Posts Tagged ‘S K Pal’
Wo aankhen kya aankhen
Posted on: April 11, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
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
Dhhal gayaa aashaa ka sooraj
Posted on: February 13, 2020
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
Mhaane chaakar raakho jee
Posted on: December 23, 2018
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
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
Pyaase nainon ki pyaas bujha de
Posted on: June 17, 2018
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
Thhi jin se pal bhar ki pehchaan
Posted on: March 4, 2018
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
Ye raag papeeha gaataa hai
Posted on: January 21, 2018
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 : | 3474 | Post No. : | 13951 |
This song is a rare non-film song rendered by Umaraziya Begum.
Based on the details (erroneous, as we now know them to be), the uploader of this song has listed this as a song of the 1942 film ‘Ek Raat’, sung by Neena. The names of the song writer and the music director are also provided along with this upload.
Our friend Sadanand ji was the first one to raise the doubt about the details of this song. Later, we now have a confirmation from Shri Girdharial ji Vishkarma (of Jodhpur). Girdharilal ji has the original record of this song, as published by Jien – o – Phone company.
As per the details available, this song is sung by Umaraziya Begum. The lyricist of this song is not known. Based on certain other inputs, Girdharilal has provided the input that the music director for this NFS song most likely is Ghulam Haider Sb. As per him, there are many other songs in the voice of Shamshad Begum and Umaraziya Begum, that are released on Jien O Phone records, and all are composed by Ghulam Haider Sb.
Thanks to Sadanand ji and Girdharilal ji, for identifying the correct information about this song.
“Ek Raat”(1942) was produced and directed by W Z Ahmad for Shalimar Pictures. The movie had Prithviraj Kapoor and Neena in lead roles with Mubarak, K N Singh, Feroza, Gulab, Prakash, Rajkumari Shukla, Bibi etc.
The movie had 8 songs. One song from the movie has been covered in the past.
This movie was the debut movie of Neena (actual name Shahida) who was launched with an unprecedented media blitz and fanfare prior to the release of the movie. Mr Sadanand Kamath, while covering the first song of this movie has discussed this matter in detail.
Here is the second song from “Ek Raat”(1942) to appear in the blog. This rare song, like the earlier song, is sung by Neena. The lyricist of this movie (for 7 out of 8 songs), including for this song, was Pt Indrajeet Sharma, and not Pt Indra, as is erroneously mentioned in most onine sources.
Music was composed by S K Pal.
The song was picturised on Neena herself.
Song-Ye raag papeeha gaata hai (NFS)(1940s) Singer-Umaraziya Begum, Lyrics-[Unattributed], MD-Ghulam Haider
Lyrics
ye ae ae ae ae ae
raag papeeha gaata hai
ye ae ae ae ae ae ae ae ae ae ae
raag papeeha gaata hai
kyun pawan ke kaandhon par moorakh
kyun pawan ke kaandhon par moorakh
kyun pawan ke kaandhon par moorakh
jeewan ka mahal banaata hai
jeewan ka mahal banaata hai
ik shwaas ka naata hai tera
ik shwaas ka naata hai tera
ye ae ae ae ae ae ae ae
raag papeeha gaata hai
din ke ujiyaale mein kaliyaan
din ke ujiyaale mein kaliyaan
phool banen aur kumhlaayen
phool banen aur kumhlaayen
raat ke
andhiyaare mein
taare
toote
aur
toot toot kar
toot toot kar
toot toot kar
samjhaayen
toot toot kar
samjhaayen
kyon on on on on on on
shwaas ke chhal ke aata hai
ye ae ae ae ae ae ae
raag papeeha gaata hai
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.
“Nayi Reet”(1948) was directed by Shubhkaran Ojha for India Film Corporation, Bombay. This obscure “social” movie had Sulochana Chatterji, Geeta Bali, Rajendra, Krishnkant, Tiwari, Badri Prasad, Tarabai, Leela Mishra, Ramesh Sinha etc in it.
Read more on this topic…
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