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

Posts Tagged ‘S H Bihari


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

Blog Day : 4226 Post No. : 15432

Today’s song is from a comedy musical film – Laadli-49.

During the period 1947 to 1950, there was a spate of comedy and musical films.It was also in this period that Naushad and C Ramchandra played havoc with their music. Films like Bela,Daak Bungla, Do Bhai, Jungle mein mangal, Natak, Shadi se pehle,Shehnai, Gunsundari, Hip Hip Hurray, Khidki, Mera Munna, Suhag raat, Andaz, Badi Behan, barsaat, Ek this ladki, Mahal, Namoona and Patanga stirred the HFM from upside down and then up again !

For all other MDs, this period played a challenge to come up to their highest and best level to compete. MDs like Anil Biswas handled the situation with ease, with his musicals like Laadli and Lajawab. Film Laadli-49 was made by Variety pictures – owned by Anil Biswas and his wife Ashalata (Mehrunnisa Bhagat). It was directed by an old friend of Anil Biswas – J P Advani. However, he directed only 3 films of Anil Biswas – Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film was Sulochana Chaterjee, Jairaj, Kuldip Kaur, Ramesh Sinha, Randhir, Narbada Shankar and others. There was a coincidence that 2 Sulochanas acted in this film. Along with Heroine Sulochana Chaterjee, the old timer Sulochana Sr. (Ruby Myers) also acted in a side role. Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She was co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Sarswatichandra-68 etc.

In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime, was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Film Laadli was a comedy musical. There were 5 Lyricists and the MD was Anil Biswas. In Hindi film industry,right from 1931 onwards,many composers from Bengal came to Bombay to try their luck,but only a few could make their name here. There was a host of small time Bangla composers (some of them were Big names in Bengal) came to Bombay for a while,did 2-3 films and went back. Few of them were Shoolpani mukherjee, S P Mukherjee, V V Ganguly, Niren Lahiri, Shivram Ghosh, A C Biswas, Bhishmadev Chatterjee, Sushant Banerjee, Robin Chaterjee, Naresh Bhattacharya etc.

Besides these composers,there were some less successful composers from Bengal, in Bombay, like Ashok Ghosh, Pannalal Ghosh, Robin Banerjee, Hiren Bose, Shyamal Mitra, Arunkumar Mukherjee and Manas Mukherjee. Their major problem was Language and cultural difference.

There were 4 major composers from Bengal,who succeeded here and etched their names in the HFM history. I call them A grade. They all operated at the same time during the Golden Age period. Two composers came from East Bengal-Anil Biswas and S D Burman. Two composers came from West Bengal-Hemant Kumar and Salil Chaudhari.

Anil Biswas was the first major composer from Bengal to start his career in Bombay in 1935, at the age of just 21 years, whereas S D Burman was the oldest having started his career in Bombay in 1946, at the age of 40 years ! The longest tenure was that of Salil Chaudhari,but his song total is the lowest, with an average of about 5 songs per film.This is much lower than the average of 8+ and 9 of the others. This may be, because in later part of his career Salil da gave music to many parallel films which had minimum songs.

The two senior composers were from the East Bengal and the two junior composers were from the West Bengal. The styles of these two groups were different because of the different pattern of Eastern and Western Bangla music. All four depended and used heavily from the folk tunes and Bangla songs,from their respective regions. Anil Biswas and Burman da drew heavily from the Eastern Bangla folk tunes and that is why sometimes their music had similarities.

A case in point is song – “Sundari O sundari” from Lajawab-50. It was based on a folk tune of East Bengal. By coincidence S D Burman too used the same tune and same Mukhda for his Bangla film, “Samar’-50. Not only this,S D Burman again used the same tune for a song in film ‘Munimji”-55 ( Anadi re Anadi).
Anil Biswas was hailed as one of the most original,revolutionary and experimental composer,even dubbed as “The Bhishma Pitamaha”of HFM.

He was original. When Anil Biswas came on the scene in the mid 30s, the Parsee Theatre music,Marathi Natya sangeet and Gujarati drama and Lok kala Sangeet was being followed in film music. He decided to change this pattern and used Robindra Sangeet and Folk tunes for his songs. He was Revolutionary because he introduced western instruments in his music as a routine,which no one had thought of,so far. He was experimental,because he tried a variety of singers.

Those days,when playback was not yet common,non singers sang songs and it was a terrible task to make them sing properly. Anil Biswas tried the First ever playback,in Bombay,in his film “Mahageet”-37,singing the playback song himself to be shot on Hiren Bose in the film.

In a span of 30 years and in his 86 films having 777 songs,he used 76 singers. Among his singers Lata stands at First rank with 120 songs. The second place is shared by Surendra and Meena Kapoor( naturally), with 44 songs. Next name is that of Anil Biswas himself,with 43 songs.

Going through the list of singers,one finds very unknown names like Omkar, Kamlakar, Kokila, Gajadhar, D.Manek, Tarachand, Devaskar, Madhav kale, Yusuf Effendi, Solanki and Swapna Sen. Except Madhav Kale and Yusuf Effendi,I have never heard the other names myself,nor have I read about them anywhere. It is likely that these singers were from the early era and his earliest films. He himself first sang in ‘Dharam ki Devi’-35 and his last song was in ‘Sautela Bhai’-62.

Today’s song is the 6th song of this film to be discussed here. The film had an all time immortal song by the Anil Biswas – Lata duo…”Tumhare bulane ko jee chahata hai….” Such fine songs are now only in memory. Today’s song is also a good song. This is a Chorus song. Anil Biswas was particularly fond of Chorus songs and his no film was complete without at least one chorus song. Now, enjoy this chorus song….

( My thanks to Cineplot, Encyclopedia of Indian Cinema and History of Indian Film Music, for information used herein)


Song-Gareebon ka hissa gareebon ko de do (Laadli)(1949) Singer-Lata, Lyrics- S H Bihari, MD-Anil Biswas
Chorus

Lyrics

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o o
ameeron hamen sookhi roti hi de do o o
ameeron hamen sookhi roti hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

jo pahle thhi haalat wahi hai hamaari ee ee
ye pahle bhi bhookhe hain ab bhi bhikhaari
ye pahle bhi bhookhe hain ab bhi bhikhaari
hamesha se hain haath phaile huye do o o
hamesha se hain haath phaile huye do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

ye oonchi imaarat ye resham ke kapde ae ae
na kutiya hi hamko na khaadi ke tukde
na kutiya hi hamko na khaadi ke tukde
hamen bhi to apna badan dhaanpne do o o
hamen bhi to apna badan dhaanpne do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
inhen sirf jeene ka mauka hi de do o o
inhen sirf jeene ka mauka hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)


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

Blog Day :

4224 Post No. : 15428 Movie Count :

4252

Hindi Songs from Bangla Films -17
——————————————————
Bengali film industry has given us many eminent film directors. If I list the names in chronological order, the first name that comes to my mind is Debaki Kumar Bose who had directed classic films like ‘Chandidas’ (1932), ‘Puran Bhagat’ (1933), ‘Vidyapati’ (1937), ‘Nartaki’ (1940) etc. Next in line is P C Barua known for classic films like ‘Devdas’ (1935). ‘Mukti’ (1937), ‘Jawaab’ (1942) etc. Then we have Nitin Bose, Phani Majumdar, Bimal Roy etc. In respect of parallel cinema, names of Satyajit Roy, Mrinal Sen, Ritwik Ghatak, Tapan Sinha, Rituparno Ghosh etc are well known not only in India but also internationally. This list is not exhaustive as their names came to my mind mainly because they were associated with Hindi films.

During the last few months, I have been selectively watching Bangla films on video sharing platforms. In this way, I became aware of some more directors for the first time. Among them, one of the directors whose film direction I liked is that of Ajoy Kar. I have seen his films like ‘Harano Sur’ (1957), ‘Saptapadi’ (1961), “Saat Paake Bandha’ (1963). I have also gone through the details of his other films on the net. His films are mostly based on unusual story line. Being a cinematographer himself, his films are full of some fine black and white photography. In fact, his photography ‘speaks’ dialogues for the actors on whom the shots have been framed. His four films have received National Film Awards for the best feature film/Certificates of Merit in Bengali film category.

Recently, I watched one more of his film, ‘Khelaghar’ (1959) which strengthened my view that Ajoy Kar was one of the greatest Bengali film directors whose name has, by and large, remained unknown to non-Bengali film audience. He had no occasion to direct any Hindi film although one of his Bangla film ’Saat Paake Bandha’ (1963) was remade in Hindi as ‘Kora Kaagaz’ (1974) with Anil Ganguly as director.

‘Khelaghar’ [1959 (Playhouse)] was a suspense film based on a patriotic theme of pre-independent India with more prominence to human relationship. The story was written by Salil Sen Gupta who also wrote dialogues for the film. The main cast consisted of Uttam Kumar, Mala Sinha, Chhabi Biswas, Asit Baran, Salil Datta, Preeti Majumdar, Ashish Mukherjee, Khagen Pathak, Dhiraj Das etc. Hemant Kumar was the music director for the film.

The story in the film revolves around a revolutionary, Gautam Chatterjee (Uttam Kumar) and Ruchira (Mala Sinha), the daughter of the Police Insepctor Banerjee (Chhabi Biswas). The film starts with a scene in which revolutionary Gautam who has been awarded death sentence by hanging has escaped from the jail. After deceiving the police forces, he accidentally enters into a compound of the Police Inspector’s residence and climb the pipe leading to a bedroom where Ruchira is sleeping. He gags her and tells that to save his life, he is forced to do this act. After discarding his jail uniform and wearing Police Inspector’s casual dress, he leaves the house and remains elusive to the police.

In the meanwhile, Ruchira’s marriage has been fixed with a foreign-return boy against her wish but she agrees to the marriage to keep her father’s word. The prospective husband’s constant interference in her personal matters creates a rift between them and Ruchira avoids meeting him. Her father is bent upon marrying her with the boy despite Ruchira’s dislike for him. One day, after heated arguments with her father over her marriage, Ruchira runs away from home in the night. Her father sends his police to bring her back. In trying to dodge the police, Ruchira lands alone in a shady street where a group of goons try to catch up with her. A well-dressed person saves her from the goons. The person is none other than revolutionary Gautam who though recognises Ruchira, refrains from mentioning it while Ruchira fails to recognize him. Both introduce each other with their false names and background.

Having failed to convince Ruchira to go back to her home or take shelter in a women’s hostel, Gautam arranges for a small room for her stay with the help of his Hindi speaking associate (Asit Baran). In the meanwhile, the police forces are looking for Gautam. After getting a tip off from an informer, the police raid the house in which Ruchira is staying where Gautam has come on a visit. But his associate who has already got a wind of the police raid, makes both of them to escape from the back door. While Gautam knows that police had come to catch him, Ruchira thinks that her father had sent the police force to take her back home.

After this incidence, Gautam’s associates suggest him to leave Ruchira as the risk to his life by associating himself with a daughter of the Police Inspector is very high. They also think that she could be a mole from the police to catch him. But Gautam rejects the proposals and arranges her stay in a room of his associate’s house. Over a period of time, Ruchira starts liking Gautam who also likes her but he downplays his feeling towards her as he has no future for a settled life with noose around his neck already waiting.

While Gautam is having a meeting with his associates in an underground hideout, police forces raid the place. While trying to run away from the place, Gautam is hit by a bullet on his leg. Somehow, he escapes from the police dragnet and reaches to Ruchira who tends him. At this point, he tells her to return to her father’s home as he knew from the beginning that she was the daughter of Police Inspector, Banerjee. Later, she also comes to know from an old newspaper with his photo that the person who has helped her is none other than the revolutionary Gautam to whom the entire police force is looking to catch him. Guatam once again tries to persuade Ruchira by telling her that the last few days they spent together was like a playhouse on a sand which would be swept away by sea waves. But Ruchira remains firm on her decision not to leave him in this situation.

After few days, Inspector Banerjee is shocked to get the news from an informer that his daughter is looking after the injured Gautam in a house. He calls for police force and lead himself for a raid. He asks Gautam to surrender but Ruchira comes in his way and tells her father that he can take Gautam over her dead body. Nevertheless, Gautam surrenders and he is taken to the police station. Despite repeated plea from her father, Ruchira refuses to return home with him by telling that she would stay back in her husband’s house. Though she has not married to Guatam, her it was her intention to let her father know.

Now, here comes the suspense part of the film. Next day after the re-arrest of Gautam, a person surrenders in front of the Inspector Banerjee claiming that he is the real revolutionary Guatam Chatterjee and he would prove this only in the court. In the retrial of Gautam, the real Gautam Chatterjee reveals that the arrested person is Shantanu Roy (Uttam Kumar) who is not a member of the Revolutionary Group but a poet and musician in whose house the revolutionary group used to meet occasionally. During one such meeting in his house, the police raid led by Inspector Banerjee Shantanu Roy held the door until all the revolutionaries including Guatam Chatterjee escaped from the back door. Since Inspector Banerjee addressed Shantanu Roy as Gautam Chatterjee, this gave an idea to Shantanu Roy to impersonate himself as Gautam Chatterjee to save the real Gautam Chatterjee.

The court pronounced the judgement giving 2 years of rigorous infringement to Shantanu Roy for falsifying as Gautam Chatterjee and having link with the revolutionary group. The film ends with Shantanu Roy telling Ruchira that after all, the playhouse is going to remain true as it is the question of few months wait.

The film is a ‘must watch’ for its superb story telling direction, the excellent performances by the main actors and the sublime black and white photography. Most of the scenes have been shot in the night in keeping with the theme of the film. That Ajoy Kar took some excellent close-up shots of Mala Sinha and Uttam Kumar, speak a lot about their acting ability. I never felt bored in watching this film which has English sub-titles.

I found only one song listed in the film on various sites which is a Bengali song rendered by Hemant Kumar. I came to know about a short (of about 2 minutes) Hindi song only after watching the film which I am presenting with this article. The song is ‘kehti hai mujhko duniya deewaana nashe mein hai’ sung by Mohammed Rafi and picturised on Asit Baran in the role of an associate of the revolutionary Gautam in the film. Since his dialogues in the film are in Hindi, the song has to be in Hindi which is set to music by Hemant Kumar. Going by the credit titles of the film, the song is written by S H Bihari.

Actually, Asit Baran is acting as a drunkard to get into a room where he is secretly scheduled to meet Gautam. Since the duration of the song is less than 2 minutes, probably no gramophone record of the song was made. Luckily, the video clip of the song is available. There is another two- line Hindi song sung by Rafi and picturised on Asit Baran.

By the way, Asit Baran was a well known actor-singer and playback singer who has acted and sung in Hindi films like ‘Saugandh’ (1942), ‘Kashinath’ (1943), ‘Wapas’ (1943), ‘Wasiyatnama’ (1945), ‘Manzoor’ (1949), ‘Parineeta’ (1953), ‘Suhag Sindoor’ (1953 ), etc. But for the song under discussion, Rafi sang for him. The reason is that by 1953, Asit Baran’s voice had somewhat deteriorated. In the film ‘Suhaag Sindoor’ (1953), songs sung by Shailesh Mukherjee may have been picturised on Asit Baran who was the lead actor in the film.

Enjoy this lesser known Rafi song.

Video link:

Song-Kehti hai mujhko duniya deewaana nashe mein hai (Khelaghar)(1959) Singer-Rafi, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kehti hai mujhko duniya
deewaana nashe mein hai
ha ha ha
wah
nashe mein hai
meri nazar se dekho
zamaana nashe mein ha….i
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein hai

bhookha koi gareeb jab
raahon mein gir pada
bhookha koi gareeb jab
raahon mein gir pada
duniya ne ye kaha ke
uthhaana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai

ik jaam aur de de
ho saaqi tera bhala
de de saaqi kya kami hai
ik jaam aur de de
ho saaqi tera bhala
aakhir tera deewaana hai
maana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein…..


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4196 Post No. : 15379 Movie Count :

4240

Missing Films of 1960s – 114
– – – – – – – – – – – – – – –

“Khoon Ka Khoon”(1966) was directed by Kamran for K F Films, Bombay. This stunt movie had Dara Singh Randhawa, Nishi, Tiwari, Shyamkumar, Sunder, Kamal Mehra etc in it.

This forgotten movie had five forgotten songs in it.

Here is the first song from “Khoon Ka Khoon”(1966) to appear in the blog. The song is sung by Lata. S H Bihari is the lyricist. Music is composed by Usha Khanna.

Only the audio of the song is available. My guess is that this song was lip syncved by Nishi for the benefit of Dara Singh.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

With this song, “Khoon Ka Khoon”(1966) makes its debut in the blog.

On another note, Lata Mangeshkar had sung songs in 49 movies of 1966. With this song, all 49 movies released in 1966 that had songs sung by Lata Mangeshkar are covered in the blog.

[Ed Note: Realizing that this is/was one of the missing films of 1960s, we are now adding this to that series of songs. This brings the count of this series to 114, the number of films of 1960s that were earlier not represented on our blog.]


Song-Ishaaron hi ishaaron mein samjho (Khoon Ka Khoon)(1966) Singer-Lata, Lyrics-S H Bihari, MD-Usha Khanna

Lyrics

Ishaaron hi ishaaron mein samjho to jaanoon
na main keh sakoongi na tum sun sakoge
ye baaten nahin hotin kehne ki maano
na main keh sakoongi na tum sun sakoge
Ishaaron hi ishaaron mein samjho to jaanoon oon

wo baat jise kehte huye dil sharmaaye
wo baat jise
wo baat jise kehte huye dil sharmaaye
wo baat nahin poochho jo zubaan pe nahin aaye
wo baat nahin poochho jo zubaan pe nahin aaye
haseenon ko kabhi bhi sataane ki na thhaano
na main keh sakoongi na tum sun sakoge
Ishaaron hi ishaaron mein samjho to jaanoon oon

tumhaare hi liye hai meri duniya jawaan
tumhaare hi
tumhaare hi liye hai meri duniya jawaan
haaye kaise ye kahoon main bhala logon mein yahaan
kaise ye kahoon main bhala logon mein yahaan
kahaa jo nahin maine wo sach maano
na main keh sakoongi na tum sun sakoge
Ishaaron hi ishaaron mein samjho to jaanoon oon

Ho jhoothhe mere dil ke iraade to nahin
haaye jhoothhe mere
Ho jhoothhe mere dil ke iraade to nahin
bhhulaane ke liye hain mere waade to nahin
bhhulaane ke liye hain mere waade to nahin
zamaane ko na dekho nazar pehchaano
na main keh sakoongi na tum sun sakoge
Ishaaron hi ishaaron mein samjho to jaanoon oon


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3997 Post No. : 15094 Movie Count :

4143

“Jaggu”(1975) was directed by Sameer Ganguly for R M Art Prouctions, Bombay. This “social” movie had Shatrughan Sinha, Leena Chandawarkar, Imtiaz, Jagdeep, Jyoti, Purnima, Shetty, Hercules, Aazaad, Daljeet, Nawaab, Prakash Mishra, Indira Bansal, Moolchand, Viju Khote, Bholanath, Anwar Hussain etc in it. In addition, there were special appearances by Bindu, aruna Irani, Bhagwan Dada, Kamal, Master Cheeku, Paintal, Mohan Choti, Keshav Rana etc.

The movie had six songs in it. I do not seem to have heard any of these songs during its time. It basically means that the movie had flopped at the box office and the songs failed to become popular.

Here is the first song from “Jaggu”(1975) to appear in the blog. This song was sung by Lata. S H Bihari is the lyricist. Music is composed by Sonik Omi.

The song is lip synced by Leena Chandawarkar who is seeding riing a horse supported by Shatrughan Sinha. Now, singing a song while riding a horse is as herculean a task as singing a song while playing a grand piano, but our lead actors are shown pulling off this superhuman feat with ease in movies after movies. 🙂

The music sounds in parts like Laxmikant Pyarelal, while at other places it sounds like R D Burman. That was normal practice with most small time music directors of those days.

With this song, “Jaggu”(1975) makes its debut in the blog.


Song-Pyaar mein tere piya aisa tadpa re jiya (Jaggu)(1975) Singer-Lata, Lyrics-S H Bihari, MD-Sonik Omi

Lyrics

pyaar mein tere piya
aisa tadpa re jiya
pyaar mein tere piya
aisa tadpa re jiya
hmm
bin bulaaye hi paas tere aane lagi
tere sapnon se jeevan sajaane lagi
pyaar mein tere piya
aisa tadpa re jiya
pyar mein tere piya
aisa tadpa re jiya
hmm
bin bulaaye hi paas tere aane lagi
tere sapnon se jeevan sajaane lagi
pyaar mein tere piya
aisa tadpa re jiya

kitne hain jaane tere roop saanwre
khojte huye re mere nain baawre
kitne hain jaane tere roop saanwre
khojte huye re mere nain baawre
aisi khushi paayi
paayi paayi
paas tere aayi
aayi aayi
paas tere aake maine
aisi khushi paayi re piya
ke jaawani bhi meri gungunaane lagi
tere sapnon se jeevan sajaane lagi
pyaar mein tere piya
aisa tadpa re jiya
pyaar mein tere piya
aisa tadpa re jiya

bagiya ho sooni jo bahaar ke bina
jeevan ka mol nahin pyaar ke bina
hmm
bagiya ho sooni jo bahaar ke bina
jeevan ka mol nahin pyaar ke bina
phaili hui baahen
baahen baahen
dekhen teri raahen
raahen raahen
dekhen teri raahen meri phaili hui baahen re piya
de sahaara mujhe
main dagmagaane lagi
tere sapnon se jeevan sajaane lagi
pyaar mein tere piya
aisa tadpa re jiya
pyar mein tere piya
aisa tadpa re jiya
hmm
bin bulaaye hi paas tere aane lagi
tere sapnon se jeevan sajaane lagi
pyaar mein tere piya
aisa tadpa re jiya
pyaar mein tere piya
aisa tadpa re jiya
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
lalalalalalala
lalalalala


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

Blog Day : 3985 Post No. : 15074

Saw “Bees Saal Pehle” which released on 6th June 1972, viz a few days back aaj se “saintees saal pehle”.

It starts off as any horror movie of those times. We have Vinod Mehra driving a vehicle (highly polluting by the standards set in the modern days) through a ghat road in perfect weather, rather late in the evening. His vehicle stalls when he stops it to see what or who has jumped over the cliff, doesn’t find a thing but now he has to look for help to restart his journey.

He sees a bungalow close by-predictably- and it is almost dark by the time he gets there. He knocks and the door opens by itself (was reminded of Mehmood from “Pyar Kiye Jaa”). He walks in with a “Koi hai? Arre koi hai?” (anybody there?). And an old man (Iftikhar) materializes and offers him a room for the night in the cob-web infested house.

Surprisingly the room has a clean patch. And as is the norm since time immemorial (my first experience was in the Ashok Kumar- Madhubala starrer “Mahal”) Vinod Mehra hears a lady scream and then sob and then sing plaintively. Sure enough, Vinod runs out of the room seeking the old man and asks for an explanation.

Then the movie goes into “Bees Saal Pehle” there was a Choudhury (Abhi Bhattacharya) in a city nearby, whose only heir (Ritesh) was in love with a sweet girl (Farida Jalal) of the area but had to marry another damsel (Anupama) to relieve her of her distress. By the time the movie got to this point in the story it had given us a party song, a romantic song, a line of a bhootiya (haunting) song and a “questioning the god” song.

Essentially the movie had eight songs with one of them appearing twice in the movie. The singers used were Lata Mangeshkar, Ranu, Asha Bhonsle, Kishore Kumar and Hemant Kumar as playback singers. S.H.Bihari was the lyricist and Hemant Kumar was the producer (Geetanjali Pictures) and music composer. Movie was directed by Probir Roy. The title card said that Ritesh (Hemant Kumar’s son) was introduced in this movie and I was surprised to see Hrishikesh Mukherjee’s name in the star cast. I didn’t get to the part where Hrishida makes a screen appearance as by then I had found my song to go with this post.

Going by the time of release of this movie, today’s song could well be one of the last songs that Hemant Kumar sang for Hindi movies. His journey started in 1935 with recording a song for All India Radio, Bengali non-film songs happened in 1937 and first film song was for “Nimai Sanyas” in Bengali in 1941. His first Hindi film came in the form of “Anand Math” of Filmistan in 1952. He had a 50-year long career dedicated to music- he was a Rabindra Sangeet exponent. I am sure we have had Hemantda’s detailed biography in a few posts of this blog.

We remember Hemant Kumar Mukherjee, of the wonderful voice, with a song sung and composed by him in the later part of his career, today on his 99th birth anniversary.


Song-Poochhe to kaun poochhe ye baat aasmaan se(Bees Saal Pehle)(1972) Singer-Hemant Kumar, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi
bijli ko aashiyaan se
poochhe to kaun poochhe

barbaadiyon ko apni
aabaadiyaan samajh le ae
barbaadiyon ko apni
aabaadiyaan samajh le ae
aisa junoon laaye
har aadmi kahaan se
poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi ee
bijli ko aashiyaan se
poochhe toh kaun poochhe


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3940 Post No. : 15016

“Ek Jhalak”(1957) was produced by Deep Khosla and Pradeep Kumar and directed by Kalidas for Deep and Pradeep Productions, Bombay. The movie had Vyjyantimala, Pradeep Kumar, Anita Guha, Rajendra Kumar, Pran, Mubarak, Lalita Pawar, Bipin Gupta, Randhir, Om Prakash, Hira Sawant, Rashid Khan, Tuntun, CV Rao, Patanjali, Gajendra, Amin, Fazal Khan, Saar, Deep Khosla etc in it.

The movie had nine songs in it. Six songs have been covered in the past.

Here is the seventh song from “Ek Jhalak”(1957) to appear in the blog. This song, perhaps the least heard song from the movie, is sung by Geeta Dutt. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song of “roothhne manaana” genre.


Song-Kis liye maathe pe bal hai (Ek Jhalak)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kis liye maathe pe bal hai
ranj ka izhaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ki khaamoshiyaan
achchi nahin lagti hamen
aap ki khaamoshiyaan
achchi nahin lagti hamen
aji kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

dil ne chaahaa aap ko
ismein hamaara kya qusoor
dil ne chaahaa aap ko
ismein hamaara kya qusoor
baat hai chhoti si phir bhi
is qadar taqraar kyun
baat hai chhoti si phir bhi
is qadar taqraar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ke hote huye bhi
kyun na ho
dil ka ilaaj kahiye
kyun na ho
dil ka ilaaj
siskiyaan le le ke mar jaayen
bhala beemaar kyun
siskiyaan le le ke mar jaayen
bhala beemaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

baat meri maan lo
ik baar to keh do jee
dil se haan
baat meri maan lo
ik baar to keh do jee
dil se haan
hmm
naa naa naa


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3884 Post No. : 14911

“Isi Ka Naam Duniya Hai”(1962) was directed by Shakti Samanta for J B Productions, Bombay. The movie had Ashok Kumar, Shyama, Mehmood, Sahira, K N Singh, Nazeer Hussain, Lalita Kumari, Susheel Kumar, Farida, Kundan, Lata Sinha, Rajan Kapoor, Kathana, Anwari, Ramlal, Masood, Ramesh Chauhan, Helen, R L Ranjan, OmPrakash, Meera Parel etc in it.

The movie had seven songs according to HFGK. Two songs have been covered in the past.

Today (7 march 2019) is the seventh remembrance day of music director Ravi (3 March 1926 – 7 March 2012). As a tribute to him. Here is a song from “Isi Ka Naam Duniya Hai”(1962).

Curiously, this song does not figure in the list of songs mentioned in HFGK. It is the movie opening song cum title song cum theme song cum background song, and the song seems to get played in the movie at several places.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections.

This song was apparently there only in the movie and its records were not made. So the poor quality of the song is because of the poor quality of the print of the movie.


Song-Isi ka naam duniya hai (Isi Ka Naam Duniya Hai)(1962) Singer-Ravi, Lyrics-S H Bihari, MD-Ravi

Lyrics

kahin khushiyon ke mele hain
kahin gham ke fasaane hain
isi ka naam duniya hai
isi ka naam duniya hai
paraaye hain kabhi apne
kabhi apne paraaye hai
isi ka naam duniya hai
isi ka naam duniya hai

bilakhte hain kahin par
bhookh se bachche gareebon ke
bilakhte hain kahin par
bhookh se bachche gareebon ke
kahin par hotelon mein daawten hain
naach gaane hain
isi ka naam duniya hai
isi ka naam duniya hai

kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par reshmi jode hain
daulat hai khazaane hain
isi ka naam duniya hai
isi ka naam duniya hai

koi laakhon ke bangle mein
sukhon ki neend sota hai
koi laakhon ke bangle mein
sukhon ki neend sota hai
kahin par aandhiyon mein
zindagi ke aashiyaane hai
isi ka naam duniya hai
isi ka naam duniya hai


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

Blog Day : 3831 Post No. : 14838

Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.

Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.

Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.

Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.

One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.

It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.

Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).

Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.

During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.

The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.

Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.

With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.

The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.

After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.

When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.

Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.

Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.

Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.

Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.

Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.

When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.

‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.

With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.

In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.

During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.

Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.

For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.

——————————————————————————————————————-
Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.


Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

ye maara
wo maara

ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara

teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara

dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3666 Post No. : 14539

“Yahudi Ki Ladki”(1957) was produced and directed by S D Narang for New Oriental Pictures, Bombay. This movie had was Madhubala, Pradeep Kumar, Gajanan Jagirdar, Heeralal, Suder, Narang, Smriti Biswas, Amar, Krishnakant, Krishn Kumari, Dhanraj, Amrit Rana, Kamla Mukherji, Helen, Sheila Vaz, Meena, Tuntun, Ranjana Kumari, Premlata, Z Hussain, H A Rahi, Ramlal, H Prakash, M Harun, Dabboo, Babboo, Prithviraj, Baby Rajratan, Salma etc. The film also had a pair of Egyptian dancers in it namely Lyas and Lyan.

The movie had eight songs in it. Two songs have been covered in the past. Here is the third song from “Yahudi Ki Ladki”(1957) to appear in the blog. The song is sung by Geeta Dutt. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

Only the audio of the song is available. It appears to be a dance song. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not bee able to get a few words (sound like gibberish words to me). I request our readers with keener ears to tell us what words they could be.


Song-Duniya se dil lagaa ke (Yahudi Ki Ladki)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

dammaara
dammaara
???
???
dammaara
dammaara
???
???

duniya se dil lagaa ke
humse aankhen milaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
duniya se dil lagaa ke
humse aankhen milaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae

mehfil mein aaj koi aaya aa aa
aankhon mein jhoomti bahaar hai laaya
mehfil mein aaj koi aaya aa aa
aankhon mein jhoomti bahaar hai laaya
samjho usi ka hai zamaana
aa aa
duniya se jisne hai pyaar badhaaya
hamko apna banaa ke
duniya ka gham bhulaa ke
pal bhar tu muskuraa ke jhoom le
ae ae ae ae
duniya se dil lagake
humse aankhe milake
pal bhar tu muskuraa ke jhoom le
ae ae ae ae

dammaara
dammaara
???
???
dammaara
dammaara
???
???

mushqil hai toone ye na jaana aa aa
tere liye hai mere dil ka khazaana
mushqil hai toone ye na jaana aa aa
tere liye hai mere dil ka khazaana
naghmaa hai teri zindagi ka aa aa
honthon pe aaj mere pyaar ka taraana
dil ki duniya basaa ke
soye armaan jagaa ke
pal bhar tu muskurake jhoom le
ae ae ae
duniya se dil lagaa ke
humse aankhe milake
pal bhar tu muskuraa ke jhoom le
dammaara
dammaara
???
???
dammaara
dammaara
???
???


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3617 Post No. : 14419

“Kitna Badal Gaya Insaan”(1957) was directed by I S Johar for Modern Theatre, Bombay. The movie had Ajit, Nalini Jaywant, I S Johar, Kamaljeet, Uday Laxmi, Shanti, Harbans Lal, Saroja, Anil Dutta etc in it.

“Kitna Badal Gaya Insaan”(1957) had eleven songs in it. One song has been covered in the past.

Here is the second song from the movie to appear in the blog. This song is sung by Lata. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

The song picturisation shows Nalini Jaiwant remonstating with the Almighty- with Lord Krishna to be precise. The picturisation also shows some men listening to the bhajan from outside though they seem to possess far less devotion towards the Almighty than Nalini Jaiwant. 😉


Song-Har baat hai bigdi huyi bhagwaan bana do(Kitna Badal Gaya Insaan)(1957) Singer-Lata, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

har baat hai bigdi hui
bhagwaan bana do
vinti hai ye
mushqil meri aasaan bana do
aasaan bana do
har baat hai bigdi hui bhagwaan bana do
vinti hai ye
mushqil meri aasaan bana do
aasaan bana do

main kya karoon
main kya karoon taqdeer mere saath nahin hai
par tumse na ho aisi koi baat nahin hai
main kya karoon
taqdeer mere saath nahin hai
par tumse na ho aisi koi baat nahin hai
roothhi hui kismat ko meharbaan bana do
vinti hai ye
mushqil meri aasan bana do
aasaan bana do
har baat hai bigdi hui bhagwaan bana do
vinti hai ye
mushqil meri aasaan bana do
aasan bana do

bhagwaan ho
bhagwaan ho sansaar mein sunte ho sabhi ki
do chaar ghadi mujhko bhi mil jaaye khushi ki
bhagwaan ho
sansaar mein sunte ho sabhi ki
do chaar ghadi mujhko bhi mil jaaye khushi ki
kuchh mere liye jeene ka saamaan bana do
vinti hai ye
mushqil meri aasaan bana do
aasaan bana do
har baat hai bigdi hui bhagwaan bana do
vinti hai ye
mushqil meri aasaan bana do
aasaan bana do


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15400 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15443

Number of movies covered in the blog

Movies with all their songs covered =1188
Total Number of movies covered =4253

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Active for more than 4000 days.

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