Posts Tagged ‘S N Tripathi’
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 : | 4073 | Post No. : | 15210 |
Today’s song is from a devotional,mythological film – Nav Durga-1953. Nav Durga does not mean New Durga here, but ‘Nav’ stands for nine. This film is about the nine forms of Devi Durga and how it saved its Bhakt from annihilation.
The film was produced by Homi Wadia’s Basant Pictures. It was directed by the great Editor and special effect-Trick scene expert Babubhai Mistri. Babubhai Mistri (5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.
Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work,encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.
Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.
Rita is kidnapped by the villain and made into a Night club singer,while Rai Bahadur brings up good Madhuri.
Nadia was appreciated much for the performance contrast for both roles.
This film was First in India to use Split-screen method for double roles,where both sisters could cross each others,shake hands and talk together.The other attraction was the Night club set,which,in case of police Raid,could be converted into a respected residence in few minutes.It was a great fun to watch these two things.
A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.
The cast of the film Nav Durga-53 consisted of Usha Kiran, Mahipal, S N Tripathi, Sulochana Chatterji, Amarnath, Agha Shapur, Raja Sandow and many more. Usually, there are more characters in a Mythological film and hence their credit list is very long. In this list, the name of Raja Sandow appears. I am sure, this is not that Raja Sandow, who was famous as a silent film Hero and who acted in many Talkie films too. He died in 1942 itself. Obviously, this must be some other Raja, trying to cause “Same name confusion” without success,though.
However, one name in the cast – Amarnath- is worth a re-look. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath.
This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.
Amarnath (Bharadwaj) starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.
In India, there is no dearth of festivals. In fact, India can be called a Nation of Festivals. With scores of religions in India and every religion having its own Festivals, one can imagine the number of Festivals. Not every festival is celebrated all over the country, but even the major 7 religions have their own festivals. Hinduism being the largest religion (80% as per 2011 Census), almost every month has , if not a major, but minor festival in some or the other region of India.
The period of October to January is called a Festival season, as many major festivals like Dashehara, Diwali, Christmas and Sankranti fall in this period. Vijaya Dashami or Dashehra or Dasara is due in next month, so is Diwali too. Dashehra is celebrated also as a Durga Puja Festival enthusiastically, in the Eastern part of the country mainly, but all over India, Durga Puja is done.
Film Nav Durga-53 was about the powers of Maha Shakti Durga Mata. Durga is believed to have 9 forms. Navdurga, Nine forms of Durga, are nine manifestations of the goddess Durga in Hinduism, especially worshiped during the festival of Navratri where each of the nine manifested forms are venerated respectively for each night. In short, they are…
1. Shail Putri – Daughter of Himalayas
2. Bramhacharini – Daksh Kanya Sati-before marriage
3. Chandraghanta – After marriage to Shiv, adorned his forehead as Half Moon
4. Kushmanda – Living in the Sun
5. Skandmata – Mother of war lord Kartikey
6. Katyayani – Daughter of sage Katyayan, destroyed Mahishasur
7. Kaalratri – Most ferocious and fiercest, destroyer of Asurs Shumbh/ Nishumbh
8. Mahagauri – Goddess of purity and cleanliness and
9. Siddhidatri – Adi Parashakti, appears from Siva’s left side
The story of Nav Durga-53 was- Suryawarcha is punished by Indra dev for his arrogance and is sent to mrityulok(Earth),when he is about to get married to Vishala.On Visahala’s request Vishnu assures that he will come back to swarga again,but she must prey to Maa Durga.
Maurvi d/o asur Mur wants to take revenge on Krishna for killing her father.She marries Ghatotkach s/o Bhima.They get a son Barbarik(Suryavarch),whom Murvi takes to Navdurga at Guptakshetra Sangam and prays.
Barbarik gets a boon of invincibility except for an Avtar of Vishnu.He goes to Pandavas and challenges them,knowing that Krishna will also come there.In the war,Krishna severs his head with Sudarshan Chakra.Mata Durga appears and takes Suryavarcha to heaven where his consort Vishala is still waiting with a Garland.
Today’s song is very sweet, melodious and a lilting song. I feel this tune is inspired by a similar sounding song, ” Hum tum yeh bahar, dekho rang laya pyar, barsaat ke mahine mein” – a duet of Rafi and Lata, composed by Ghulam Mohd,MD, for film Ambar-52.
(Thanks to Harish Raghuwanshi ji for Amarnath information and blog beetehuedin.com for Babubhai information, used herein.)
Song-Ek teer chalaa ke gori bijli giraa ke (Nav Durga)(1953) Singers-Chitragupta, Shamshad Begam, Lyrics-Ramesh Chandra Pandey, MD-S N Tripathi
Lyrics
ek teer chalaa ke
gori bijli giraa ke
mohe chhod ke akeli kahaan jaaye re
o tere sath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re
o ek teer chalaa ke
gori bijli giraa ke
mohe chhodke akeli kahaan jaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re
dekho ji dekho ji dekho dekho ji
kya
mera naram kaleja toot jaayega
bhala hoga mera peechha chhoot jaayega
hoye chhoot jaayega
o mera naram kaleja toot jaayega
o bhala hoga
mera peechha chhoot jaayega
hoye chhoot jayega
ari sun to
aise baalam ko sataana nahin accha ji
o sote sher ko jagaana nahin accha ji
sher
arre ja
teri mendhak ki chaal hai
bakre ki khaal hai
teri kya mazaal hai
tu banega sher
ari meri baat maan gori mujhe pehchaan
kaahe jhoothmooth rang tu jamaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re
suno ji suno ji suno suno ji
tu kaun hai
ye poochhne main aayi hoon
o tere baap ka hone waala jamaai hoon
ho jamaai hoon
tu kaun hai
ye poochhne main aayi hoon
tere baap ka hone waala jamaai hoon
ho jamaai hoon
arre ja
chal hat teri baat mein jamaal hai
badi door abhi teri sasuraal hai
accha dekhta hoon gori aaj teri seenajori
tu kab tak akad nibhaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re
nahin maanengi
un hoon
nahin maanengi
un hoon
nahin maanegi
to main bhi mar jaaunga
accha hoga
din raat bhoot banke sataaunga
o din raat bhoot banke sataaunga
sataaunga sataaunga
mere bina ek din tera jeena hai kathin
tu pal bhar chain na paaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye 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 : | 4033 | Post No. : | 15155 |
Today’s song is from film Shri Ganesh Mahima aka Shri Krishna Vivah-1950.
Mythological films have been my weakness from the beginning. When I was around 10-12 years of age, I would be a very happy, willing and enthusiastic escort to family elders-especially ladies, going for a Bhakti Pradhan film. What I liked in these films was the trick scenes and fantastic costumes. later on I realised these films also provided lot of religious knowledge in the formative years.
Most mythological films were based on stories from Ramayan and Mahabharat. But many films were also using stories from various Puranas like Shiv Puran, Vishnu Puran etc. There was no dearth of such stories, what with 18 Puranas and 2 Epic books. Stories of Puranas etc have some hidden meanings, which one has to look for. Few years ago,in one of my posts, I had explained how the Dashavatars of Lord Vishnu were actually the story of evaluation of Life on Earth. The first avtar of Matsya( the fish) explains us how life on earth began in water.The second avtar of Koorma (the Tortoise) told us the development of Amphibians who started living on land and water. So on and so forth
In Tretayug, Shri Ram came and in Dwapar Yug, Shri Krishna was incarnated by Lord Vishnu. Shri Ram gave a lesson on how to be an ideal son, husband, friend and a King, but Krishna taught us how to be a street smart person and win over enemies skillfully. I feel in today’s times, Krishna is more relevant than Ram. Krishna also taught us how to be a happy person and enjoy everything.
Like religious stories , there is no shortage of Gods also, in our Religion. This is actually one of the plus points of Hinduism. Each community can and will have its own version of God. Many Gods, but basics are never compromised. Everyone knows there is only ONE GOD, having a different version to suit the worshipper. Examples are, Fishermen have God in the matters related to Sea and Tribals in forests worship Gods made of Wood. We all know that these are all symbols and God lives in our Hearts.
One can find stories of most popular Gods like Ram,Krishna, Ganesh, Hanuman, Shiv ji, Vishnu etc, but somehow the film world has ignored Bramha, Saraswati, Shani deo, Surya dev, Kartikeya etc. These are the Gods for whom even temples are few. Kartikeya (elder son of Shankar-Parvati) is worshipped in south as Kumara swami. These Gods do appear in some films for few minutes, but exclusive films on them are missing. Now that Mythology is present only on TV, such films have become rare these days.
Our Indian film makers will never fall short of subjects for their films. They can combine any stories and make a Hybrid film- like for example, Sindbad,Alibaba and Alladin-1965. They can give families and children to famous characters like Zimbo ka Beta, Alladin ki Beti etc. The worst molestation has been done to the famous character of Tarzan. He is combined with, Capt. Kishore, Delialah, King kong, Circus, Cobra, Gorilla, Hercules, Jadugar, jadui Chirag, Jalpari and a Fairy. Tarzan is provided with a Mehbooba, Beta and Beti. Tarzan has been sent to Delhi, Paristan, Fairyland and even in a wonder car. I feel pity for Edgar Rice Burrows who must tired of turning in his grave !!!
Film Shri Ganesh Mahima aka Shrikrishna Vivah-50 is also a combination of stories from Ganesh Puran and Bhagwat Puran. In Ganesh Puran, there is a story that once The Moon laughed at Ganesh. Ganesh was angry and he gave a curse to the Moon. Moon came on his knees and then the curse was modified that whosoever sees the Moon on only Ganesh Chaturthi night, will be falsely accused of theft. In our childhood there was a rumour that to ward off the false accusation of theft, if you throw stones on somebody’s house and he abuses you, then the curse disappears. Some naughty boys used to do this and get abuses profusely !
In Bhagwat Puran, the story of Shrikrishna’s marriage to Satyabhama is described. In this film,both these stories are interwoven skilfully. The story of this film, as noted by me in my diary, is thus……
Great and Miraculous powers are attributed to Shri Ganesh the benefactor of mortals as well as the immortals. Such a benign being was once laughed at by Chandra only to be cursed by him. Realising his folly, Chandra begged for forgiveness and the curse was modified by the merciful divinity to be effective only on the day of Ganesh Chaturthi. He ordained that anybody looking at the moon on that night will be a victim of false accusations.
It was on such a day that Shri Krishna unwittingly looked at the moon in the night and had to suffer the indignity of being falsely accused of theft of Syamantak Mani. This jewel was acquired by Satrajit, one of the Yadavas as a boon from God Sun. Shri Krishna had sent Narad to Satrajit expressing his desire to possess the Mani. The events took such a turn that there was circumstantial evidence against Shri Krishna who happened to be at the Chambers of Satrajit’s daughter Satyabhama, devotee of Lord Krishna on the night prior to Satrajits losing the Mani. Shri Krishna was shocked at such allegation made by Satrajit and Shatadhanva ( Another Yadava) who had been promised by Satrajit the hand of his daughter Satyabhama.
Shri Krishna took upon himself to find out the jewel and redeem it to its rightful owner only to clear himself of the allegation. A search party was organised which came across the dead body of Prasain, a carcass of lion and also the foot-prints of a bear blazing a new trail which when followed led the party to a cave. Shri Krishna went inside the cave telling the followers to wait at the cave entrance for seven days and if he did no return by then, to go back to Dwarka. Inside the cave Shri Krishna found the Syamantak Mani and also Jambuwanti, the daughter of the powerful bear king Jambuwant. There ensued a fight between Shri Krishna and Jambuwant lasting for twenty one days. The people at the entrance of the cave returned as per instruction after the seventh day. The duration of this fight gave Shatadhanva a real chance for villainy. He puts in an all over effort to win the hand of Satyabhama who would marry none but Shri Krishna. Jambuwant after losing the battle gave away his daughter in marriage and Syamantak Mani as dowry to Shri Krishna.
Coming to Dwarka, Shri Krishna returned the jewel to its rightful owner, Satrajit repented and made amends by giving away his daughter to Shri Krishna in marriage. Shatadhanva came to know of this alliance and made short work of the unsuspecting Satrajit and decamped with the Mani. Shri Krishna brought justice to the evil doer and the villain Shatadhanva fell a victim to his famous Sudershana Chakra.
The cast of the film was Mahipal, Meena Kumari, S N Tripathi, Moolchand, Dalapat, Amarnath etc. The film was made by Basant Pictures and directed by its owner, Homi Wadia. Music was by S N Tripathi. In the arena of Mythological, Historical and Religious films, from the 40s to the 60s, the names of Mahipal, Trilok kapoor, Manhar Desai, Prem Adib and Shahu Modak were taken frequently. Similarly,Jeevan as Narad was also popular. All the Heros were handsome and they had a sort of special glow on their faces. Each of them had a special style of portraying roles. Prem Adib was famous for his roles of Ram, Shahu Modak excelled as Shrikrishna with his mischievous smile. Trilok Kapoor means Bhagwan Shankar. Manhar Desai and Mahipal did a variety of roles of different Gods. While Manhar Desai was more active on Gujarati screen, Mahipal worked mainly in Hindi films. His repertoire of roles included films of Mythology, History, Costume and Folk Tales.
Mahipalchand Mahadevchand Bhandari was born in Jodhpur, Rajsthan on 24-11-1919. By 1941 he got his B.A. degree and he also started participating in Kavi Sammelans,with his poetry. His break in films came with Nazrana-42. The film was a flop, but he was employed for writing lyrics.
He acted in Ranjit’s Shankar Parvati-43, Andhon ki duniya-43, Rajkamal’s Maali-44, Narsinh Avatar-44, Banwasi-48, Daulat-49, and Bhishma pratidnya-50. Meantime,he wrote songs for films Aap ki sewa mein-47 and Adalat-48. He did few more films with Homi Wadia and then he started his fantasy films with Wadia. For this, he was trained in Fencing and Horse riding. He worked with Shakeela in 18 films-mostly costume films of C grade. He worked with Meenakumari (4 films), Nirupa Roy (4), Shyama (6), Anita Guha (11) etc
In the 50’s decade,which was the peak for Mythological films with 124 films, his 70 films were released.In the 60s,he did 33 films-including Navrang and finally he did 19 films from 71 to 83. He did total 143 films. Mahipal spent his retired life with family and friends. He died on 15-5-2005. ( Bio adapted from ‘Inhe na bhulana’ Gujarati book by Harish Raghuwanshi ji, with thanks)
Today’s song is sung by Geeta Roy. At this time, she was still new and trying to get hold in film industry. You will love the song and her fresh voice.
Video
Song-Taaron ke palne mein jhoole chaand hamaara re (Shree Ganesh Mahima)(1950) Singer- Geeta Roy, Lyrics- Anjum Jaipuri, MD- S N Tripathi
Chorus
Lyrics
taaron ke palne mein jhoole chaand hamaara re
chaaand hamaara re
taaron ke palne mein jhoole chaand hamaara re
chaand hamara re
raaja banke raaj karega
raaja ban ke raaj karega
kundan ban ke damkega
kundan ban ke damkega
laalon ka ye laal hamaara
chanda banke chamkega
chanda banke chamkega
sabki aankhon ka ujiyaara
praan sa pyaara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re
ghar aangan mein mera munna
ghar aangan mein mera munna
khelega muskaayega
khelega muskaayega
meethhi meethhi baaton se ye sabka man bharmaayega
sabka man bharmaayega
aashaaon ka deepak hai ye
aankhon ka taara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re
Bole re panchhi bole
Posted on: May 28, 2019
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.
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Today’s song is from film Bachpan-1945.
In the history of Hindi movies, there have been three films that had the title viz “Bachpan”. The first was of course Bachpan-1945, today’s film under discussion. The next one was made in 1963, in which Salim Khan- father of Salman khan and a member of the famous writer jodi of Salim-Jawed, was the Hero – opposite Menaka Irani. She was the eldest sister of the famous child stars Honey and Daisy Irani. She was also the wife of stunt film actor and director Kamran Khan. Their children are Choreographer and director Farah Khan and Compere cum director Sajid Khan. Incidentally Mrs. P.N.Irani was the mother of these Irani sisters and also the one who took away all their earnings.
The third film was made in 1970, with Sanjeev kumar and Tanuja.
Film Bachpan-45 had a cast consisting of Baby Madhuri, Mazhar Khan, Baby Shakuntala, B.Nandrekar, Chandraprabha, comedian Dikshit, Gulab, Dalpat, Shashi kapoor(sr.) and others. There were two actresses with prefix Baby, but only one Baby Madhuri had the main child role throughout the film. The other Baby-Shakuntala had a role of an invalid child, stuck to the wheelchair only.
Baby Maduri,whose real name was Mah Laqa, was the daughter of M. Ali Baksh,M.D. and Iqbal begum,a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people,Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures and took her for his film ‘ Sandesa ‘. ( He is the same Nazir,whose first wife was Sitara Devi. He was the maternal Uncle of K. Asif ( Mughal-e-Azam fame ) i.e. Mama. He later divorced Sitara devi ( actually,she had eloped with k.Asif ) and married Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book. )
In Wadia’s film Vishwas-43, the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like Anjaan,Jungle princess,Muqabala,Ekta(sindhi),Andhera,Mahatma Vidur,paraya Dhan,Bachpan,Nai maa etc etc.
She was also called as Madhu. She was married to actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a cleptomaniac and was caught many times stealing things and shop lifting. She knew Riding,cycling and swimming too. She spoke good English,though not much educated.( Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri).
Now let us see about the other ‘Baby’ of this film. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.
Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.
Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA.
Baby Shakuntala was born in a middle class Maharshtrian family of Poona, on 17-11-1932. Those days Prabhat film company had moved to Poona. One of the Prabhat founder partners, Mr. V.G.Damle was their close relative. Along with other children, she too used to go to Prabhat premises for playing there She was 8 to 10 year old when V.Shantaram spotted her and offered a role in film, ‘Das Baje’-42 ( Daha Wajta, in Marathi). The hero’s younger brother’s role was changed to Hero’s sister’s role for accommodating her in the film.
It was a routine matter at Prabhat that for child roles in all films, the children of the partners of Prabhat( Shantaram,Damle,Kulkarni,Fatehlal and Dhaiber) or near relatives were taken. In film Sant Tukaram or other films of Prabhat, all child artistes were from within the Prabhat family only. Shakuntala was very good in studies.She used to get up at 4 am. do school studies, then do household chores, attend school and lastly attend shootings.
Das baje was a hit film. Then came ‘Ramshastri’-44 ( Bilingual-H/M ) meanwhile Shantaram and others left Prabhat and moved to Bombay. After that her work too shifted to Bombay. Due to these changes, she could study only upto Matriculation. But she was proficient in English, Marathi, Hindi/Urdu, Gujarati and Kannada. At the time of shooting for film ‘Shikayat’-48, actor Shyam made her his “Mooh Boli”sister and till he died in an accident he was very close to her.
In 1949, she was 17 year old and she became a heroine in film “Maya bazaar”-49 opposite Balakram. Then came a string of films. She worked with well known actors like Kishore kumar, Bharat Bhooshan,Karan Dewan,Amarnath,Anant Marathe,Master Bhagwan, Abhi bhattachrya etc. She was also luck to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja nene, Gajanan Jahagirdar,Shahid lateef etc. This enriched the depth of her acting.
Kishore Kumar was her Hero in films like, Chham Chhama Chham- 52, fareb-53 and Lehren-53. They had a good tuning like a naughty brother and sister. once kishore kumar surprised her by visiting her in her Kolhapur house ( after her marriage) and spent one day with her family. The famous kishore Kumar- Lata mangeshkar song “aa muhabbat ki basti basayenge hum” from film Fareb-53 was filmed on kishore and Shakuntala only.
Lot of marriage proposals started coming for her and she finally was married in 1954 to Sardar Nadgonde of Kolhapur, a Royal family. After marriage she left films, though she had good demand and became Mrs. Umadevi Nadgonde. She had a son and a daughter. She lived a contented life of 82 years and died recently on 18-1-2015, at Kolhapur.
She had acted in almost 40 Hindi films ( including bi-lingual) and 20 Marathi films from 1942 to 1954. She also acted in famous Marathi dramas on commercial stage. 14 of her films celebrated silver Jubilees. Some of her films were- Das baje-42, Ramshastri-44,Piya Milan-45, Taramati-45, Bachpan-45, Bachhon ka khel-46 ( with Meena kumari), Phir bhi apna hai-46Moti-47, Tohfa-47, Shikayat-48, Seeta Swayamvar-4, maya bazaar-49,, kamal ke Phool-50, Pardes-50,Malti madhav-51 Nanhe Munne-52, Chham chhama chham-52, fareb-53, Lehren-53, Jhamela-53, bhagyawaan-53, Biraj bahu-54, pooja-54, Bindiya-55 etc. ( Bio based on her interview in ” chanderi Aathavani ” by Sulabha Ternikar and material provided by shri Harish Raghuvanshi ji, with Thanks.)
Film India magazine was quite popular in the 40s and the 50s. In its June-1946 issue, the editor Baburao Patel has reviewed this film. As per his judgement, the film was no good. Its story (story, dialogues and songs by I.C.Kapoor) had no life and the director Homi Wadia had spoiled the film by his inept handling and direction. No wonder. Baburao patel rarely praised any film,director or an actor, so this review was on expected lines only.
The film was based onthe ” theme of innocence teaching bitter experience to look at life with a smiling understanding” according to Patel. The story of the film was…
Bhairav (Mazhar Khan) is fed up of life, because his son married outside their cast and all his society criticized him no end. He became very bitter in life and lived in a house on top of a mountain- away from society. He is feared by the villagers around. One of his relatives (Kanta Kumari) sends her niece Madhu (Baby Madhuri) to live with him. Over a period, due to the good and helping nature of optimistic smiling Madhu, Bhairav starts changing and becoming a normal person.
Suddenly, the aunt kidnaps Madhu and sells her as a companion to a rich invalid kamla(Baby Shakuntala). Here too, Madhu wins everyone’s hearts. Envied by this, the Governess (Gulab) of kamla kidnaps Madhu. Meanwhile, Bhairav is also searching Madhu. He rescues her, but the Police detain him and Madhu in the Police station. The village school Teacher Ramesh(B.Nandrekar) and his beloved(Chandraprabha) give positive evidence and Bhairav and Madhu are released. All ends well in the end.
The role of teacher Ramesh was done by B.Nandrekar. This name must be totally unknown to the new generation readers. B.Nandrekar or babasaheb Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.
In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.
His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.
Nandrekar appeared in 23 Hindi films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).
He passed away in 1949. No definite information is available about his demise.
With today’s song, film Bachpan-1945 makes its debut on the Blog.
Song-Bole re panchhi bole (Bachpan)(1945) Singers-Unknown female voice, unknown male voice, Lyrics- I C Kapoor, MD- S N Tripathi
Both
Lyrics
Bole re panchhi bole
Bole re panchhi bole
kya bole
Bole re panchhi bole
ambuwa pe baithha shor machaaye
ambuwa pe baithha shor machaaye
suno jee
haan
chhota sa dil mera
chhota sa dil
chhota sa dil mera ghabra jaaye
dole re dil mera dole
dole re dil mera dole
bole re panchhi bole
kya bole
Bole re panchhi bole
teri jawaani meri jawaani
teri jawaani meri jawaani
kehta hai wo to yehi kahaani
kehta hai wo to yehi kahaani
????
hmm
dinon ke ?? soye
?? soye
bole re panchhi bole
kya bole
panchhi to hai naadaan saanwariya
panchhi to hai naadaan saanwariya
patton ke bhi hai jaan saanwariya
baat wo ho bole haule
baat wo ho bole haule
sono je
hmm
?? uski bala se
?? uski bala se
karta hai wo to baat hawa se
jee mein jo aaye wo bole
jee mein jo aaye wo bole
bole re panchhi bole
bole re panchhi bole
Jaane waale o jaane waale
Posted on: January 24, 2019
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 : | 3842 | Post No. : | 14854 |
“Hatimtai”(1956) was produced and directed by Homi Wadia for Basant Pictures, Bombay. This movie had Shakila, Jairaj, Naina, B M Vyas, S N tripathi, Meenakshi, Sheikh, Krishnkumari, Vasantrao Pahalwan, Qamar, Kamal, Dalpat, Wazir Mohammad Khan, Menka, Shree Bhagwan, Sardar Mansoor, Kusum, Poonam, Habib Sandow, Nagpal, Master Pakkoo, Vitha, Manda, Abdullah, Pushpa, Bismillah, M K Hasan, Mitthu Miyaan, Geeta, Chanda etc in it.
The movie had nine songs in it. Five of these songs have been covered in the past.
Here is the sixth song from the movie to appear in the blog. the song is sung by Rafi, Suman Kalyanpur and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. i request our knowledgeable readers to throw light on the picturisation of this song.
Song-Jaane waale o jaane waale (Hatim Tai)(1956) Singers-Rafi, Suman Kalyanpur, Lyrics-Raja Mehdi Ali Khan, MD-S N Tripathi
Both
Chorus
Lyrics
jaane waale
o jaane waale
jaane waale khuda ki rahmaton ka tujh pe saaya
jaane waale
khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale
o jaane waale
jaane waale
o jaane waale
?? tera allah ho waali
dil tera ho gham se khali
martaba tera ho aali
ho teri duniya matwaali
ho teri duniya matwaali
pyaar tera allah ho waali
dil tera ho gham se khaali
martaba tera ho aali
ho teri duniya matwaali
ho teri duniya matwaali
ulfat bhare dilon ne jhoom ke ye nagma gaaya
ulfat bhare dilon ne jhoom ke ye nagma gaaya
jaane waale khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale o jaane waale
jaane waale o jaane waale
dushmanon ki haar hui
naav teri paar hui
zindagi bahaar hui
pyaar se gulzaar hui
pyaar se gulzaar hui
dushmanon ki haar hui
naav teri paar hui
zindagi bahaar hui
pyaar se gulzaar hui
pyaar se gulzaar hui
chalte chalte dilon ka kaarwaan manzil pe aaya
chalte chalte dilon ka kaarwaan manzil pe aaya
jaane waale khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale o jaane waale
jaane waale o jaane waale
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 : | 3715 | Post No. : | 14645 |
“Sati Nagkanya”(1956) was directed by Babubhai Mistry for Mukti Films, Bombay. The movie had Mahipal, Manhar Desai, Nirupa Roy, Babu Raje, S N Tripathi, Samar Roy, Malay Sarkar, P Kailash etc in it.
This “mythological” movie had eight songs in it which were penned by three lyricists and sung by four singers.
Here is the first song from “Sati Nagkanya”(1956) to appear in the blog. This song is sung by Asha Bhonsle. B D Mishra is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, “Sati Nagkanya”(1956) makes its debut in the blog.
Song-Ye jhilmil jhilmil taare (Sati Nagkanya)(1956) Singer-Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
Ye jhilmil jhilmil taare
karte hain hamen ishaare
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
ye chanda aur sitaare
sab ke sab tujh pe waare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
aa ha ha ha aa
aa ha ha ha aa
aayi hai raat nayi
laayi har baat nayi
jhoome hai mera ang ang re
o o o
chanda ki chaandni si
meethhi ik raagini si
doloongi tere sang sang re
o o
doloongi tere sang sang re
o mere piya pyaare
aayi hoon tere dwaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re
o sajna
aise mein aa jaa re
aa ha ha ha
aa ha haa aa
tu hai suhaag mera
jeewan ka raag mera
tu hi hai mera sansaar re
o o o
tu hai vanhaar mera
tu hi patwaar mera
naiyya lagaana meri paar re ae ae
naiyya lagaana meri paar re
o jeewan ke sahaare
aankhon ke ujiyaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
Mera ho balidaan
Posted on: September 11, 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 : | 3707 | Post No. : | 14633 |
——————————————————————–
Discussion on economics-2
——————————————————————–
Any Government, no matter what kind it is (Democratic, autocratic, Kingdom etc) needs money to function.
Government incurrs two kinds of expenditures:
1. Mandatory expenditures- on salaries of government staff, pensions of retired staff, debt servicing on loan taken etc.
2. Public administration, law and order, welfare activities, infrastructure development.
Money for all these comes from taxes, and if taxes are not enough, from borrowings (loans). It is desirable that most amount required for government is collected through taxes and not through borrowings.
Government collects money mainly though taxes. If country makes good progress (typically measured as GDP) then the government benefits through tax. But then how much tax gets collected depends on tax structure of a country as well as on the tax compliance of the country.
In general, higher the GDP, one would expect higher amount of tax collection for a country. But two countries with similar GDP can have collection of different amount of taxes. For instance, France and India have similar GDP. But their tax collections and accordingly their national budgets are different.
CIA factbook figures- from 2017 shows that
| Comparison parameter | India | France |
|---|---|---|
| GDP (nominal) $ billions | 2611 | 2584 |
| Percentage of Tax collection to GDP | 9.4% | 56.2 % |
| Budget- Revenue $ billions | 229.3 | 1446 |
| Budget- Expenditures $ billions | 330.3 | 1515 |
| Budget deficit in % of GDP | 4.1 | 2.7 |
Thus we see that India and France have similar GDP, but the revenue collected through taxation etc in France is more than 50 % of GDP whereas India was not able to collect even 10 % of GDP as revenue. So the advantage of such a large GDP could not be made use of by Indian Government. This is food for thought for those in India who do not pay taxes or underpay taxes and then blame government for not doing anything/ enough for them. Government can work to fulfill public aspirations only from the money that they receive as revenue. If Indian Government received as much in revenue as France receives then India would develop at an enormous rate and many public “grievances” would get addressed promptly and effectively.
Indians are used to receiving subsidies instead of paying for the goods/ services. While it may make them feel good on short term basis, these subsidies do not come for free. They are far more costly for the national economy that if we simply paid for the service without availing subsidy.
Let me illustrate my point by the example of petroleum prices which is a “burning” issue in India at present. Opposition parties are telling that the government is harrassing public by not reducing oil prices and so the government is anti people.
Let us examine the issue in some detail.
India imports crude oil and then refines it in refineries of oil companies of India. These refined products are then offered at retail outlets for sale. Though GST regime had come in existence in India but petroleum products are so far kept out of its ambit. So Petroleum products have the same old taxes as before namely excise duty which is levied by Central Government on oil companies and VAT which is levied by state governments at sales outlets.
So, the prices of petroleum products in India are determined mostly by taxes namely excise duty and VAT.
We have seen above that the tax collection in India is abysmal. Direct tax (viz Income tax and corporate tax) is paid by just one percent of population whereas indirect taxes (earlier there were so many of them, now just GST is there) traditionally yielded very little because most of indirect taxes were evaded and they never reached the coffers of the government.
Keeping all this in mind, Governments (Central as well as states) have deliberately kept Petroleum products out of GST and the same old taxes have been kept on them. This is one source of revenue, which unlike Income tax and other indirect taxes cannot be evaded and so it forms a very good chunk of revenues for Central as well as states.
If crude price goes up, then domestic prices are raised. If on the other hand, crude prices drop then domestic prices are not lowered. The additional revenue that accrues to governments when prices are low are plowed back into all these infrastructure and welfare works that are taking place all over the country. As long as this tax money is going for nation building and other essential activities then one should not mind it too much.
Let us examine what happens when Government decides to keep the prices of petroleum prices down artificially despite crude price skyrocketing. It basically means giving subsidy of that amount. Money for subsidy has to be raised from somewhere.
Let us examine the populist actions and their repercussions.
Government decides to lower the price by say Rs 10 and so gives a subsidy of Rs 10 per litre namely it reduced excise duty by Rs 10.
From where this Rs 10 will get compensated ? As discussed above, from tax collected, failing which borrowing. We have already seen what poor tax collection we get in India, so that leaves borrowing as the only option.
| Steps | Government Action | Action for compensation | Economic/ Market reaction |
|---|---|---|---|
| ONE | Give subsidy | Take loan to compensate for the loss | Current Account Deficit goes up |
| TWO | Borrow money from market | Money borrowed from market by Government | Fiscal deficit goes up |
| THREE | Revenue earned in future to be used for repaying debt | Money that should have been used for infrastructure/ public works going instead towards loan repayment | Interest rate goes up |
| FOUR | External trade gets affected adversely | Import increases and export falls | Trade deficit goes up |
| FIVE | Rupee weakens | Import becomes costly | Rupee gets devalued |
| SIX | Foreign currency gets stronger | Foreign currency becomes costly and scarce | Foreign currency reserve falls affecting imports |
| SEVEN | High Fiscal deficit sends adverse signal to FII (Foreign institutional investors) | FII withdraw their money | Share market falls and market sentiment becomes negative |
| EIGHT | Foreign capital exits the market | Foreign capital becomes scarce | Growth of economy slows down |
I have stopped at step eight. There are other steps as well that becomes more and more catastrophic. Providing subsidy is akin to taking loan and that too a hefty loan and we keep repaying this loan back for many years and even decades. A good part of revenue earned by the government goes into loan repayment instead of going into useful infrastructure/ welfare work.
Giving subsidy instead of charging for it has cost the nation heavily and the public (who themselves demand these subsidies) themselves have to bear the burden in future.
One question that gets asked it, how did the previous government keep petroleum price in check despite high crude price. Answer- by taking the easy way out viz by providing subsidy. The nation and the public paid heavily for it for years.
Here is how it worked out.
One barrel of crude oil was $130. The government became hell bent on keeping the domestic price low. They gave heavy subsidy and compensated by borrowing money in the form of Oil bond. It caused Fiscal Deficit to rise.
That oil subsidy caused fiscal deficit and that led to interest rise, causing slump of business activities, this in turn led to inflation. The credit rating agency Moody threatened to downgrade India’s credit rating which shows that Foreign investors had lost faith in Indian market.
And all that just because of this populist decision of trying to keep the oil price down through subsidy.
One of the present day oil price rise protester, who was on the PM chair at that time, addressed the nation at that time on 4 june 2008 and he had this to say while providing oil subsidy-
“I would like the nation to remember that issuing bonds and loading deficits on oil companies is not a permanent solution to this problem. We are only passing on our burden to our children , who will have to repay this debt.”
So, those who had no guts to stand up in national interest ten years ago are today demanding that the present government show the same spinelessness that they showed during their time in power.
The Oil bond (viz the loan that they took to pay for oil subsidy) was not for a small amount. It was a hefty amount of Rs 2 lakh crore ($26 billions) and it had to be repaid in future. The present Government repaid it out of the foreign exchange reserve. Just imagine ! That previous government left the burden of this $26 billions loan on future governments and future generation of Indians. This amount, which could have financed lots and lots of infrastructure/ welfare works just went away as repayment of unnecessary loan. To put things in perspective, $26 billions is a bigger amount than what a neighboring country, which is in financial dire strait, is desperately looking for from IMF.
So in summary, I would say that the decision not to reduce oil price is in national interest. It is what is Fiscal discipline is all about. I would like all governments to show the same guts in standing firm in national interest. Fiscal discipline has had a salutary effect on Indian economy. Today inflation is down at around 5 % mark from the usual 10 % mark during oil subsidy days. Current Account deficit is 2.4% from a high of around 5 % in the past. Fiscal deficit, which is an indicator of financial health of the nation, is now 3.2 % of GDP (from past figures of 4.5 % of GDP) which is unprecedented for Indian economy. Foreign exchange, despite weakening rupee is at nearly at an all time high. There was a time when India had to approach IMF and had to pledge their gold to them to borrow a sum of $ 2 billions. Today, with a foreign reserve in excess of $400 billions, $2 billions is small change for India.
Squandering public money on populist activities is an act of gross fiscal indiscipline and its consequances can be devastating. There are examples of countries that were destroyed because of populist policies. Argentina, which used to be an advanced economy till 1950 came under the rule of a populist regime and then military dictatorship which destroyed its economy and that economy lies destroyed even today, with that country looking for an IMF bailout package repeatedly, including at present. Then there are other examples as well, viz Greece, Portugal, Ireland, Cyprus etc. Why look at foreign examples. Even Indian economy lay in ruins in 1990 as a result of fiscal indiscipline for three decades, that forced India to approach IMF for bailout in 1991. A nation that felt stung and humiliated before IMF took up the path of liberalization of economy. Some tough and brave decisions by that government and subsequent governments set India on the path of economical recovery and prosperity.
Instead of being misled on trivial issues by people with selfish motives, we should find out real facts about important issues on our own, instead of blindly believing whatsapp forwards that often originate from people with malicious motives. I have seen whatsapp forwards that “informed” us that oil price in India was the highest while is was very low in Pakistan, Nepal etc. The question to be asked is- do you know the condition of public services in Pakistan and Nepal? Pakistan does not have electricity half the time and their electricity tariff is the highest in the world. Their electricity changes are Rs 16 to 20 per unit. In India it is Rs 4 per unit. Are Indians prepared to pay electricity charges that Pakistanis pay ? In India 10000 pairs of trains run daily and a population equal to that of Australia is travelling on IR at any time. In comparison only about 300 trains run in Pakistan and only a population of 1.8 lakh (equal to population of a small town like Khandwa or Ganj Basoda) is travelling in Pakistan Railway in one day. In India, 3.3 lakh people fly by air daily ! In Pakistan only 6600 passengers fly by air in one day. India have the cheapest internet service in the world which is reasonably fast for the price. Many useful services like Railway and airlines reservations, banking services etc are already accessible on internet. Would Indians be ready to have the kind of internet that Pakistanis “enjoy” ? What about law and order ? Providing all these services takes money, and that money comes from taxes. If you provide petrol at subsidised prices that Pakistan and Nepal apparently do then you end up starving your public services with the result that your public services are of poor quality and/ or non existent.
India should compare themselves with China and there we find that the Chinese petroleum prices are similar to Indian prices.
I, as someone who has as much a stake as anyone else in the country, including politicians, would like all my governments to stand firm and gradually dismantle all subsidies. I would also want the tax collections in the country to come at par with advanced countries. All advanced countries collect atleast 25 to 30 % of their GDP as taxes and that is how they are able to finance their government spendings through taxes without needing to take loans. People not paying their taxes and expecting government to give them freebies/ subsidies, that can only be counterproductive. People who do not perform their duties should not expect any free favours. Nothing is free in this world. Someone has to pay for the services that some people may be availing for free or at subsidised rates. It is better if everyone pays for the services he /she is availing.
In brief, one has to make “sacrifices” if one wants to have a better and more prosperous future. If one looks around, one can see infrastructure works going on all around in areas like roadways, railways, ports, waterways, metros, Airports. Then there are welfare works like Pradhan Mantri Jeevan Jyoti Bima Yojana, Pradhan Mantri Suraksha Bima Yojana, Ujjawala, Ujaala, Jan Dhan Yojna, Pradhan Mantri M Jan Aushadhi Kendra etc. If taxes paid by us in various forms (including taxes on petroleum) are going for building infrastructure as well as for helping the poor sections of society, then where is the problem. I in fact would feel happy that my taxes are helping the nation grow visibly. What is there to feel aggrieved about ?
Instead of feeling aggrieved about petroleum prices that are not within our control because they are imported, we should on our own try to reduce our dependence on fossil fuel and look for alternative sources of energy that would be within our own control. Government is making long term plans to reduce our dependence on fossil fuel. We may not have notice it, but solar energy is being aggressively promoted. India is rich is sunlight and so we will be self sufficient in solar energy. Today it may only be supplying 2 % of our energy needs, but before we blink our eyes, we will find as much as 50 % of our energy needs being met by solar energy by 2030. That will reduce our dependence on fossil fuel a great deal and oil prices will become a non issue.
“Durga Pooja”(1954) produced by Dhirubhai Desai and his son Sharad Desai and directed by Dhirubhai Desai for Sharad productions, Bombay. The film had Trilok Kapoor, Shahu Modak, Nirupa Roy, S N Tripathi, Kamal, Indira Bansal, Prabha Shanker, Yashodhara Katju etc in it.
The movie had ten songs in it. Two songs have been covered in the past. Here is the third song from “Durga Pooja”(1954) to appear in the blog. The song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
I have not been able to get a few words correct in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Mera ho balidaan (Durga Pooja)(1954) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-S N Tripathi
Lyrics
mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan
mere jeewan ke badle mein
miley kisi ko praan
mera ho balidaan
mera ho balidaan
uthho sakhi mere aansu
ro ro kar tumhen uthhaayen
aaj tumhaare charnon par
ye apne praan chadhaayen
sakhi ko miley suhaag amar
aur mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan
pati ke dukh mein dukhi rahe
wo bharat ki sannaari
swaami ko jeewan de wo
ji uthhe raajkumari
iski maut mujhe
mera jeewan ho is ko daan
mera ho balidaan
mera ho balidaan
mera ho balidaan
sachhi meri prem saadhna
sachhi pati Vrat??
sachha mera prem(??) agar hai
sachhi pati sang preet
sachhi hai yadi durga maiyya
to mujhko ye var de
pati sewa ke badle
meri ?? ko kar de
hey jagdambey hey ambey
do yahi mujhe vardaan
mera ho balidaaan
mera ho balidaaan
mera ho balidaaan
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 : | 3682 | Post No. : | 14580 |
“Tilottama” (1954) was directed by Babubhai Mistry for Basant Pictures production, Bombay. The movie had P. Kailash, Chitra, Shree Bhagwan, Maruti, B. M. Vyas, Indira Bansal, Babu Raje, Amrut, Tribhuvan Sinha, Sarita, Devchandra, Mohimo Laxmikant, Abdulla, Yadav, Karega, Julian, Mansoor, Aftab, Rachal, Heera Sawant, Chanda, Pushpa, Gulab, Subhadra etc in it.
The movie had eight songs in it. Two songs have been covered in the past.
Here is the third song from “Tilottama” (1954) to appear in the blog. The song is sung by Asha Bhonsle and chorus. Gopal Singh Nepali is the lyricist. Music is composed by S N Tripathi.
Only the audio of this song is available and so it is difficult to tell how and on whom this song is picturised. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the lyrics.
Song-Phoolon se maarna mukhda singaarna (Tilottama)(1954) Singer-Asha Bhonsle, Lyrics-G S Nepali, MD-S N Tripathi
Chorus
Lyrics
phoolon se maarna
mukhda singaarna
pyaar se nihaar ke dulaar se pukaarna aa
phoolon se maarna
phoolon se maarna
mukhda singaarna
pyaar se nihaar ke
dulaar se pukaarna aa
phoolon se maarna
aa gayi bahaar hai
roop mein nikhaar hai
daali jo meethhi nazar
teer aar paar hai
jee baanhon ka galhaar hai
aa gayi bahaar hai
roop mein nikhaar hai
daali jo meethhi nazar
teer aar paar hai
jee baanhon ka galhaar hai
baanhon ka galhaar hai ji
baanhon ka galhaar hai
o o o
chunri sawaarna
ghoonghat utaarna
pyaar se nihaar ke
dulaar se pukaarna
phoolon se maarna
phoolon se maarna
mukhda singarna
pyaar se nihar ke dulaar se pukaarna aa
phoolon se maarna
angna mein naach hai
dhoom hai haweli mein
aaj hai baazi lagi
bhanwre mein chameli mein
ji ?? mein naweli mein
angna mein naach hai
dhoom hai haweli mein
aaj hai baazi lagi
bhanwre mein chameli mein
ji ?? mein naweli mein
bhanwre mein chameli mein
ji ?? mein naweli mein
o o o
baazi na haarna
ghunghru chhankaarna
pyaar se nihaar ke
dulaar se pukaarna aa
phoolon se maarna
phoolon se maarna
mukhda singaarna
pyaar se nihaar ke dulaar se pukaarna aa
phoolon se maarna
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| Blog Day : | 3614 | Post No. : | 14411 |
“Sher Khan”(1962) was directed by Radha Kant for Mukul Movies, Bombay. The movie had Kum Kum, Kamaljeet, Veena, Jayant, Ulhas, Sundar, Tabassum, Heera Lal, Majnu, Jeevan Kala, Wazir Mohammed Khan, Surekha, Samson, Rana, Amir, Prem, Shafi Mohammed, Jagdish Bhalla etc in it.
The movie had six songs in it. Two songs have been covered in the past.
Here is the third song from “Sher Khan”(1962) to appear in the blog. The song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. i request our knowledgeable readers to throw light on the picturisation of this song.
Song-Chaahe roke ye zamaana chaahe toke ye zamaana(Sher Khan)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-S N Tripathi
Lyrics
aa
aa aa aa aa
aa aa
aa aa aa
chaahe roke ye zamaana
chaahe toke ye zamaana
par dil se to pyaar ko mita na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
par dil se to pyaar ko mita na sakega
jise aankhon mein basaaya
jise dil se lagaaya
yaad uski to koi bhi bhula na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
o o o
o o o
o o o
dil jalta rahe gham palta rahe
fariyaad magar hum karte nahin
dil jalta rahe gham palta rahe
fariyaad magar hum karte nahin
jab pyaar kiya
dil haar diya
phir zulm o sitam se darte nahin
aaye laakhon hi balaayen
chale kitni hi hawaayen
koi pyaar ki shama ko to bujha na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
o o o
o o o
o o o
is shaan pe tu yoon naaz na kar
sada zor kisi ka chalta nahin
is shaan pe tu yoon naaz na kar
sada zor kisi ka chalta nahin
kis aan se bhi suraj nikle
par shaam dhale kya dhalta nahin
chaahe uthhin talwaaren
chaahe chamkin kataaren
koi sar ko hamaare to jhuka na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
par dil se to pyaar ko mita na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
par dil se to pyaar ko mita na sakega
jise aankhon mein basaaya
jise dil se lagaaya
yaad uski to koi bhi bhula na sakega
chaahe roke ye zamaana
chaahe toke ye zamaana
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