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

Posts Tagged ‘Sardul Kwatra


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 :

4925 Post No. : 16762

Today’s song is from the film with a funny name- Pilpili Saheb-1954.

When I saw this film’s posters in Hyderabad in 1954 , I laughed at the title of the film. I thought that the film had to do something with the yellow colour ! None of my friends knew the meaning of this word. After intense discussion, we decided to go to our Hindi teacher-Mathur sir. He was from Allahabad and was a very jovial person. He treated the students with a lot of humour and gentle talk. So we did not feel any fear or awkwardness to ask him this question. Otherwise, in those days asking such questions to any teacher was a certain invitation to caning !

Mathur Sir explained that Pilpili Saheb means a villager who dons modern western clothes, like Pant, Shirt, Coat, Hat etc. Listening to this reply, I felt an urge to see the film. As such the film had few comedians like Agha, Sunder and Mehmood.

Out of the 9 songs of the film, 4 songs are already on the blog. The first song appeared here on 4-3-2011. It was a duet of Meena Mangeshkar and Mohd. Rafi. That time Atul ji had called the song a very rare song and rightly so. That was because Meena Mangeshkar had sung very few songs in Hindi films. (She had already become Meena Khadikar after her recent marriage then, in 1953). She sang only 13 songs in 11 films, during a period of 38 years ( 1952 ton 1990). Earlier it was felt that her songs are only 12 in 10 films, but Mahesh Mamdapur has found out one more song of Meena from film Pehli Shadi-1953, with Asha Bhosle and Mohantara Ajinkya (nee Talpade). Thank you, Mahesh ji. Today’s song is a triad with Usha Mangeshkar and a newcomer Shaminder Singh Pal.

Here is a short Bio of singer Shaminder Singh, for the benefit of those who are not aware of this less known singer, who sang in Hindi films between 1954 to 1973.This was written by our Sadanand Kamath ji on 18-9-2012 in one of his posts. Thanks for this.

Shaminder( also known as Bhai Shaminder Singh) born in 1930/31, belonged to a wealthy landlord sikh family in Muktsar Sahib district of Punjab. It is said that the family owned almost half of the village where they stayed. Since his childhood, he was fond of music. He was a fan of Mohammed Rafi and Talat Mehmood whose songs he would listen to on the radio for hours and sing in sync with their songs. He adored Lata Mangeshkar as a Goddess. As he grew up, singing became his hobby and he could sing songs in the style of Rafi and Talat at ease.

As I said earlier, singing a duet song with Lata Mangeshkar was his obsession and to achieve his goal, he left his village for Bombay (Mumbai) some time in 1953 and met Sardul Kwatra, who was an upcoming music director. Sardul found that Shaminder had the quality of a professional playback singer. He felt that there was a man who could sing in a voice which had a blend of Rafi and Talat. So he decided to use him as a playback singer for songs in his Punjabi film ‘Vanjara’ (1954) which was being produced by Sardul’s family. In this film, there was a duet song which he was planning to get Shamshad Begum to sing with Shaminder. However, Shaminder was bent upon singing this song with Lata Mangeshkar. To fulfill his obsession, he offered a carrot to Sardul by way of financing his Punjabi film. This trick worked with Sardul. I had read elsewhere that Sardul Kwatra was a charming person especially among women folks. Probably with his charm, he must have persuaded Lata Mangeshkar to sing a Punjabi song with a newcomer Shaminder. Fortunately for Shaminder, not only this duet song but all songs sungs by him in this film became hits with the masses of Punjab.

Having tasted success, Shaminder was now interested in singing in Hindi films and again his obsession was singing a duet with Lata Mangeshkar. He got the chance to sing with her in the film ‘Pilpili Saheb’ (1954). It is said that he also got a chance to sing with Asha Bhonsle in some other films but I could not locate any such song in YT. In any case, he did get the chance to sing a song with Geeta Dutt in the film ‘Son of Alibaba’ (1954). I find that he sang almost all of his Hindi film songs under the baton of Sardul Kwatra. Later, Mohinder also took him as a playback singer for Punjabi films.

Having fulfilled his obsession to sing with Lata Mangeshkar, he was no longer very much interested in playback singing. In all, he sang only 15 Hindi songs in 8 films, namely Pilpili Saheb-54, Pensioner-54, Tees Maar Khan-55, Son of Alibaba-55, Jalwa-55, Ghar ghar mein diwali-55, Kala Chashma-62 and finally Mera Desh mera Dharam-73. By late 50s/early 60s, he turned to acting in Punjabi and Hindi films. In Punjabi films he mostly acted in lead roles while in Hindi films, he got side roles in a few films like ‘Aas Ka Panchhi’-1961, ‘Anpadh’ -1962, Bank Robbery-1969 and Sultana Daku-1972. He acted mainly in Punjabi films.
He passed away some time in the early 90s.( The article is a little adapted to include his film and song details.)

I had given the storyline of the film Pilpili Saheb-1954, some 11 years ago, as a comment on the film’s second song presented on 3-11-2011. For the benefit of our new readers, here it is…

PILPILI SAHEB(1954) was a Kwatra film production,produced by Malika and N.S.Kwatra,Directed by H.S.Kwatra and Music by Sardul Kwatra. Thus it was an all family affair.
The film cast was full of funsters like Agha,Sunder,Mehmood and a couple of beauties like Shyama,Kuldip kaur,Lalita kumari,Helen,Mumtaz(old),but still it failed at the Box office.

The story and Dialogues were by S.P.Bakshi and S.K.Prabhakar and s/play by Ravi Kapoor.

Pilpili Saheb is an Emotional-Romantic Musical-Comedy-Thriller Family Drama Film crafted with excellence by H.S. Kwatra. The Story revolves around the life of Pilpili Saheb (played by Agha)- A Kind-Hearted man living alone in this world and loves to live by his means and falls in love with Rani (played by Shyama)- A Sweet girl and wants to marry her. He crossed every obstacle and hurdles in front of him and wanted her to love him- without knowing she is married to another man (played by Pran), leading to consequences.

In this film Agha is PILPILI SAHEB.In his villege,he loves Rani(Shyama) for whom he wants to build a Taj Mahal,but first he must win her love to marry her and she should die before him !

To get her he tries everything,leaves the village,rides a Donkey,cleans utensils,becomes a photographer,acts on stage-a clown,a villain,a Hero etc etc.
There is a twist in the tale.Thru a stage artist,it is revealed that Rani is already a married woman and her husband is Pran.
Even his friend Sunder who loves Kuldip Kaur,marries and lives happily.

Indian cine goers have fixed ideas about the end results of a film-like Good wins over Bad,Lovers either unite or die,The Poor wins in the end etc.The end either has to be a Tragedy or a happy ending.

Pilpili Saheb had an utterly strange ending which was seen as cheating by the viewers,instead of getting amused. Therefore,although the film had good music,comedy scenes etc,still it failed miserably at the Box office.

Let us now listen to this rare song of Meena Mangeshkar, with sister Usha Mangeshkar and Shaminder Singh.


Song-Sapnon ki duniya mein naye rang laaya (Pilpili Sahab)(1954) Singers- Shaminder Singh, Usha Mangeshkar, Meena Mangeshkar, Lyricist- Shailendra, MD- Sardul Kwatra

Lyrics

dhintanana dhite dhite dhintanana
dhintanana dhite dhite dhintanana
aa aa aa aa
aa aa aa aa
aa aa aa aa
dhintanana dhite dhite dhintanana

sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
phaagun aaya
phaagun aaya
sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana

galiyon mein nikli hain gokul ki goriyaan
gokul ki goriyaan
gokul ki goriyaan
o o o o o o
haathon mein
haan haan haathon mein pichkaari
nainon mein doriyaan
nainon mein doriyaan
nainon mein doriyaan
o o o o
aa aa aa aa aa
aankhon mein aao tumhen dil ne bulaaya
jiya lahraaya
phaagun aaya jee
phaagun aaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana

ankhiyaan churaa ke yoon bachke na jaao ji
bachke na jaao ji
bachke na jaao ji
o o o o o
rang daalo
haan haan rang daalo hamko
ya aap rang jaao ji
aap rang jaao ji
aap rang jaao ji
o o o o o o
aa aa aa aa aa
aise mein jisne bhi daaman bachaaya
wo pachhtaaya
phaagun aaya jee
phaagun aaya
phaagun aaya
phaagun aaya
sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana
aa aa aa aa aa aa
aa aa aa aa aa aa


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 :

4676 Post No. : 16353

“Chandrashekhar Azad”(1963) was directed by Jagdish Gautam for Kwatra Films, Bombay. This patriotic movie had Jairaj, Nirupa Roy, Indira Billi, Leela Mishra, Majnoo, Indira Bansal, Tuntun, Altaf, Kuldeep Chaand, Dharampal, Ravikant, Bhagwan Sinha, Jagdeesh Kamal, Harun, Jagdish Gautam, Kabuli, Rafia Sultna, Manohar Geer, Prem Lata, Gopal Sahgal, Zillani, Sarala, Niranjan Sharma, Sheikh, Babu, Rajinder etc in it.

The movie had five songs in it. One song has been covered in the past.

Today (7 May 2021) is the 20th remembrance anniversary of Prem Dhawan (13 June 1923-7 May 2001). On this occasion, here is a song from “Chandrashekhar Azad”(1963). This song is sung by Rafi and chorus. Prem Dhawan is the lyricist. Music is composed by Sardul Kwatra.

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

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Kaahe paap kamaaye re bande kuchh bhi kaam na aayegaa (Chandrashekhar Azad)(1963) Singer-Rafi, Lyrics-Prem Dhawan, MD-Sardul Kwatra
chorus

Lyrics(Provided by Avinash Scrapwala)

Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Takht taaj ye raaj paat
Kuchh bhi to jaata saath nahin
Kuchh bhi to jaata saath nahin
Rok sake udtey panchhi ko
Ye to kisi ke haath nahin
Bhai ye bhi to kisi ke haath nahin
Laakh lagaa le pehre phir bhi
Laakh lagaa le pehre phir bhi
Zor nahin chal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Kya kya soche sochne waala
Par kya kuchh ho jaata hai
Are par kya kuchh ho jaata hai
Jaane waala haath na aata
Aisa kahin kho jaata hai
Are aisa kahin kho jaata hai
Ek baar jo taara tootaa aa
Ek baar jo taara tootaa
Phir wo nazar na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Na teri na meri duniya
Na gore na kaale ki
Bhai na gore na kaale ki
Yahaan chali
Aur sadaa chalegi
Marzi upar waale ki
Ab marzi upar waale ki
Bura bhala jaisa bhi karega
Bura bhala jaisa bhi karega
Waisa hi phal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa
Aa aa
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Panchhi ud jaayegaa
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa


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

Blog Day :

4511 Post No. : 16059

kuchh aur zamaana kehta hai kuchh aur hai zidd mere dil ki
main baat zamaane ki maanoon ya baat sunoon apne dil ki

This was the swan song from ‘Chhoti Chhoti Baaten’ (1965) both for the singer and the music director of the song as this was their last film in Mumbai before shifting lock stock and barrel to Delhi in 1963. The playback singer was Meena Kapoor and the music director was Anil Biswas. In relation to her romantic affairs with Anil Biswas in the early 1950s, just like in the above two-liner, she was in a quandary. But her heart was adamant (aur hai zidd mere dil ki) that led to a long partnership with Anil Biswas irrespective of what the society said about their relationship.

Today, November 23rd is the 3rd Remembrance Day of Meena Kapoor. The day also happens to be 90th birth anniversary of Geeta Dutt. Both were born in the year 1930 in Bengal Presidency of British India. Both started their playback singing career in Mumbai in the year 1946 – Geeta Dutt with ‘Bhakt Prahlad’ (1946) and Meena Kapoor with ‘Pul’ (1947) in 1946 though her first released song was from ‘Eight Days’ (1946). The similarities do not end here.

Both Geeta Dutt and Meena Kapoor got recognition as playback singers under S D Burman – Meena Kapoor in ‘Aath Din’ (1946) and Geeta Dutt in ‘Do Bhai’ (1947). Both virtually ended their playback singing career around mid-1960s though there were few spill-over of their songs thereafter. Both had almost similar vocal cords giving an impression to the listeners that their singing voices sound more or less the same. And what was more important was that despite being in the competitive field of playback singing career, both were close friends to such an extent that they both became a part of extended family of Roys and Kapoors.

Unfortunately, their similarities of Geeta Dutt and Meena Kapoor did not reflect in their playback singing career. During their active years (1946-65) of playback singing career, Meena Kapoor’s output (around 175 songs) has no match with that of Geeta Dutt (around 1400 songs). Out of curiosity, I checked the year-wise growth of the playback singing career of both of them beginning with the year 1946 and up to 1955, the year from which Meena Kapoor had Anil Biswas as his life partner, almost retiring from her playback singing career except singing mainly for Anil Biswas. The statistics given in the table below reveal that Geeta Dutt was quite ahead of Meena Kapoor for all the years – both in terms of aggregate number of songs as well as films.

Year Geeta Dutt Meena Kapoor
Films Songs Films Songs
1946 12 21 2 5
1947 22 52 5 9
1948 37 107 15 43
1949 34 97 8 15
1950 50 169 12 17
1951 30 81 4 11
1952 42 122 5 8
1953 25 59 14 27
1954 25 54 7 10
1955 34 84

[Source: List of songs of Geeta Dutt from http://www.geetadutt.com counter-checked with http://www.myswar.co and list of songs of Meena Kapoor from http://www.myswar.co]

What could be the reasons for such a significant difference in their output of songs? At the outset, I could not see any reason other than ascribing it to a pure bad luck for Meena Kapoor in the sense that she was born with a voice almost similar to Geeta Dutt. And it was Geeta Dutt’s voice which seems to have been preferred by most of the music directors over that of Meena Kapoor.

In Lata Khubchandani’s article reproduced in RMIM’s Article Archive (No.324), Meena Kapoor had said that she had never been ambitious and she had not taken her music seriously. She also did not make any effort towards furtherance of her playback singing career. Her father, Bikram Kapoor who was a character actor in New Theatre, Kolkata and later in Mumbai, wanted his daughter to excel in singing only after completing her education. When she started living with Anil Biswas sometime in mid-1950s, she was happier as a housewife than pursuing the playback singing profession.

There is an interesting trivia as to how Meena Kapoor met Anil Biswas for the first time. In the interview referred to above, she had revealed that she refused to give audition to Anil Biswas when he was planning to get some songs sung by her for ‘Anokha Pyaar’ (1948) under the recommendation from his brother-in-law, Pandit Pannalal Ghosh. She had already recorded many film songs under many composers. As such, she felt that it was not necessary to her to give a fresh audition to Anil Biswas. It was her father who took a few recorded songs of her to Anil Biswas. After listening to her song, tod gaye haaye tod gaye armaan bhara dil tod gaye from ‘Khel’ (1950) under the music direction of Sajjad Hussain, Anil Biswas called her for rehearsal without audition. This incidence also shows as to how casual Meena Kapoor was in regard to her playback singing career.

Geeta Dutt on the other hand was interested in pursuing the playback singing career in films and her parents encouraged her by arranging music teachers. It was exactly at a time when Meena Kapoor’s restrictive playback singing career due to her education gave opportunity for Geeta Dutt to get a strong foothold as a playback singer as the statistics in the above table reveal. For example, S D Burman after giving two songs to Meena Kapoor in ‘Aath Din’ (1946), he switched over to Geeta Dutt during 1948-55 beside Lata Mangeshkar. It was only after 1957 when Geeta Dutt could not give sufficient time to S D Burman for rehearsals, he switched over to Asha Bhosle (Lata Mangeshkar not singing for him due to some misunderstanding). It is interesting to note that after her marriage with Guru Dutt in 1953, the yearly aggregate number of songs sung by Geeta Dutt post-1953 have fallen mainly due to a stiff competition from Lata Mangeshkar coupled with her domestic compulsion.

Both Geeta Dutt and Meena Kapoor have emotional tone in their voices which suits the genre of poignant and devotional songs. However, going by a large number of songs sung by Geeta Dutt relative to that of Meena Kapoor, the former’s versatilities are evident to general listeners of her songs. Just note as to how S D Burman had been instrumental in making Geeta Dutt a versatile singer. From emotional mera sundar sapna beet gaya in ‘Do Bhai’ (1947) to light-hearted tadbeer se bigdi huyi taqdeer bana le in ‘Baazi’ (1951), to coquettish song, jaane kya toone kahi jaane kya maine suni, teasing song, janoon jaanoon re chhupke kaun aaya in ‘Insaan Jaag Utha’ (1959) and many of her club songs. Her repertoire of songs under other music directors is also large.

Meena Kapoor did not get much opportunities to display her versatilities as her singing output was less than 200 songs as compared to Geeta Dutt’s around 1400 songs. But Meena Kapoor had also a good repertoire of songs like waltz type song, aate hain wo aate hain wo in ‘Chalte Chalte’ (1947), light-hearted meri jaan meri jaan sunday ke sunday in ‘Shehnaai’ (1947), romance in ye samaa ham tum jawaan in ‘Maashooka’ (1953), folk song, rimjhim barse paani aaj more angna in ‘Pardesi’ (1957), Rabindra sangeet, mere chanchal naina madhur ras ke bhare in ‘Angoolimal’ (1960) etc.

With almost similar voice timbre, Geeta Dutt and Meena Kapoor had very few occasions to sing together during their active years of playback singing career as detailed below:

Films Songs (Geeta-Meena) Co-singers Music Director
Hip Hip Hurray (1948) Main jaan gayi jaan gayi Hanuman Prasad
Aadhi Raat (1950) Maine baalam se poochha Hansraj Bahl
Jalte Deep (1950) Aayi milne ki raat Shardul Kwatra
Hulchul (1951) Mile dil aankh sharmaayi Mohd. Shafi
Ghaayal (1951) O rani mainwati -1 G M Durrani Gyan Dutt
Ghaayal (1951) O rani mainwati -2 G M Durrani Gyan Dutt
Ghaayal (1951) Tera kisi pe aaye dil Gyan Dutt

Before I conclude my article, I would like to give links of a solo song each of Meena Kapoor and Geeta Dutt for the purpose of their voice comparison. I have deliberately selected the songs of the same genre (Meera bhajans) so that the comparison is on the even keel.

Meena Kapoor main birhan baithi jaagoon ‘Gopinath’ (1948)
Geeta Dutt ae ri main to prem deewaani ‘Jogan’ (1950)

After repeatedly listening to these two songs, I can feel some differences in voices but I am unable to explain as to what are the differences. Probably, Meena Kapoor sounds slight nasal in her singing than Geeta Dutt. Of course, musicologists like the late Ashok Ranade would have technically explained their voice differences.

On the occasion of the 90th birth anniversary of Geeta Dutt and 3rd Remembrance Day of Meena Kapoor on November 23, 2020, I am presenting their duet song, aayi milne ki raat karo meethi meethi baat from an obscure film ‘Jalte Deep’ (1950). The song is written by Aziz Kashmiri which is set to music by Shardul Kwatra. The film was produced by R Vasudeva under the banner of Nihal Film Corporation and was directed by Deepak Asha. The star cast included Nimmi, Amarnath, Randhir, Sophia, Deepak, Kuldeep, Leela Mishra etc. The film had 12 songs of which one song has been covered in the Blog.

The voices of Geeta Dutt and Meena Kapoor are so similar that I get a feeling whether the song I am presenting is solo or duet. However, the lyrics do give an impression of a duet and HFGK mentions Geeta Dutt and Meena Kapoor as playback singers for the song.

Since the film’s VCD/DVD is not available, one can listen to the song only on the audio clip. I have a photograph from the film in which Nimmi and Sophia are seen holding a tray each with lamps. Based on the photograph, my guess is that the song may have been picturised on Nimmi and Sophia welcoming their ‘balam’ and ‘sajan’.

Audio Clip:

Song-Aayi milan ki raat karo meethhi meethhi baat(Jalte Deep)(1950) Singers-Geeta Dutt, Meena Kapoor, Lyrics-Aziz Kashmiri, MD-Sardul Kwatra

Lyrics

aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat

raat hai suhaag ki
chhaayi hai bahaar sajan
chhaayi hai bahaar
nainwa se phoot pada
meethha meethha pyaar
nainwa se phoot pada
meetha meetha pyaar
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat

taaron ne dekh liya tera mera mel sajan
tera mera mel
ankhiyon ne khel liya naya naya khel
ankhiyon ne khle liya naya naya khel
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
o tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat


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 :

4370 Post No. : 15702

Today’s song is a special song from the film Mirza Sahibaan-1957. It is special because it is almost a 9 minute song – 8 minutes and 36 seconds, to be exact. There is one more-Punjabi- song in this film, which is about 6m 30s long. Today’s song is written by Verma Malik and the music is composed by Sardul kwatra- one of the 3 Sikh composers in Hindi films during that period ( the other two were G S Kohli and S Mohinder). His younger brother Bhagwant Kwatra was his assistant here.

Sardul Singh Kwatra was one of the very few Sikh Music Directors Hindi Films had. He was born in Lahore in 1928. He was educated and trained in classical music at Lahore. His teacher in music was Sardar Awatar Singh, who was quite famous in Lahore. Later Sardul singh joined Hansraj Behl as his assistant.

After Partition, his family first shifted to Amritsar and then to Bombay. The family established a film production company and started making films. Their first film was ‘Ek Teri Nishani”-49. Sardul singh was its MD, along with Pt. Amarnath and Vinod. Later he composed for ‘Jalte Deep”-50, with T.K.Das. His first independent film was “Man ka Meet”-50.
His family company wanted to make a Punjabi film “Posti”-50. Sardul got newcomer Shyama to be the Heroine. Shyama also acted in their second film “Kode Shah’-53. Their next Hindi film was ‘Goonj’-52, for which Sardul convinced Suriya to be its Heroine. He was its MD of course.

Sardul singh was a tall,well built and handsome person. Unfortunately his severe inclination towards beautiful women overpowered his talents. He used to proudly say, ‘I can not create good music without beautiful faces. ” He was aware of his looks and used it unabashedly to influence women.

When he was in Bombay, he requested Mohd. Rafi ( after this film) to let out the top floor flat in Rafi’s bungalow to him , since it was empty. Being a good and helpful man, Rafi agreed. When Rafi’s son’s marriage was fixed, he wanted his flat back, but Sardul kwatra refused to vacate. Those days, the Bombay Rent control act was in favour of the tenants, so Rafi had a lot of problems. After a few years, Sardul filed a criminal case also against Rafi, in this connection. Rafi suffered a lot because of this. Finally, while going to Chandigarh before shifting to the USA, Sardul Kwatra vacated the flat. This detailed story is described in ” aap ki parchhaiyan” a book by Rajnikumar Pandya ji.

He gave music to 22 Hindi and 13 Punjabi films. In 1970, he visited Chandigarh and established ‘Chandigarh Film Institute”. He left his wife and children and went to the USA with another good looking woman, in 1978. He got 2 children from this association. Sardul singh Kwatra died in the US on 6-7-2004.

India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably since thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?

The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour.

Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.

There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48 and 1970
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
Today’s film was directed by Ravi Kapoor, who directed 3 more films-Kala Chor-56,Chalta Purja-58 and Accident-65. The cast of the film was Shyama, Shammi Kapoor, Ram Singh, Madan Puri,Uma Dutt, Indira, Nazir kashmiri, Tun Tun, Daljit and many others.

Indira. This is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian She acted in 24 silent films since 1927, but did only two Talike films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedien Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamour girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.” Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.

The story of the film Mirza Sahibaan-57 was….

Sahiba’s father (Uma Dutt) is Mirza’s mother’s brother (making them cousins). She brings Mirza for an extended visit to her family home, a visit cut short when Sahiba’s mother (Gulab) throws a fit over her young daughter’s budding relationship with Mirza, who for some reason is not considered worthy of her. Mirza adamantly refuses to leave his Sahiba when his insulted mother packs up her bags and goes.

Her sad-sack hen-pecked brother promises to take good care of Mirza, although how someone so lacking a spine can possibly protect a kid who is clearly not wanted is beyond me. Anyway, Sahiba and Mirza become inseparable and grow into young adults (Shyama and Shammi Kapoor) who adore each other. The little cocoon of love that surrounds them is constantly under attack by Sahiba’s brothers Mir (Ram Singh) and Shamir (Madan Puri) in addition to her mother, but the pair remains steadfast (although they spend a lot of time talking about their willingness to die for one another, never a good omen).

In addition to Sahiba, Mirza has a passion for his white mare and his bow and arrows and is a crack shot. This endears him no further to his nasty cousins, and his love for Sahiba is also a thorn in the side for the local barber and matchmaker Umara (?) who stands to lose a commission if the young lovers marry each other. When Sahiba persuades Mirza to take her to a local fair, Umara takes the opportunity to create trouble.

Umara informs Mir and Shamir that Sahiba is at the fair with Mirza. Infuriated, they track him down and beat him mercilessly, although not as mercilessly as Sahiba’s mother when they all reach home. She throws Mirza out of the house and locks Sahiba in her room. Sahiba’s father quickly accedes to his wife’s wishes that he get Sahiba married into the wealthy Choudhary family (who happen to be her relatives) nearby, and Umara is called in.

Sahiba, unable to escape her mother’s eagle eye, asks her friend Mora to take a message to Mirza, who is now homeless and despondently considering suicide.

Mora saves him from jumping off a cliff, and he goes to stay with their aunt, Bibo.

Umara the matchmaker now becomes very busy, going first to fix Sahiba’s marriage with the son of Choudhary Sahab (Nazir Kashmiri), and then to Mirza’s parents’ house, where he tells them how mistreated Mirza has been. Mirza’s mother asks him to plead with Mirza to return home—which he doesn’t have to do because Bibo is already suggesting it to Mirza. She relents though in the face of Mirza’s devotion.

He agrees to return to his parental home if Bibo will bring Sahiba to him to say goodbye, which she does. He promises to return for Sahiba, and she says that she will send word when her wedding date is fixed so that he can save her. I am not clear how this will work out better than if they just leave right now, but it’s not my plot. Sahiba’s wedding is eventually fixed for the same day as Mirza’s sister Chatti’s, and Bibo sends a message to Mirza.

Mirza receives the message, and races away on his trusty white mare to rescue Sahiba from her wedding. He runs away with her.

The end- The opposite party follows Mirza and Sahiba and kills Mirza. Sahiba commits suicide and both die in each other’s arms.

(For this post, I thank Wikipedia, Mike Barnum’s Blog, HFGK, memsaabstory.com and my notes.)

Audio

Video (Partial)

Song-Subah uthh ke Mirze yaar ne Sahibaan ka le liya naam(Mirza Saahiban)(1957) Singers-Rafi, Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Male chorus
Female chorus
All chorus

Lyrics

haddipa
haddipa
haddipa
haddipa
hey

ho o o
ho ho ho ho
subah uthh ke mirze yaar ne
sahibaan ka le liya naam
ghar ghar mashoori ho gayi ee
gali gali hua badnaam
ho o o o
o o o o
tera chori chori pyaar thha
ab aage sare aam
ho ho ho ho ho ho ho
kya jaane mirza sahibaan
ab kya hoga anjaam
khha liya beliya toone aam

aaha
aaha
aaha
aaha
aaha
aaha

hey kudiya ne
hey kudiya ne
hey kudiye ne

balle balle balle
hey mundaiy ne
hey mundaiy ne
hey mundaiy ne

ho sadqe
hey kudiya ne ?? kudiyaa waali ??
hurr
hey munde
shahar de gunde
baaj na aawan

aa hahahahaha
Hey kudiya ?? kudiyaa ho ?? dil churaawan
ho sadqe
Hey munde
shahr ke gunde
baaj na aawan

hurr
mohe le de dupatta malmal ka
ho rang zara halka
?? kal ka
?? karo kal ka
oye soniya aa
oye beliya

mohe le de dupatta malmal ka
ho rang zara halka
ho rang zara halka
ho soniya
hoy beliyaa

ho tu le ke dupatta jab aayegi ee ee
tu le ke dupatta jab aayegi
ho bindiya lagaayegi
najar lag jaayegi ee
ho soniye ae
ho heeriye
hey kudiya ni ?? kudiya
?? dil churaawan
ho balle balle balle
hey munde
shahr ke gunde
baaz na aawan

aa mil gale
duniya jale
duniya se chalen door hum
hai waasta
ab raastaa
chhodo jee ye majboor??

haaye
dil le liya aa aa aa
gham de diya aa aa
dil le liya aa aa
gham de diya
bedardi
gham de diya

ho mujhe dil ki
banaa le jee malika
bharosa nahin pal ka
na waada karo kal ka
oy soniyaa aa aa
oye beliyaa

oye kudiye ni ??
?? dil churaawan

hoye sadqe
Hey munde
shahar ke gunde
baaz na aawan

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

haathhon mein haath
?? ke kangan
?? rang

balle balle balle balle
?? chunari rang birangi ke ho gaye ??
ab ??

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ho gori
jab se chali gayi dhali ho hamko

ho balle balle
to humko dard judaai mili
?? kaun hamaara
ab chale na chaara
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari

shehron mein se shahar anokha
shahar hai ek Ambaala
ho Ambaale ki ek sundari
rang thha uska kaala
punjaab ke chhaile ne ae ae
is Punjaab ke chhaile ne thha usko jaadoo daala
chala gaya wo tod ke dil ko
bholi soorat waala
ab kahaan jaayegi haan
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
aa hahahaha

sadak kinaare ek chhokra
khada thha najar jamaaye
Raaja ki ek ladki dekhi
dekh ke bola haaye
kehne laga dil khaali hai

aay haay
kehne laga dil khaali hai
koi ismein aaye
ik ladki ne khol ke joote
sar pe khoob jamaaye
ro ro bole wo

koi mujhe banchaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo o
aahaa


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 : 3633 Post No. : 14461

“Air Mail”(1960) was produced by Dhanpatrai and directed by B J Patel for People Pictures, Bombay. This movie had Ranjan, Malini, Rajan Kapoor, Jyoti, Poonam Kapoor, Vishwa Mehra, Shree Bhagwan, Bhushan Tiwari, Devchand, Nazeer Kashmiri, Moolchand, Pandit Iqbal, Kabuli, Sattar, Ameer, Rafiq, Shaapur, Gidia, Shameem, Shashi, Kala, Maala etc in it.

The movie had six songs in it. Three songs have been covered in the past.

Here is the fourth song from “Air Mail”(1960) to appear in the blog. The song is sung by Suman Kalyanpur and Ghulam Mohammad (singer, not music director). Anand Bakshi is the lyricist. Music is composed by Sardul Kwatra.

HFGK described this song as “Jaadoogar main niraala mulk mera Bangaala dekho logon jaadoo kaala”, but these words do not appear anywhere in the song. I request our knowledgeable readers to throw light on the discrepancy about the lyrics of the song.

Only the audio of the song is available. It sounds like the song is picturised on a lady who is beseeching a gentleman not to try and cast his magic spell on her. The duo seemingly dress in Bengali, Punjabi as well as Maharashtriuan attire during the couse of the song, seeing that the song refers to Bangaali Baabu, Punjaabi Baabu and Marathi baabu. Some lines in the song are in Punjabi and Marathi. I request our readers to help fill in the blanks/ suggest corrections in the lyrics as applicable.


Song-O jaadugar na mujhpe kar ye jhoothha jaadoo(Air Mail)(1960) Singers-Suman Kalyanpur, Ghulam Mohammad, Lyrics-Anand Bakshi, MD-Sardul Kwatra

Lyrics

O jaadugar
na mujhpe kar ye jhootha jaadoo
main sab jaanoon
tujhe maanoon
kare mujhko jo qaaboo
O jaadugar

haaye
teer meri nazron ka sah ke dikha
baat mere dil ki tu kah ke bata
ho
teer meri nazron ka sah ke dikha
baat mere dil ki tu kah ke bata
laga jantar
chala mantar
bangaali baabu
main sab jaanoon
tujhe maanoon
kare mujhko jo qaaboo
o jaadoogar

haaye
heer akkhhaan diyaan
main oye soneya
peer dilaan diyaan
main oye soneya
ho
heer akkhhaan diyaan
main oye soneya
peer dilaan diyaan
main oye soneya
milaa ke ankhh
diyaan gham lakhh
punjaabi baabu
main sab jaanoon
tujhe maanoon
kare mujhko jo qaaboo
o jaadoogar
maine maana
toone jaana
jaadoogar ka fasaana
kisi ko na tu bataana
sun lega ye zamaana
chhu
chhu
chharr

haaye
maan liya jaadoo ye naqli nahin
dekh magar daadhhi ye asli nahin
ho
maan liya jaadoo ye naqli nahin
dekh magar daadhhi ye asli nahin
dikhaay jhaala
haa ??
maraathhi baabu
main sab jaanoon
tujhe maanoon
kare mujhko jo qaaboo
O jaadugar
na mujhpe kar ye jhootha jaadoo
main sab jaanoon
tujhe maanoon
kare mujhko jo qaaboo
O jaadugar


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.

“Ek Teri Nishaani” (1949) was directed by B K Sagar for Kwatra Arts Productions. The movie had Meena, Trilok Kapoor, Azmal, Zahoor Shah, Johar, Maruti, Urvashi, Tara Sinha, Shyama, Usha Rani, Cckoo, Om Prakash etc in it.
Read more on this topic…


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.

“Chaar Meenaar”(1956) was directed by Ravindra Dave for Nagina Films, Bombay. The movie had Nasir Khan, Jabeen, Bhagwan, Renu Makad, Anjali Devi, Nazi, Altaf, Gyani, S K Prem, Ramesh Sinha, Rasheed Khan, Narbada Shankar, Helen, Sadiq etc in it.
Read more on this topic…


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.

“Air Mail” (1960) was directed by B J Patel for People’s pictures, Bombay. The movie had Ranjan, Malini, Jyoti, Rajan Kapoor, Merajkar, Maruti etc in it.
Read more on this topic…


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.

In olden days, viz 1970s and prior to that, people, including kids, would wake up at 6 AM and would go to bed at 9 PM. There were elders who would managed to awake till about 10 PM or so. I, as a kid, found it extremely difficult to keep my eyes open after 9:30. Vividh Bharti those days used to have a radio programme called Hawamahal. As soon as I heard the signature tune of this programme, my eyelids would begin to get heavy and I would feel sleepy. This signature tune was more sleep inducing for me that any lullaby ever would be. 🙂 . For those who have not heard the signature song of “Hawamahal”, here is how it sounded like:
Read more on this topic…


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.

“Kaala Chashma”(1962) was directed by K Vinod for SBV Productions, Bombay. the movie had Manju, Amarnath, Madan Puri, Maruti, Jeevan Kala, Sheikh, Sheela Kashmiri, Abeela Kashmiri, Uma Dutt, Ravikant, Kundan, Ridku, Rani Kaushal, Rehana, Madan Khanna, Soni, Narinder, Prakash, Kailash etc. in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16700 song posts by now.

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

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16751

Number of movies covered in the blog

Movies with all their songs covered =1302
Total Number of movies covered=4556

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Active for more than 4000 days.

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