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

Posts Tagged ‘S K Pal


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

Blog Day :

4440 Post No. : 15884

Today’s song is from the film Baadbaan-1954.

This film has some history. After actress Devika Rani left Bombay Talkies in 1945, it was going downhill. The fall had actually started in 1940, after Himanshu Rai’s death. That is when Devika Rani took over the reigns of Bombay Talkies. From the day she was brought back from Calcutta (after the elopement), Devika Rani was not comfortable with Shashdhar Mukherjee. She had always suspected that he instigated the staff against her and they ridiculed her. She caught hold of Amiya Chakraborty in her group and there were clearly two groups in Bombay Talkies management.

As a result of continued friction, a big group of disgruntled staff of the company left Bombay Talkies and later formed Filmistan. Devika Rani was shattered, but the other loyalists helped her and the company continued till 1945. In this year, Devika Rani got married, sold her shares and left the company. The new management kept on making films sporadically, but except film Mahal-1949, no Hit film was made. Finally in 1952, the company was sold to Tolaram jalan, a businessman-not connected with films. In 1952, Bimal Roy made the film ‘Maa’ and Phani majumdar made the film ‘Tamasha ‘, but these too could not save Bombay Talkies.

As a last effort, the employees of Bombay Talkies got together and formed “Bombay Talkies workers’ Industrial Cooperative Society ” and made the film “Baadbaan “-54. As a help to the workers and as a gesture of gratitude, all the artistes of the film, like Dev Anand, Meena Kumari, Usha Kiran,Jairaj, Leela Chitnis etc etc, the director Phani Majumdar and the composers Timir Baran and S K Pal, along with all Technical staff worked free for this film.

In Spite of all this, the film Baadbaan flopped and finally the company was closed down in December-1954. That was the background history of the film Baadbaan. The meaning of this Title word is…Baad means Storm and Baan means Safeguard. The film is about the storm that comes in the life of the Hero and how his life changes after this.

The all-star cast of eleven top-rate players comprised of Dev Anand, Meena Kumari, Usha Kiron, Ashok Kumar, Bipin Gupta, Gope, Krishnakant, Jairaj, Leela Chitnis, Sheikh Mukhtar and Shivraj.The credit for handling this brilliant array or talent goes to Director Phani Mazumdar who also wrote the story and to Nabendu Ghosh whose compact screenplay and terse, but tell­ing, dialogue exploit both the stars and their well-written parts as well as the richly-interest­ing story.

A beautiful, very melodious music score composed by Timir Baran and S.K. Pal, lovely lyrics written by Indivar and Udhav Kumar and superbly choreographed dances designed by the brilliant exponent Shanti Bhardan and Parvati Kumar provide sparkling highlights in this engrossing film.

The picture depicts a story rich in incident and emotional conflict and centers on an orphaned child whose parents, fisher folk, are killed in a storm and who is adopted by a rich, kind and broad-minded philanthropist. The real drama sets in when the boy returns from Eng­land and falls in love with a lovely young so­cialite who reciprocates his love. On hearing of his true parentage, however, her father forbids the marriage but relents at seeing his daugh­ter’s unhappiness.The hero’s overwhelming passion for a beautiful fisher girl from the village of his birth to which he returns, bent on improving his peo­ple’s lot, and his love for his charming wife make for strong emotional power climaxed tragically by the latter’s death and given subtle meaning by his return to his own people and a girl of his own kind.The best performance comes from Usha Kiron who dominates the picture with her gloriously rich portrayal as the fisher girl Mohania. She literally lights up the screen with her brilliant, sympathetic acting.

Dev Anand, as the hero, puts over a good role despite the fact that he tends to fall short in some of his scenes and is a trifle gauche throughout the film. Meena Kumari, as his ill- starred wife, turns in a quiet, polished role in a quite difficult part. Another subtle but telling performance comes from Ashok Kumar who plays her silent lover and the hero’s friend with the consummate ease of a veteran artist.Bipin Gupta and Krishnakant, as the hero’s foster-father and the heroine’s father, act im­peccably as usual. Jairaj, as Dev Anand’s fa­ther, does well in a small part and Leela Chitnis as his mother acts well and looks love­ly. The comedy is provided mainly by Gope who handles his comic and dramatic scenes very well. ( review adapted from Cineplot, with thanks.).

In Spite of all this, the film was not successful at the Box office. The reasons could be any and many, but the film industry is governed by superstitious notions. One of them is that the pair of Dev Anand- Meena Kumari can not bring out anything good. This pair had featured in 4 films. Their first film was ‘Sanam’-51. Of course Meena Kumari was not a Heroine in this film, but her presence in the film with Dev Anand, saw that the Love Birds- Suraiya-Dev Anand separated for ever in their lives, from this film. The director Nandlal Jaswantlal also began a bad patch in his life .

The second film was ‘Tamasha’-52, made by an already sinking Bombay talkies. This film not only failed, but Bombay Talkies also did not remain in a position to make another film. When the workers union made the film Baadbaan-54 -their 3rd film together- the film and the Union, together with Bombay Talkies sank so deep – never to get up again ! That was Curtains for Bombay Talkies !

For the fourth time Dev and Meena kumari came together again in film ‘Kinare Kinare’-63. Lyricist Nyay Sharma was the Producer. The film took 5 years to complete and after its release, flopped miserably, putting Nyay Sharma in the depth of debts ! Seeing this result, no Producer ever dared to bring Dev-Meena Kumari together again, Ever !

I would not believe such stories, but when I saw another example, I started believing this phenomenon. There was yet another pair- Waheeda-Rajendra Kumar- in films, which was called a “KIller Pair”. The first film of this pair was the film ‘Nirmala’ Made by Dalsukh Pancholi. During its making only, Pancholi died and the film went into cans. Second film was ‘Palki’-67, made by S U Sunny. During its making Sunny died on the sets. The film was completed by Mahesh Kaul, but on release it flopped. The third film was S S Vasan’s “Shatranj”-69. During its making Vasan died. Their fourth and last film together was “Dharati’-70, made by Director Shreedhar. During its making, the producer-Shreedhar’s mother died. After this film, no one dared to bring this pair together again, ever !

In our film industry, such stories of ‘Lucky” -“Unlucky” actors, directors and MDs are many. Maybe some more stories, some other time….

Here is the 6th song from the film Baadbaan-54. It is sung by Manna Dey, Asha Bhosle and chorus. The song’s duration is only 2.50minutes, but it’s prelude music runs for 1.18 minutes…one of the longest, maybe.


Song-Jai deva ho (Baadbaan)(1954) Singers-Asha Bhonsle, Manna Dey, Lyrics-Uddhav Kumar, MD-Timir Baran- S K Pal
Chorus
Asha Bhonsle + Manna Dey + Chorus

jai deva ho
jai deva ho
jai deva jai deva jai deva ho

jai deva ho
jai deva ho
jai deva jai deva jai deva ho
jai deva ho jai deva ho
jai deva jai deva jai deva ho

humpe raakho mehar ki najariya najariya
jai deva ho
jai deva ho
jai deva jai deva jai deva ho

andhiyaari raat gayi bairan barsaat gayi
o o o
o o o

andhiyari raat gayi bairan barsat gayi
ho o o o

aayi hai bhor naye saal ki
aayi hai aayi hai aayi hai bhor naye saal ki
aao re deva baitho re deva
khaali hai ankhiyon ki paalki
ee ee ee
aayi hai bhor naye saal ki

jai deva ho jai deva ho
jai deva jai deva jai deva ho


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 :

4377 Post No. : 15720

“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”

The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.

In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.

Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/1909 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.

Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.

Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.

The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.

Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.

Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.

The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.

The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.

The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.

The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.

In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.

Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).

‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.

One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.

Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.

Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.

During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.

Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.

Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.

At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).

One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.

On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.

With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.

Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:

1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.

2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).

3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.

4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.

Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.

Video Clip:

Audio Clip:

Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

kya raaz hai
hai to bataao

saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

achcha
hum bhi nahin sunte

o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj


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:

4285 Post No. : 15532

“Maa”(1952) was produced by Ashok Kumar and Sawak Vacha and directed by Bimal Roy for Bombay Talkies. This movie had Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc in it.

This movie, which was based on a Bangla story by Swaraj Bannerjee had six songs in it. Four songs have been covered in the past.

Here is the fifth song from “Maa” (1952) to appear in the blog. This song is sung by Manna Dey. Bharat Vyas is the lyricist. Music is composed by S K Pal. The lyrics for this song have been contributed by Avinash ji.

Only the audio of this “ode to mother” song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Wo aankhen kya aankhen(Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-SK Pal

Lyrics  (Provided by Avinash Scrapwala)

wo aankhen kya aankhen aen jin mein
aansu ki dhaar nahin een een een
wo dil patthar hai
jis dil mein maata ka pyaar nahin

wo aankhen kya aankhen jin mein
aansu ki dhaar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin

dharti si dheeraj waali
aur aakaash si nirmal maa
ganga si paawan man-bhaawan
jamuna si nischchhal maa
bhagwaan bhagwaan
bhagwaan banaayi hai toone duniya mein kaisi maa
jo sab kuchch de
aur kuchh bhi na le ae ae
jo sab kuchch de
aur kuchh bhi na le
bas ek hai aisi maa
duniya mein hazaaron naate
duniya mein hazaaron naate
par maata do chaar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin
wo aankhen kya aankhen

bachpan ki pyaar bhari godi ke
meethhe meethhe jhoole
haaye meethhe meethhe jhoole
lori ka aa
lori ka wo sangeet madhur
koi kab kaise bhoole
maata ka ye nirmal naata aa aa aa
maata ka ye nirmal naata
toote na koi tode
insaan nahin
haiwaan hai wo o o
jo maa se bhi munh mode ae
insaan nahin haiwaan hai wo
jo maa se bhi munh mode
wo jeevan kya jeevan
wo jeevan kya jeevan
jismein mamta ka taar nahin
wo dil patthar hai
jis dil mein maata ka pyaar nahin
wo aankhen kya aankhen


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 : 4227 Post No. : 15434

“Bheeshm Pratigya”(1950) was directed by Vasant Rao Painter for Vishal Chitra, Bombay. This mythological movie had Nargis, Shahu Modak, Mishra, Mahipal, Poornim, Nimbalkar, H Prakash, Kamalkant, Moti Beena, Kumar, Meenakshi, Kusum Thaakar etc in it.

The by now obscure movie had seven obscure songs in it. One song has been covered in the past.

Here is the second song from “Bheeshm Pratigya”(1950) to appear in the blog. This song is sung by Asha Bhonsle. Manohar Khanna is the lyricist. Music is composed by S K Pal.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this melancholic song.


Song-Dhal gaya aasha ka sooraj (Bheeshm Pratigya)(1950) Singer-Asha Bhonsle, Lyrics-Manohar Lal Khanna, MD-S K Pal

Lyrics

Dhal gaya
aa aa
aa aa
aa aa
aasha ka sooraj
dhal gaya

dhal gaya aa aasha ka sooraj
jeewan jyoti bujh gayi ee
bujh gayi ee
bujh gayi ee
aankhon mein aansoo reh gaye
ik jalti nishaani pyaar ki
pyaar ki
dhal gaya aa aasha ka sooraj
dhal gaya

jeewan mein aaya thha basant
ik pal ko
ik kshan ke liye
patjhad phir aisa aa gaya
ik ghor udaasi chhaa gayee
chhaa gayee
dhal gaya aa aasha ka sooraj
dhal gaya

kitne sunahre sapne thhe
kitni suhaani neend thhi
aaye nahin phir laut ke
wo din mere ae
raaten meri
raaten meri
dhal gaya aa aasha ka sooraj
dhal gaya

soojhe na koi raasta
jaaun kidhar
jaaun kahaan
soojhe na koi raasta
jaaun kidhar
jaaun kahaan
chaaron disha mein aag lagi hai
chaaron dishaaon mein aag hai
meri chita aa jalti huyi
jalti huyi
dhal gaya aa aasha ka sooraj
jeewan jyoti bujh gayee
bujh gayee
bujh gayee
dhal gaya aa aasha ka sooraj
dhal gaya


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4172 Post No. : 15346

Today’s song is from an obscure film-Dhola Maru-1956. The film was produced by and under the banner of Cine Workers’ Society, Bombay. It was directed by N R Acharya and the music was provided by S K Pal – for whom this film was his swan song. This was his last film as MD. All the 11 songs of the film were written by Bharat Vyas. The cast was Usha Kiran, Pradeep Kumar, Achala Sachdev, Rehana, Sapru, S Nazir, Kumkum and many others including 5 actresses named as Miss Pammi, Miss Usha, Miss Hemlata, Miss Hansa and Miss Sarita as well as a guest artiste- Ulhas.

” Unity in Diversity” was a favourite slogan of Nehru. Truly, there is no other country in the world having such a diverse population and area. The biggest surviving Democracy in the world has 28 states and 9 Union Territories. Our constitution mentions 22 official languages, including Urdu and Sanskrit. In this vast country about 30 languages are spoken, each by more than 3 million people, 120 languages are spoken by more than 10000 people and about 1600 spoken languages and with script- both mixed. In addition, 7 major and several other religions too.

With so much of diversity of languages, religions and cultures, it is a wonder that India has survived for thousands of years. The main factor is the binding of Indian Culture and Tolerance. It is interesting to recall that, just prior to getting Independence, Winston Churchill and many other world leaders had predicted that within a short period, India will disintegrate into pieces. Contrary to their wishful thinking, Indian people have come out stronger in last 75 years.

Due to the diversity, there are separate Folk lores in almost every state. Love stories are the major contributors. Like the famous Laila-Majnu and Romeo-Juliet, every state has its own Love story. Even our Mythology has thrilling love stories, Like Uttara- Abhimanyu, Dushant-Shakuntala, Arjun-Subhadra etc.

For love stories, Punjab and Sindh lead all the way. You have several such stories as – Sohni Mahiwal, Heer-Ranja, Sassi-Punnu, Monal-Rano, Umar-Marvi, Lila-Chanesar, Noori-Tamchi, Dhaj-Rorkumar and Mirza-Sahiban are some of the most popular love stories of Punjab and Sindh.

Like I said, in other regions too, there are Love stories like Jodha -Akbar, Salim-Anarkali, Bajirao-Mastani, Prithviraj-Sanyogita, Amrapali-Bimbisar, Mumal-Mahendra, Amaravathy-Ambikapathy (south-Tamil) etc.

There was yet another popular Folk-Lore of Lovers in the states of Rajasthan, M.P., Chhattisgarh and Gujarat and that is the story of Prince Dhola and Princess Maru. Unlike the Punjab Folk-Lores of Lovers, Dhola Maru has several versions, especially Rajasthani and Chhattisgarhi versions. Several Books and stories as well as Folk songs were written on Dhola-Maru. There was a Gujarati Hit film Dhola-Maru-1983.

( When I had first heard the name of Dhola-Maru, I was reminded of the Japanese steamship Kamagota Maru, which had carried about 300 Sikh and other Indians, who tried to enter Canada. They were refused and sent back to India. On reaching Calcutta, they were refused entry as they were from Hongkong. There was a fight and in the ensuing firing, hundreds were killed. This was known throughout the world.)

Dhola – Maru story took place somewhere in the 15th century. However this is a Happy ending Love story, unlike most Punjabi tragedies.

The Rajasthani version of the story is-

The Legend of Dhola and Maru is the Indian version of Romeo-Juliet saga. The princess Maru was from a place called Pugal near Bikaner while Dhola was the young and handsome prince of Gwalior. A terrible drought in Pugal made Maru’s(then 2 years old) father shift to Gwalior, which was ruled by his friend, the father of Dhola. He stayed there for three years and before leaving for his hometown, the two kings each promised to get their children married to each other. However, after a span of 20 years all promises were forgotten and Maru was betrothed to a man called Umra. But destiny prevailed, and bard from Pugal who had travelled to Gwalior sang at the royal court about the childhood betrothal of Dhola and Maru. After listening to the song Dhola fell hook, line and sinker for the virtuous princess Maru. With love in his eyes Dhola began wooing Maru who also fell in love with the handsome Dhola. Where two hearts collide there has to be an outcome, and so they decided to run away.

Umra came to know about their plans and went after them with his brother sumra. The eloping lovers on their Camel with their bows arrows were no match for the Umra-Sumra brothers who had guns. However, they were able to evade the evil brothers and took refuge in a forest. Unfortunately Dhola was bitten by a snake and died on the spot, Maru, thus cheated by her lover, proceeded to weep the death. Luck favoured Maru and her cries were heard by Lord Shiva and consort Parvati. Parvati requested her husband to revive Dhola and thus by divine intervention the lovers were united to live happily ever after.

There are some differences in the Chhattisgarhi versions, where in prince Dhola gets married to Rewa for 12 years, after which,he goes for Maru etc.

(all information culled from sanskriti.com, unitedindia.com and wiki)

In Indian films, there were some actresses who were earmarked to do the roles of Mothers and Grandmothers. Some of them were Leela Chitnis, Durga Khote, Leela Mishra, Deena Pathak, Nirupa Roy, Achala Sachdev and few others. While Leela Mishra and Deena Pathak seemed to be born to do such roles, most others were Heroines in their Hey-days. Achala Sachdev was a prominent actress, who was highly respected in the industry – only till she was in circulation. Once she retired from films, no one bothered about her and she died absolutely a lonely death.

Achala Sachdev ( 3-5-1920 to 30-4-2012) (original name Rajinder)’s name is permanently conjoined with a mother’s role. She did a mother’s role when she was very young and since then-more than a heroine- she has been seen either as a sister or Mother in films. In her earliest film ‘Dilruba’-50 she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore,she came to Delhi after the Partition and continued her job in All India Radio, till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to 1 uncompleted Bangla film. She acted in few television serials and FD documentaries too.

In her early years she had got married to Gyan Sachdeva. She begot one son and one daughter from him. Her son Jyotin, a business consultant, settled in US and Daughter was married in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an Electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her Bungalow in Bhosari, near Poona to a specious flat in Hadapsar area of Poona. She had completed all films on hand ,but due to insistence of family friend Yash Chopra, she acted in some of his films- notably ‘Dilwale dulhaniya le jaayenge’-95. Though her last film was ‘ Dahak ‘-98, her last released film was Suno sasur ji-2003.

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand ( kalpana kartik), Meena kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued to happen for next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

Once she was in Poona, she was all alone. No one from film industry ever contacted her in her last 40 years. She was very generous. She had donated 25 lakhs to an NGO, Janseva Foundation to start ‘Achala Sachdev Institute of Education”. She also gave 15 Lakhs to Dr. H.V.Desai Eye Hospital for a ward construction. In her last days,she even donated her flat also to the NGO Janseva Foundation.

She was sick for last 6 months and was looked after by the NGO. Admitted to Poona General Hospital ICU, she got Paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, but she was neglected by her own son and daughter. Above all, in last 40 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in I.C.U., her attending doctor, Dr. Mehta sent messages to Yash Chopra and others in Film industry, but none came or even inquired and she died a lonely death.
( ( Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by shri Harish Raghuwanshi ji ).

Here is a duet by Manna Dey and Asha Bhosle from film Dhola Maru-1956.


Song-Ek samay Dushyant thhe Bharat ke samraat(Dhola Maru)(1956) Singers- Manna Dey, Asha Bhonsle, Lyricist- Bharat Vyas, MD- S K Pal
Both

Lyrics

Ek samay Dushyant thhe
Bharat ke samraaat
jinka danka goonjtaa desh videsh viraat

Kaamdev ka aa aa
Kaamdev ka roop thha
dhoop bada balwaan
dhoop bada balwaan

ek samay ban mein chale
le kar teer kamaaaan
le kar teer kamaan
ban mein ek albeli mili
bandevi si naar
?? se nrup se sant ki
ho gayin aankhen chaar chaar
ho gayin aankhen chaar

mohit ho Dushyant ne
ek nikaali raah
Shakuntala ke sang kiya
jhat gandarv vivaah

din beete aur jug beete ae ae ae ae
din beete aur jug beete
bhookh bhaye behaal

roye dukhi Shakuntala
roye dukhi Shakuntala
khabar na li
khabar na li
khabar na li pratipaal

bhooh bhaye behaal

band karo ye geet
?? ke raajveer
bane aaj Dushyant

main
haan tum
apni marwan bhool kar
rewa sang raman
rewa sang raman ??
maruwan bisraai
maruwan ho maruwan ??
bharman hoi


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

Blog Day : 4040 Post No. : 15165

Today’s song is from film Gulami-45. It was a film made by Shalimar Pictures, Poona. Directed by M.Wadhwani, its music was by S.K.Pal. Songs were written by Bharat Vyas, Josh Malihabadi, Akhtar-ul-iman and Majaj. Film Gulami aka Rape of Burma-45 was not a great film. The cast of the film was Renuka Devi, Masood Pervez, David, Tiwari, Bharat Vyas, H. Prakash, Kathana, Balraj Mehta, Neelam etc etc.

The Heroine Renuka Devi was an extraordinary woman, considering the times in which she was living. Renuka Devi ( Begum Khursheed Mirza) was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses, who joined films after their marriage. The other such examples I remember off hand are those of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi (4-3-1918 to 8-2-1989) had studied up to Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember off hand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A., B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

In those days,popular actresses used to earn quite a lot. For example, Shobhana Samarth earned 36000 ( about 18 lakhs at today’s rate) rupees every year. Other actresses like Shanta Apte, Naseem Bano, Sardar Akhtar, Madhuri etc got about 30000 or so. This was a time when a Chiffon Saree was for Rs.9 and a brand New Studbaker car was for Rs. 5000 only. Renuka Devi also was interested in earning money. However Renuka Devi did only few films in her career. She worked with Bombay Talkies, New Theatres, Shalimar and such big banners. Her films are Jeevan Prabhat-37, Bhabhi-38, Badi didi-39, Naya Sansar-41, Shri Ramanuja-43, Sahara-43, Samrat Chandragupta-45, and Gulami-45 .

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio,and Pakistan TV.

She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was,later on edited and published by her daughter Lubna as a Book, in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness. ( As her bio has already been given earlier in this Blog by me and Sadanand Kamath ji, I am not repeating it here).

Film Gulami-45 was a film without the regular Heroine of Shalimar pictures-Neena- real name Shahida. She was Mohsin Abdulla’s wife before W.Z.Ahmed lured her in his net. Abdulla was Renuka Devi’s younger brother. it is said that during the shooting of the film in the studio, Neena never ever visited the studio, as she was too embarrassed to face her sister-in-law.

Bharat Vyas (18-12-1918 to 5-7-82) -who wrote the story,songs and even acted in it, was spotted by W. Z.Ahmed and he offered Vyas a lucrative salary which was hard to refuse, to join Shalimar. Vyas was happy to join because, in Shalimar, he had the company of Josh Malihabaqdi,Akhtar-ul-iman, Kishen Chander, Ramanand Sagar and Sagar Nizami-all employed by Shalimar.He started by writing all 12 songs for film Prem Sangeet-43.Then came Mann ki jeet-44 and Prithwiraj Sanyogita-46. His last film here, Meerabai-47, was also the last film of Shalimar. His job was to adapt Meera bhajans in song form.

After Partition,Neena and Ahmed migrated to Pakistan, taking along with them all the prints of their films and Shalimar became an orphan. Vyas went to Madras to work for S S Vasan for his film ‘ Chandralekha’-48. When he came back, he was approached by some ex-workers of Shalimar. They wanted to revive Shalimar by completing the incomplete film ‘ Rangila Rajasthan. Actually, in 1946 itself, Ahmed had entrusted this film’s direction to Bharat Vyas and some shooting was also done. However due to several reasons, this film was stopped and Meerabai was completed.

They wanted like minded ex-employees to work free to produce the film.Bharat Vyas agreed.He not only wrote songs,but also composed few songs, along with MDs S K Pal and B S Kalla. Further he directed film ‘Rangeela Rajasthan’-49.However, despite all efforts, the film flopped and Shalimar closed down for ever.

In film Gulami, Vyas wrote some songs and aslo sang a duet and a solo song, besides acting in it.Bharat Vyas wrote 1247 songs in a85 films. He acted in 3 films- Gulami-45, Prithviraj Sanyogita-46 and Maa-52. He sang 8 songs in 6 films- Prem sangeet-43, Mann ki jeet-44, Gulami-45, Chandralekhs-48, Navrang-59 and Bharat ki santan-80.

A very odd name in the cast can be seen- Balraj Mehta. I am sure,hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.

He was active in Students’ union and held General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.

By now he was married and needed to earn money. He joined film line. He acted first in ‘ Dulla Batti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. There is no information about him after this.

Though, film Gulami-45 was completed and certified by Censors in 45, it was released somewhere in the mid 46, as per news item found in Film India magazine. Though the magazine did not publish its full review, a short note, as usual, criticised the lead pair’s acting and praised the direction. It had no good words about the music also. Some readers’ comments also criticised the film.

It was pointed out by one reader that the film was a copy of Hollywood film ” Dragon Seed “-1944. The film ,in its advertisement, described it to be a ‘ Thrilling Patriotic story’. The parallel title of the film was ” Rape of Burma”, indicating a love story in Burma with the war background. However,when the film was released in or around May 1946, the War had ended long back and the film had lost its advantage of Topicality. Baburao Patel also ridiculed showing the married and a mother of 2 kids (Renuka Devi) as an 18 year old girl in the movie.

Renuka Devi was not a singer, nor is there any evidence that she received training is Music. Same case was with Bharat Vyas. Still,they sang this duet in a well balanced way. Though the songs of this film ( I have 4 songs of this film with me) are not that well tuned to remain in memory, but they were of average standard. Even otherwise the MD-S.K.Pal ( nephew of Ramchandra Pal,MD with Bombay Talkies), was not famous to have created any memorable song in his career.

So, here is the duet of Bharat Vyas and Renuka Devi.

(Some information in this article is used, with thanks, from the book ” A woman of substance” by Renuka Devi, webly.com, Who’s who in Film Industry-46, issues of Film India for 1945 and 1946 and my own notes.)


Song-Aajaa aajaa aajaa re O Geeta ke Bhagwaan (Ghulaami)(1945) Singers-Bharat Vyas, Renuka Devi, Lyrics-Bharat Vyas, MD-S K Pal
Both

Lyrics

aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
o geeta ke bhagwaan
wo apna vachan nibha ja re
o krishn shiv aajaa aajaa re
aaja aaja aaja re

kab se naina pyaase hain
pal bhar to pyaas bujha jaa
kab se naina pyaase hain
pal bhar to pyaas bujha jaa

ham laakh baar aayen mohan
tu ek baar to aa jaa
ham laakh baar aayen mohan
tu ek baar to aa jaa
aaja aaja aaja re
aaja aaja aaja re

ek baar phir braj mein raas racha ja
bansiwaale
ek baar phir braj mein raas racha ja
bansiwaale

sang tumhaare naachen ham
ban kar gokul ke gwaale
sang tumhaare naachen ham
ban kar gokul ke gwaale

bas ek baar phir braj ki wo
bas ek baar phir braj ki wo
jhaanki dikhla jaa re
?? dikhlaa jaa re
phir usi baansuri ki sundar wo
taan suna jaa re ae ae
seeta ke bhagwaan wo apna
vachan nibha jaa re
o krishn phir aaja aajaa re
aaja aajaa aajaa re

brij baalaayen roti hain
rote hain gokul waale
brij baalaayen roti hain
rote hain gokul waale

jamuna ki lahren roti hain
kyun roothhe bansi waale
bansi waale ham roton ko
kuchh dheer bandhaa jaa re ae
bansi waale ham roton ko
kuchh dheer bandhaa jaa re

hamen ye to samjha jaa re
kya bhool huyi jo bhool gaya
kya bhool huyi jo bhool gaya
ye bhed bataa jaa re
geeta ke bhagwaan ho apna vachan nibha jaa re
o krishn phir aajaa aajaa re
aajaa aajaa aajaa re


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

Blog Day :

3810 Post No. : 14806 Movie Count :

4049

My first article was posted on this Blog on 1-10-2012. Before that, for almost an year and a half, I used to post my comments on the songs posted on the Blog. In those comments, I used to give information about not only the songs, but also about the film, the cast, story. MD, Lyricist and in general any matter connected with the film or the song. For example, while commenting on a song from film Chandralekha-48, I had mentioned how Vasan made more than 100 prints of the film for its All India release and how the famous ‘ Nagara’ dance was choreographed etc etc.

Other readers gave me lot of support by liking and appreciating my informative comments. This and Atul ji encouraged me and I started writing posts on the Blog with great enthusiasm. I have always believed that Knowledge increases by sharing and indeed it did. Within a week’s time I brought up my first series on ” Less Known Singers”. Looking at the welcome it received from people in the Blog and the visitors, I continuously ran as many as 26 series of songs on selected themes.

Some themes were my favourites, like ‘ Flavour of the 30’s ‘, ‘ The vibrant 40’s ‘, ‘ Vintage Naushad “, ‘ Bhajan Mala ‘, ‘Gems from the Migrators’, and ” songs from the Artiste name films”.

One of the series was ” The Great souls of India”, which ran from 1-11-2013 to 15-11-2013, covering 10 songs. In this series I had selected songs from films on Sant Kabir, Sant Tulsidas, Sant Surdas, Sant Tukaram, Sant Dnyaneshwar, Bhakt Dhruv, Bhakt Prahlad, Narsi Bhagat, Sri Chaitanya Mahaprabhu and Jagadguru Shankaracharya.

That time I regretted that I could only include 10 ‘ Great souls ‘ in the series, when another 8 to 10 were left out. I felt particularly sad that Sant Meerabai was left out. I am making amends to that lapse now. DER AAYE DURUST AAYE. It is never too late to repair the damage. So, today’s song is from a film ” Meerabai”-47. There was yet another film ” Meera’ in 1947. Two songs from that film were already discussed here, therefore I have selected this film, which makes a Debut here.

There was one thing common in these two films on Meerabai. Both films had songs predominantly sung by just One Singer. In the film ‘Meera’-47, 17 songs out of the 18 songs were sung by its Heroine M.S.Subbulakshmi. In the film ‘ Meerabai’-47, all the 13 songs were sung by Sitarabai Kanpuri. While Meera was originally a Tamil film of 1945, dubbed in Hindi in 1947, Meerabai was a fresh film made in Hindi only. In Meera, it was a feast and delight to listen to M.S. in Hindi. Her conspicuous Hindi pronunciations were never a barrier in savouring her divine rendering. Most bhajans in her film had the traditional tunes, but in film Meerabai, the MD S.K.Pal had tried newer tunes to these Bhajans. To his credit, I must say that his attempts were praiseworthy. Just listen to today’s song and you will agree with me.

Mirabai was a great saint and a devotee of Sri Krishna. Despite facing criticism and hostility from her own family, she lived an exemplary saintly life and composed many devotional bhajans. Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712. Nevertheless, there are many oral histories, which give an insight into this unique poet and saint of India.

Mira was born around the start of the 16th Century in the Chaukari village in Merta, Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur. When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave a doll of Sri Krishna to her father. Her father saw this as a special blessing but was initially unwilling to give it to his daughter, because he felt she would not appreciate it. However, Mira had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied his living presence. She resolved to make Krishna her lifelong friend, lover, and husband. Throughout her turbulent life, she never wavered from her youthful commitment.
On one occasion, when Mira was still young, she saw a wedding procession going down the street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s mother was supportive of her daughter’s blossoming religious tendencies, but she passed away when Meera was only young.

At an early age, Mira’s father arranged for her to be married to Prince Bhoj Raj, who was the eldest son of Rana Sanga of Chittor. They were an influential Hindu family and the marriage significantly elevated Mira’s social position. However, Mira was not enamoured of the luxuries of the palace. She served her husband dutifully, but in the evening she would spend her time in devotion and singing to her beloved Sri Krishna. While singing devotional bhajans, she would frequently lose awareness of the world, entering into states of ecstasy and trance.

Her new family did not approve of her piety and devotion to Krishna. To make things worse, Mira refused to worship their family deity Durga. She said she had already committed herself to Sri Krishna. Her family became increasingly disproving of her actions, but the fame and saintly reputation of Mirabai spread throughout the region. Often she would spend time discussing spiritual issues with Sadhus, and people would join in the singing of her bhajans. However, this just made her family even more jealous. Mira’s sister-in-law Udabai started to spread false gossip and defamatory remarks about Mirabai. She said Mira was entertaining men in her room. Her husband, believing these stories to be true, tore into her room with sword in hand. However, he saw Mira only playing with a doll. No man was there at all. Throughout these hysterical slanders, Mirabai remained unmoved by both the criticism and praise of the world.

After this experience, her family continued to torture her. They restricted her movements and sought to make her life as uncomfortable as possible. In the face of all these trials and tribulations, she remained detached from her physical suffering. There was nothing that could disturb her inner connection to Giridhara (epithet of Sri Krishna as young cowherd boy). It is said that twice her family tried to kill her, once through a venomous snake and once through poisonous drink. On both occasions, it is said Mirabai, protected by the Grace of Sri Krishna, came to no ill harm.

However, the relentless torments and hostility interfered with her life of devotion and contemplation on Krishna. She sought the advice of learned men and saints. They advised her to leave the palace and return to Brindaban. Secretly, with some followers, she slipped out of the palace and escaped to the holy city of Brindaban. In Brindaban Mirabai was free to worship Giridhara to her heart’s content. She would spend her time in singing bhajans and in ecstatic communion with Krishna. Like a true Bhakti, she worshipped God wholeheartedly. The riches of the world offered no attraction to Mirabai; her only satisfaction came from her single-minded devotion to Sri Krishna. Her soul was ever yearning for Krishna. She considered herself to be a Gopi of Vrindaban, mad only with pure love for Sri Krishna.Her devotion and spiritual magnetism were infectious.

Even learned Sadhus would come to her for inspiration. There is a story of one respected Spiritual Master, who refused to speak to Mirabai because she was a woman. Mirabai replied there was only one real man in Brindaban, Sri Krishna; everyone else was a Gopi of Krishna. On hearing this, the spiritual Master accepted the wisdom of Mirabai and agreed to talk to her. Later, Mirabai would become his student.

Much of what we know about Mirabai comes from her poetry. Her poetry expresses the longing and seeking of her soul for union with Sri Krishna. At times, she expresses the pain of separation and at other times the ecstasy of divine union. Her devotional poems were designed to be sung as bhajans, and many are still sung today.

Mirabai was a devotee of the highest order. She was immune to the criticism and suffering of the world. She was born a princess but forsook the pleasures of a palace for begging on the streets of Brindaban. She lived during a time of war and spiritual decline, but her life offered a shining example of the purest devotion. Many were inspired by her infectious devotion and spontaneous love for Sri Krishna. Mirabai showed how a seeker could attain union with God, only through love. Her only message was that Krishna was her all.

It is said in her death she melted into the heart of Krishna. Tradition relates how one day she was singing in a temple when Sri Krishna appeared in his subtle form. Sri Krishna was so pleased with his dearest devotee that he opened up his heart centre, and Mirabai entered leaving her body while in the highest state of Krishna consciousness. (free adaptation from biographyonline.net, with thanks)

Film Meerabai-47 was made by Shalimar Pictures, Poona. Its direcor was W.Z.Ahmed. Lyrics were by Meerabai and MD was Suryakant aka S.K.Pal ( he was the nephew of another MD Ramchandra Pal of Bombay Talkies). The cast of the film consisted of Neena, Masood Pervez, Neelam, Tiwari, Shyama (Dulari), Ramavtar, Noorjehan sr. etc etc.

There is a general and wrong feeling among some movie buffs in India that, artistes who opted to migrate to Pakistan after partition had failed there and died in penury and misery. While some such cases indeed were there unfortunately, but not ALL had failed. On the contrary, I feel most of the Directors, Music composers and Heros succeeded in Pakistan. This was because they were all ready made available to Pakistan industry. Many of them like Khursheed Anwar, Inayat Hussain or G.A.Chisti were regarded as pioneers of Pak film industry. Same case with directors like Dawood Chand, M Sadiq, Shaukat Husaain Rizvi etc who became pillars of Pak film industry. unfortunately, once the crop of artistes who migrated from India ended their careers, their film industry had a premature death. This was because, there was no second line of artistes to take over.

The Hero of the film Meerabai-47, Masood Pervez was also one such migrant who succeeded in Pakistan. He was born in 1918 in Amritsar, Punjab, India. He passed his M.Sc. and joined films. His first film as a Hero was Punjabi film ” Mangati “-42, which became a Golden Jubilee film. He further worked in film Gulami-45 and Meerabai-47. After Partition, he went to Pakistan.

His first film as a Director in Pakistan was ‘ Beli’-50 It had a moderate success. His big breakthrough came with film ‘ Intezar ‘-56, which was a colossal hit. He directed 23 films between 1950 and 1982. he is considered to be one of the pioneers of Pak films. He directed 3 Folk stories Mirza Jat-67, Heer Ranjha-70 and again Mirza Jat-82, all very successful. he died on 11-3-2001 in Lahore. He was the nephew of Saadat Hassan Manto.

Film Meerabai-47 had 13 songs, most of them quite good. The original Meera Bhajans were translated in plain Hindi by Pt. Bharat Vyas. With this song the film makes its Debut on this Blog.


Song-Mhaane chaakar raakho jee (Meera Bai)(1947) Singer-Sitarabai Kanpuri, Lyrics-Meera bai, MD-S K Pal

Lyrics

mhaane chaakar raakho ji ee
chaakar raakho ji
sanwariyaa aa
mhaane chaakar raakho ji
mhaane chaakar raakho ji ee
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

chaakar rah toon baag lagaa doon
nis-din darshan paa toon
brindaawan ki kunj-galin mein
brindaawan ki kunj-galin mein
teri leelaa gaa toon
teri leelaa gaa toon

maane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

unche unche mahal banaaun
jis bich raakhoon baari
saanwariyaa ke darshan paaun
saanwariyaa ke darshan paaun
jaaun tan man vaari
jaaun tan man vaari

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

jogi aayaa jog karan koon
jogi aayaa jog karan koon
tap karne sanyaasi
hari-bhajan ko saadhu aayaa
bindraaban ke waasi
kaahe neer jhare nainan se
kaahe neer jhare nainan se
dheer dharo ji meeraa
aadhi raat prabhu darshan de hai
aadhi raat prabhu darshan de hai
prem nadi ke teeraa aa
prem nadi ke teeraa

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji


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 : 3621 Post No. : 14431

“Pyaase Nain”(1954) was produced by K P Shahani and directed by S Ram for Tekchand Talkies, Bombay. This “social” movie had Nimmi, Rehman, Gope, Shyama, Vikram Kapoor,mAnwari Begam, Mumtaz, Parvati, Mirza, Baby Feroza, Shamim etc in it.

The movie had eight songs in it that were penned by three lyricists and composed by two music directors.

One song has been covered in the past.

Here is the second song from “Pyaase Nain”(1954) to appear in the blog. This song is sung by Meena Kapoor. Wahiq Qureshi is the lyricist. Music is composed by S K Pal.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Pyaase nainon ki pyaas bujha de (Pyaase Nain)(1954) Singer-Meena Kapoor, Lyrics-Wahid Qureshi, MD-S K Pal

Lyrics

pyaase nainon ki pyaas bujha de
bichhad gaye hain jo
bichhad gaye jo
unko mila de
unko mila de

apna sahaara koi nahin hai
jag mein hamaara koi nahin hai
jiska kinaara koi nahin hai ae
koi nahin hai
us dariya se paar lagaa de
unko mila de

honthon par hai thhandi aahen
dekh dekh kar thhaki nigaahen
kho gayi sab jeewan ki raahen
aasha ka koi deep jala de
unko mila de
pyaase nainon ki pyaas bujha de
bichhad gaye jo
bichhad gaye jo
unko mila de
unko mila de

din raat yoon jo dukh main paaun
darr hai ke tujhko bhool na jaaun
dukh paa kar bhi main muskaaun
main muskaaun
aisi koi raah bata de
unko mila de
pyaase nainon ki pyaas bujha le
bichhad gaye hain jo
bichhad gaye jo
unko mila de
unko mila de


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 : 3516 Post No. : 14122

“Tamaasha”(1952) was directed by Phani Majumdar. The star cast comprises of Ashok Kumar, Dev Anand, Meena Kumari, Kaushalya, Kishore Kumar, Sunalini Devi, Bipin Gupta, Shivraj, Randhir, Krishnakant, Haroon, S N Banerjee, Amit Bose etc. in it.

The movie which was produced by by Ashok Kumar and Savak Vacha under the banner of Bombay Talkies, under the management of Workers’ Cooperative.

The movie had eight songs in it which were composed by Khemchand Prakash (one), S K Pal (two) and Manna Dey (five songs). Six of these songs including all Manna Dey compositions have been covered in the past.

Here is the seventh song from “Tamaasha”(1952) to appear in the blog. The song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by S K Pal.

The song is lip synced by Meena Kumari.

Video

Audio


Song-Thhi jin se pal bhar ki pehchaan (Tamaasha)(1952) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

Thhi jin se pal bhar ki pehchaan
bane ab man ke wo mehmaan
ye kya paagalpan hai
ye kya paagalpan hai
Thhi jin se pal bhar ki pehchaan

huye hain jab se wo apne
huye hain jab se wo apne
main dekhoon din mein bhi sapne
ye kaisi uljhan hai
ye kya paagalpan hai
Thhi jin se pal bhar ki pehchaan

kisi ki haar
kisi ki jee eet
kisi ki haar
kisi ki jeet
anokhi hai yahaan ki reet
anokhi hai yahaan ki reet
bina sur goonjta sangeet
ye kaisa gunjan hai
ye kya paagalpan hai
Thhi jin se pal bhar ki pehchaan

gulaabi zindagi ki bho o o o or
o o o or
gulaabi zindagi ki bhor
sunahri hai kiran ki dor
sunahri hai kiran ki dor
baandhne aaya hai chitchor
baandhne aaya hai chitchor
ye kaisa bandhan hai
ye kya paagalpan hai
Thhi jin se pal bhar ki pehchaan
bane ab man ke wo mehmaan
ye kya paagalpan hai
ye kya paagalpan hai
Thhi jin se pal bhar ki pehchaan


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3481 Post No. : 13982

Today’s song is from film Maa-52. It is sung by Manna Dey, under the baton of composer S.K.Pal.

The film was produced by Ashok Kumar and Sawak Vachha for Bombay Talkies. The director was Bimal Roy. The screen play was also by Bimal Roy on the story of Swaraj Banerjee.Dialogues were by Nabendu Ghosh and the translations were done by Nazir Hussain and Asit Sen (roly poly actor and Director). The cast was Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc etc.

Nabendu Ghosh (27.3.1917 to 15.12.2007) was born in Dhaka. He was a famous Bangla writer, who joined New Theatres. In 1951 he left New Theatres and joined Bimal Roy in Bombay. He wrote Screen plays/dialogues for most of Bimal Roy’s films. After Roy’s death, he worked with Hrishikesh Mukherjee for a long time. In 1988, he directed his only film “Trishagni’. After his death, his autobiography,”Eka Nauker jatri” was published.

Maa-52 was Bimal Roy’s first film in Bombay. He was born on 12-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land and the family came on the road. The big family shifted to Calcutta in 1930-31.

Bimal Roy joined New Theatres as an assistant to Nitin Bose. He soon became an expert Cameraman and shot films like Chandidas, Devdas, manzil, Grihdaah, Maya, Mukti etc. In 1937, he was married to Manobina Sen. He continued as a Cameraman till 1942 doing more films like Abhagin,Badi Didi, Abhinetri, Haar jeet and Meenakshi.

By 1942, due to restrictions on supply of raw film and financial crisis, added to Ego problems of Big artistes and the management, New Theatres came into problems. One after another most artistes like Barua, Debki Bose, Nitin Bose, Saigal, Prithwiraj kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film Udayer Pathe/Hamraahi in 1944. The successful film ran for an year in Calcutta and established him. Then came Anjangadh,Mantramugdha and Pehla Admi.

Bimal Roy came to Bombay for the premiere of film Pehla Admi-50. Here he met his old collegue Hiten Chaudhari,who was working in Bombay Talkies-supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- Maa-52, for direction. Then came Parineeta-53. Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like Do Bigha Zamin, Naukari, Devdas, Madhumati, Sujata, Parakh, Prempatra and Bandini for his own productions. For others too he directed films like Biraj Bahu, Baap Beti and Yahudi. Bimal Roy Productions mad films like Amanat, Parivaar, Apradhi Kaun,Usne kaha tha,Kabuliwala and Benazir where other directors did the films.

Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, Lungs Cancer was detected and he died on 8-1-1966

Bimal Roy was not only a very sensitive person, but he was like an Institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great film makers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Salil Chaudhari ( Do Bigha Zamin-53 was based on his story Rikshawala, written in the 40s. Parakh was also his story and he wrote screen play for Prempatra) and Basu Bhattacharya. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated film Anupama to his memories.

One special characteristic of Bimal Roy was song picturisation on character and unknown artistes ( like Guru Dutt). Sachin Shankar sang Parakh song-kya hawa chali. His production manager’s wife Dolly kapoor sang 2 songs in Bandini. Rajdeep, a character artiste sang”mat ro mata laal tere bahutere”in film. W.M.Khan sang in Kabuliwala. In same film a small time actor M.V.Rajan also sang a song.

Bimal Roy shot a major part of film Madhumati in Nainitaal. When he came back to Bombay, to his dismay, he found that 60% shots were spoiled. Without losing head, he shot all those scenes in Bhandardara-near Bombay and the film was edited so well, that nobody felt any difference !

Film Maa-52 was a solid tear jerker competing with any Madras film from AVM or Gemini. The story of the film was…

Chander Babu (Nazir Hussain) is a retired Post office employee, now working with the local Zamindar, on a very low salary. He and his wife (Leela Chitnis) live in Chandanpur. They have two sons. Elder son Rajan (Paul Mahendra) is married to a wealthy family girl (Achla Sachdev), who is very arrogant. He is studying final Law course. The younger son Bhanu( Bharat Bhushan ) is good natured and helpful. He studies in college. he is in love with a girl Meena (Shyama) and her father approves their marriage.

Rajan needs Rs. 300 for his exams, but his father can not get this much money. His own wife has the money but refuses to give. One day Bhanu is returning to his house in the night when he hears “Thief, Thief ” He finds that the Thief is no one else, but his own father who tries theft for Rs 300 to give the fees. Bhanu takes the blame on himself, is caught and jailed.

When Bhanu is released and comes to meet his parents, he is told by Rajan that they don’t want to see even his face. Bhanu goes away, is helped by an advocate and gets a Bank job. His father confesses everything to his wife, gets a shock and dies. The mother goes in search of Bhanu. She is treated like a maid in Rajan’s house. Bhanu works hard and becomes a manager. He sends Rs100 money order every month to his mother, but Rajan and his wife take that Money order, without mother’s knowledge. Bhanu meets Meena and their love kindles again. She tells him about his mother.

Bhanu comes back and meets the mother. He realises that she is treated lie a maid by Rajan and wife. He goes to Rajan, fights with him, drags him to his mother. Rajan and his wife repent and ask for a pardon. The Maa pardons them. Bhanu and Meena’s marriage is announced.

Film Maa-52 had only 6 song. Today’s song is the fourth song to be posted here. It is sung by Manna Dey. The Music Director S.K.Pal- Surya Kumar Pal, was the nephew of composer Ramchandra Pal. He first joined Shalimar pictures of Poona and in the end did few films for Bombay Talkies. In all he did 19 films. His last film was Dhola Maaru-56, in which, for the first and last time, he used Lata Mangeshkar for his songs. The song is picturised on Leela Chitnis….


Song-Chale re chale Raam vanwaas (Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

aakaash bhai bhaanu ??
aaya andhiyaara
maa ke nainon se chhupaa
nainon ka saara

chale re
chale Raam vanwaas
chale re
chale Raam vanwaas
chhal chhal neer bahaaye maata
chhal chhal neer bahaaye maata
naina bhaye udaas
pita ke man mein peer uthhhi hai
pita ke man mein peer uthhhi hai
aas bhai hai niraas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

aaj achaanak aandhi aayi
aandhi aayi ee ee ee
aaj achaanak aandhi aayi
van ki kali kali murjhaayi
sneh bhare ae ae ae ae
sneh bhare maa ke madhuvan se
sneh bhare maa ke madhuvan se
roothh gaya madhumaas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

apne jeewan ka dhan kho kar
laut rahi hai maa ro ro kar
laut rahi hai maa ro ro kar
haay lagi kismat ki thhokar
tooti man ki aas
Raam gaye vanwaas
haaaaye
gaye Raam vanwaas


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 TWELVE years. This blog has over 15900 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

15916

Number of movies covered in the blog

Movies with all their songs covered =1221
Total Number of movies covered =4362

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