vazir of the king was waiting for a chance to usurp the throne.He kidnapped Zubeida(Manju),sister of Usman and took her to his palace where she commits a suicide.Now Usman wants his revenge.
Princess Zarina(Ameeta) is returning from her hunting trip.She is attacked by Yarkhan’s goons,but Usman saves her.They dutifully fall in love and she promises to help him.When the y reach the palace Usman is attacked by Yar khan’s soldiers but is saved by Zarina.There is Salma(Sumitra) court dancer,who also loves Usman and promises her help.
Finally Yar khan, croockedly captures both Usman and the King and blackmails Zarina to marry him or else……
Salma,Mamubhai and other loyalists rescue Usman.There is a terrific Sword fighting(obviously to use Ranjan’s skills) in which Yar khan is killed by Usman.The king returns with a bandbaja and Usman gets the job of Vazir and princess Zarina as his salary.
Today’s song is sung by Rafi and Asha Bhosle and obviously is a Road Show song. Enjoy….
Song-Jaadoogarni Cheen ki khaala Alladin ki (Ham Bhi Kuchh Kam Nahin)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Kaif Irfani, MD-S D Batish
Chorus
Lyrics
hey ae ae
tadak tadak tak tikdaak tikdam saasha
aaya qalandar dekh tamaasha
tod ke patthar kar doon bataasha
rakh doon jalaakar kabr se laashaan
aaya qalandar dekh tamaasha
tamaasha
tamaasha
dekh tamaasha
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
hey hey
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki
abba mera jaapani qalandar
amma filistine ki
jaadoogarni cheen ki
khaala Alladin ki eeee
mere jaadoo ki chakri
kar de duniya ko chakram
saari safaai haath ki hai
yaani ghaple ka ghaplam
dekh na pahle kartab logon
phir naqdi ka naqdon
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
dekh ??
laga ke chashma
baat nahin yaqeen ki
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki
haath mein rakhhoon
kha ke tambaaku
munh se nikaaloon chaakoo
dekh ke jisko kaan pakad le
chor lutere daakoo
vaar karoon to dum ko dabaa kar
bhaage Khan Halaaku
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
dekh ke ??
laga ke chashma
baat nahin yaqeen ki
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki
ae beta jamoora
ek baar mein gat kar jaaoon
kar ke aag ko paani
bina piye daaru ??
ho jaaun mastaani
phir dekh bechaaram jaani mera
naach Balochistani
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
dekh ke ??
laga ke chashma
baat nahin yaqeen ki
waah waah
waah waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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