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

Posts Tagged ‘Satish Batra


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 :

4929 Post No. : 16769

Today’s song is from a C grade film called Baghi Sardar (1956).

I remember once Atul ji had expressed his opinion that ‘many times the B and C grade films provide A grade music’. I tend to agree with his opinion on this issue. There are many examples of songs from costume, stunt, action and religious films which became very popular. Off hand I remember at least two songs. The first was “Zara Saamne To Aa O Chhaliye” from a religious film ‘Janam Janam Ke Phere’ (1957). It was sung by Lata and Rafi, written by Bharat Vyas and music was by SN Tripathi. This song not only became very popular, but it became the No. 1 song on Binaca Geet Mala for 4 weeks. The second was a Rafi song “Parwardigar e Aalam, Tera Hi Hai Sahara” from the film ‘Hatimtai’ (1956). There was another song also from this film”Jhoomti Hai Nazar Jhoomta Hai Pyaar” which too became very popular. This was a costume film.

Another example comes to my mind. A qawwaali from the film ‘Al Hilal’ (1958), a costume film. This qawwaali “Hamen To Loot Liya Mil Ke Husn Waalon Ne” became very famous. This song also had the prestigious honor of being the 5000th song for this Blog on 13-11-2011. Further, it had an unique honor of having write ups from 3 stalwarts, namely Atul ji, Sudhir ji and Raja ji. Incidentally, earlier in 1935 also there was a film Al Hilal, first directorial venture of the great Mehboob Khan. This was a film made by Sagar Movietone. The songs of this film also became very popular. However, since the playback had not yet started then, no records were issued for these songs.

I used to like watching religious films because of the trick scenes of the films. I liked stunt and action films for their death defying stunts by the actors and I saw costume films because of their King, Queen and evil Vazir stories. Children liking such films, for the reasons given here, is understandable, but I wondered how adults and grown up people came to see such films. Later I learnt that there is a child hidden in every adult.

This child in some adults gets excited with magic, supernatural strength and fighting. Such people constituted the audience of B and C grade films. The audience for religious films constituted old adults, and ladies, who believed in God’s power. Film makers all over the world have always taken such people as their targets and films were made to attract them and satisfy their emotions.

Right from the First Silent film ‘Raja Harishchandra’ (1913), films have been made on religious stories. A vast nation like India provides plenty of folk tales and all these have been used to make films. In addition, Arabian Night stories of 1001 was yet another bumper source of masala for making interesting films. The 30’s, 40’s, 50’s and to some extent the 60’s had been making stunt / action / costume / religious films. In early films, till film ‘Aan’ (1952), the actors working in the films used to do all the stunts themselves. From this film, use of doubles and fight masters/composers started being used. In film ‘Aan’, the fights and the horses were managed by Azim Bhai and Douglas took care of fight scenes involving fencing. Same year, in films like ‘Sinbad Jahaazi’ (1952) and ‘Shin Shinaki Boobla Boo) (1952), the south developed hero Ranjan (real name Ramnarayan Venkatraman Sarma) appeared on Hindi scene in Bombay and entertained us with his Olympic level fencing fights. Earlier he was seen in ‘Chandralekha’ (1948), ‘Nishan’ (1949) and ‘Mangala’ (1949) – remakes of their Tamil films. In the subsequent years these Fight Masters became ‘Action Directors’.

In the films from 1935 to the 1950s, Nadia and others used to perform the stunts themselves. In the 60’s – a decade dominated by romantic films, for heroes, the action was mostly relegated to the climax scenes to rescue the ‘Damsels in Distress’ ! The 60’s also saw the emergence of ‘The Action Hero’. The first film, where a hero dared to bare his chest for the first time, was in film ‘Phool Aur Patthar” (1966) and the action hero was born with Dharmendra !

The set of actors, directors, producers, banners and even the audience was fixed for such films. Certain theaters were earmarked to exhibit such films in every city and small town. Some heroes of these action films, later on, became directors for such movies e.g. Majnu, Kamran, Daljit, John Cavas etc. ‘Baghi Sardar’ (1956) was also directed by Majnu, who started his talkie film career with a parody film ‘Majnu’ (1935). Though his original name was Harold Lewis, he was branded as Majnu and he too continued with this name.

MAJNU – Harold Lewis was a Punjabi Christian. He was born on 2-11-1913. It is said that before joining films, Harold had worked in circus as a joker. He acted in 3 Silent films, including ‘Flames Of Flesh’ (1930).

He was the childhood friend of Roop K Shorey. When Shorey wanted to make his second film, he chose Harold as the hero. Majnu was introduced as a leading man opposite Shyama Zutshi by producer/director Roop K Shorey in film ‘Majnu’ (1935) — a musical comedy satirizing the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu strapped on the railway tracks by the villain.

The film was a success and RK Shorey repeated Majnu as the leading man in his next film, ‘Tarzan Ki Beti’ (1938). ‘Tarzan Ki Beti’ was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placed Punjab on the entertainment map of India and the world.

Majnu appeared in almost all of Shorey’s films. He was also doing films with other producers. In 1942 he did a double role in ‘Nishani’ and in 1943 he directed his first film ‘Paapi’. Shorey also gave him a film ‘Badnami’ (1946) for direction and it was here that Majnu met IS Johar who wrote the story and dialogues of ‘Badnami’.

Majnu paired with IS Johar in ‘Ek Thi Ladki’ (1949), the debut film of Johar. Later they made a comedy pair in 10 films, including the hit ‘Hum Sab Chor Hain’ (1956). His last film with Johar was ‘Akalmand’ (1966).

Majnu acted in 77 films. His first film was ‘Majnu’ (1935) and his much delayed and released last film was ‘Shri Krishna Bhakti’ (1973). He acted in many Punjabi films also. He directed 8 films including ‘Paapi’ (1943), ‘Badnami’ (1946), ‘Son Of Alibaba’ (1955), ‘Tatar Ka Chor’ (1955), ‘Malika’ (1956), ‘Basre Ki Hoor’ (1956), ‘Baghi Sardar’ (1956), and his last film – ‘Chandu’ (1958).

Harold Lewis aka Majnu died on 26-3-1974.

The cast of this film consisted of Daljit, Chitra, Majnu, Ameeta, Amarnath, Prithvipal, Shaikh, Helen, Kammo, Satish Batra, Ramesh Thakkar, Shakuntala, Kanchanmala, Jugal Kishore etc. The music for this film was given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us know who this BN Bali is. There was yet another composer Bali, in the early era of Hindi films – HCBali or Harishchandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who changed into a successful composer is credited with discovering KL Saigal in the early 30s.

BN Bali or Baldev Nath Bali too was a good singer and was a composer restricted to mostly religious or low budget films. He gave music from ‘Bedard’ (1949) up to ‘Do Dilwaale’ (1973), a total of 24 films, including one unreleased film ‘Bahut Door’ (1940s). He also gave music to a Haryanvi film in 1973. Though he composed music with a variety, somehow he lacked what it takes to make it to the Big league. On the contrary, BN Bali is known for copying the popular tunes of other composers blatantly.

“Jab Un Ka Khayal Aata Hai”, sung by Rafi in ‘Pehla Pehla Pyar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” by Hansraj behl. “Sapne Meine Saiyan Tum Aaya Na Karo” – Asha / Manna Dey song was a true copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya”, and “Tu Us Ka Kar Bhala” – Rafi in ‘Raja Vikram’ sang the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.

Today’s song also resembles some song, but I am unable to recollect exactly. If some reader recognizes the original song, please mention as your comment here.


Song – Lagi re lagi re lagi lagi re (Baaghi Sardaar)(1956) Singers- Geeta Dutt, Satish Batra, Lyricist- Bharat Vyas MD- BN Bali
Unidentified Male Voice

Lyrics

hey ae
lagi re lagi re lagi lagi re

lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aankhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

ye kehte mere ghar aao
wo kehte dil mein bas jaao
in mein kisko ghayal kisko zakhmi kisko beemar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

lafde mein pado na jaane jigar
jhagde na karo yoon shaam pahar
paam papa pam paam papa pam
haahi hi hahai hi
are hum bhi hain tere deewaane
zara dekh lo humko ek nazar
bakta hai
tu bakta hai

ho o o o o
sab yoon hi bakne wala hai
mai kis kis ko aetbaar karu
haay kis’se aankhen
haay kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
he lagi re lagi re lagi lagi lagi re

farhad ki kasmein khaayi hain
majnu ki mujhe duhaayi hai
teri mehfil mein maine dilbar
dil ki kaaleen bichhaayi hai
ae husn ki mallika haan kar do
apna dil bhi gulzaar karo

haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

ooh haaye
samjho to ishaare akl ke hain
budhhu
abey chup be
ulfat ki hain ye lalkaaren
kya samjhe
aap ik saath nahi tik sakti hain
ek myaan mein do do talwaaren
hat be
abe ja bey

o o
main jaan tumhaari hoon pyaare
lo tum se main ikraar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aakhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re


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

Blog Day :

4912 Post No. : 16729

Today’s song is from the film Raja Harishchandra-1952.

The story of Raja Harishchandra is prominent in Hindu culture for being a Satyawadi king, who made big sacrifices to stand by his word given to a sage, though in a dream. Most people in the age group of 50 and above possibly must have read his story in their childhood. This was not only a popular story for children but even the Hindi film makers loved this story.

The very first silent feature film made in 1913 by Dadasaheb Phalke was on this story. From 1913 onwards there were 5 silent films made on this story, in the years 1913, 1917,1924, 1928 and 1929. After the Talkie films started, in the first year itself, i.e. in 1931, there were 2 films made on this story. The first was Harishchandra-1931 made in Bombay by Krishnatone film co. and the other was Satyawadi Raja Harishchandra-1931 made in Calcutta by Madan Theatres. Following is the list of films on this story….
1931- Harishchandra
1931- Satyawadi Raja Harishchandra
1932- Ayodhya ka Raja ( Hindi version of the First Marathi Talkie ” Ayodhyecha Raja”, by Prabhat Films )
1952- Raja Harishchandra
1958- Harishchandra
1963- Harishchandra-Taramati
1970- Harishchandra Taramati
1979- Raja Harishchandra

These are Hindi films. There were several films in Regional languages too. In the last 30 years or so, I am not aware of any mythological or religious films made in Hindi – though regional languages keep on making such films. Perhaps Hindi filmmakers have become too ‘ Secular’ to make religious films !

Film Raja Harishchandra-1952 was made by Trivedi productions, owned by Chimanlal Trivedi. He was a producer of a different kind. He founded many production houses, starting with the famous CIRCO Productions – which was sold to A.R.Kardar in 1942 to make his own Kardar studio. Kardar was a paid director in this company.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani Mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon, Sharafat, Bhagya Laxmi, Kadambari, Tamanna, Inkaar, Mohabbat,Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, K C Dey, Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

My today’s post will be my last post in this year – 2021. I have written 121 posts in this year, from January 2021 till this one. This is much faster than my 95 posts written in 2020. I had reached my Landmark post no. 1000 on 18-8-2021. Forget the number of posts I write, the sheer joy I get in writing about old films and music can not be measured. The credit for my writing goes to ATUL ji and our readers of this Blog. This Blog has achieved an unique position in the Blogosphere for its consistency, accuracy, credibility and variety of information available – unrestricted to any and everyone interested in old films and music. It is a matter of Pride for us to be one of the contributors here. Thank you, ATUL ji.

Most of us who had read the story of Raja Harishchandra in our childhood may not be remembering it fully now. So, here is the story of the film Raja Harishchandra-1952….

Truth alone shall succeed in the end. For, Truth alone can keep the world stable. From times immemorial, torch-bearers of Truth have blazed the trail of human progress. Such one was Harishchandra, the King of Ayodhya. . Child Harischandra flowered into a handsome youth on the bough of royal luxury. The young heart fell for Princess Taramati of Mithila. Every full moon saw the young hunter Harischandra making his way to the forest to meet his love, Taramati.

On one such occasion, the lovers lost their track in the darkness of the heavy bursting clouds and wandered to the ashram of a blind Brahmin sage Sachchidanand, who gave them shelter for the night. Next morning came the time to take leave; but Harishchandra could not feel like leaving the ashram until he knew his future from the lips Sachchidanand, the miracle of whose astrological powers, he was fortunate to see. Sachinanand tried to dissuade Harishchandra from his thoughts but Harishchandra insisted upon knowing his future. Helpless Sachidanand had to foretell what lay in store in the future of Harishchandra. . “The married life of Harishchandra and Taramati shall be a hard one”. What a rude shock to the great lovers.

Harishchandra did his utmost to persuade Taramati away from her decision of marrying him. But how could Taramati be happy without Harishchandra? So Harishchandra and Taramati were married. The father of Harishchandra refused to believe in the words of Sachchidananad and put him behind the bars. . Destiny has its way with human beings. In spite of everything, Harishchandra could not find peace with himself. The shadows of the coming events made him restless. The words of Sachchidanad started taking shape. This development was too much for the old father of Harishchandra to bear. He broke down under its weight and died a miserable man.

This completely unnerved Harishchandra and took him to the feet of Sachchidanand seeking his advice in saving himself and his family from ruination. . Sachchidanad impressed upon him the greatness of Honesty and Karma, and asked him to practice Truth.

When Harishchandra accepted and started practicing the doctrine of Truth, Indra, the King of Gods, was greatly shocked. For, a mere human being like Harishchandra had started on his path to Godliness by practicing Truth and might one day unseat the Gods! . Sensing this great danger, Vishwamitra decided to put Harishchandra on severe trials, with a view of forcing him to commit breaches in his practice of Truth. He thought of the most ruthless snares to catch Harishchandra unawares. Next day he went to the king and asked him to donate all his kingdom, which the king had promised him in the sage’s dream. Satyavadi Harishchandra donates the kingdom, sells his wife and son to a Brahman and self to a guard of Shamshan, in order to collect Dakshina amount.

After a few days,his son dies of snake bite,but there is no money to pay tax for cremation. Taramati sells her Mangalsutra and pays to Harishchandra, the Shamshan Guard to cremate their son. Seeing all this, the Gods descend and make his son alive,return all his kingdom and give the family a place in Heaven. Thus Truth alone triumphs.

The cast of the film was Sumitra Devi, Prem Adeeb, Gope, Lalita pawar, Tiwari, Kammo and many others.Film’s 6 songs were written by Bharat vyas, Ramesh Gupta, Gulshan and qamar Jalalabadi and the music was by Husnlal-Bhagatram. 5 songs of this film were already discussed. Today’s song is the 6th and final song here, making the film an ” YIPPEE” film.

Here is wishing our readers a very Happy and prosperous New Year – 2022 !


Song- Khushiyan manaao aaj deepak jalaao aaj(Raja Harishchandra)(1952) Singers- Sulochana Kadam, Satish Batra, Lyricist- Not known, MD- Husnlal Bhagatram

Lyrics

khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya

o o o o
o o o o
suno suno suno saajna tumhen sikhaaun naachna
suno suno suno saajna tumhen sikhaaun naachna
aaj naache mora ang ang re
aaj naache mora ang ang re
naacho naacho chham chhama chham chham chhama chham
naacho naacho chham chhama chham chham chhama chham
jhoom jhoom gaao aaj masti lutaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
sajan ke
saajan ke sang sang naacho sajaniya

o o o o
o o o o
o o o o

dekho dekho dekho saanwri huyi khushi se baawri
dekho dekho dekho saanwri huyi khushi se baawri
man bhi naache paayal ke sang re
man bhi naache paayal ke sang re
khelo khelo khelo more baalma
khelo khelo khelo more baalma
raas rachaao aaj
rang udaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya

o o o o o
o o o o
hato hato hato saanwre
chhedo na sabke saamne
hato hato hato saanwre
chhedo na sabke saamne
mukhde ka ud na jaaye rang re
mukhde ka ud na jaaye rang re
jaao jaao jaao more baalma
jaao jaao jaao more baalma
dil ko na jalaao aaj
aankhen na churaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya


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 :

4384 Post No. : 15737

First of all, I wish ” A Very Happy Birthday” to this Blog. Today, the Blog completes 12 successful years. Congratulations to Atul ji and on behalf of all Atulites a big Thank You for providing us a platform to enjoy and participate in the Carnival of Music of the Yore. I am proud of being associated with this Blog as the Senior Most (by age) Contributor of Posts.

I am quite active on FaceBook and the various groups dealing with old time songs and film related subjects, as well as some similar groups on WA. I feel thrilled and proud when people quote statements citing information from atulsongaday in support of their claims. This is a proof of the Prestige and Credibility this Blog has earned among the fans of old films and Music, all over the social media. This honour was earned by Atul ji with great efforts, hard work and consistency of performance. I can imagine the sacrifices he must have been making in his personal life since the last 12 years.

I wish similar fame, faith and credibility to this Blog in future too. May the Blog be a reference point for dependable and trustworthy information on old films and music for millions of its fans all over the world. And, thanks to Atul ji again.

Today’s song is from the film Bhai Bahen-1950. The words Bhai and Bahen are popular titles in Hindi films. A cursory look at the list of film titles indicates that there are 20 films having the first word as Bhai in their Titles. Titles like Bada Bhai, Mera Bhai, Do Bhai etc are not counted. Only the first word as Bhai is taken. There were 3 films as Bhai Bahen (50,59 and 69) and 3 films as Bhai Bhai (56,70 and 97) and 2 films called Bhai (44 and 97).

Today’s film was made by Krishen Movietone, Bombay, produced and directed by Ram Daryani. The music was by Shyam Sundar and the cast of the film was Geeta Bali, Prem Adib, Nirupa Roy, Bharat Bhushan,Gope, Yashodhara Katju, Gulab, K.N.Singh, Jeevan etc. I have not seen this film and I do not know anything about its story etc, but looking at the cast, I feel it must be a story of a married brother and a married sister and the ups and downs in their relationship. My guess is that the film may not be a very serious tear jerker, as we see the bubbly actress Geeta Bali and the comedy pair of Gope and Yashodhara Katju. out of the 10 songs of the film at least 4 are comedy songs. Five songs from this film are already discussed here. Today’s duet of Shamshad Begum And Satish will be the 6th song.

Geeta Bali became one of my favourite actresses, after I saw her in the film Albela-51. After that, I must have seen at least 10-12 films of Geeta Bali. She was not beautiful in the conventional way. Rather a Tom Boyish look and her naughty eyes and style of acting- particularly lighter and humorous scenes- was very impressive. It is our bad luck that such a talented actress had only a short career of just 14 years, but she made these memorable enough to make her name to be remembered.

Geeta Bali (real name Harkirtan kaur) was born in Amritsar on 30-11-1930, in a Sikh family, known for its religious and Scholarly traditions. Her father was a Sikh Missionary Preacher and travelled not only all over India, but also to Burma, Ceylon and Malaya. Due to frequent change of place, Geeta’s education was not consistent and it ended after 6th standard. When the family was in Kashmir, she joined the dancing and music classes. Keeta (her family nickname) did dance performances on stage in her schools.

When she was about 9-10 year old, she gave a public performance of her Dance in Lucknow. The puritans in their society objected, made a hue and cry and the pendal was burnt, to stop her show. Such experiences made her very bold in life. While at Lahore, Geeta directly entered the A.I.R. office to get a music contract. She got it also. She used to participate in Children’s programmes.

Through her Dance Director in A.I.R., she got into a documentary ” Cobbler” made by Shorey pictures. Impressed, she got a dance performance in film ” Badnami”-46 as well as Kahan Gaye-46 and Pancholi’s Patjhad-47.

After Partition, she came to Bombay. Kidar Sharma gave her a break in his film Suhag Raat-48 The film was successful. Next she worked with Raj Kapoor in Bawre Nain-50, Bhagwan’s Albela-51 and Navketan’s Baazi-52. Now there was no looking back. Geeta Bali went on to act in 80 films in her short career of just 14 years. She even sang a few lines in a song of film Rangeen Raaten-56, with Shamshad Begum and Uma Devi. She worked with Prithviraj Kapoor in Anand math-52 and his sons Raj kapoor in Bawre nain and in many films with Shammi kapoor. With Dev Anand she did Baazi, Faraar, Milap, Jaal, Zalzala, Ferry and Pocket Maar. She worked opposite Ashok Kumar, Motilal, Balraj Sahani, Prem Adib, Jairaj, Rehman, Bharat Bhushan, Abhi Bhattacharya, Kamal Kapoor, Karan Dewan, Shekhar, Sajjan, Amarnath, Jaswant and Suresh.

Some of her notable films were, Girls’ School-49, Dulari-49, Badi bahen-49, Nishana-550,Bawre Nain-50, Baazi-51, Albela-51, Zalzala-52, Raag Rang-52, Anand Math-52, Jhamela-53, Baaz-53, Daaku ki Ladki-54, Vachan-55, Miss Coca Cola-55, Jawab-55, Faraar-55, Bara Dari-55, Albeli-55, Pocket Maar-56, inspector-56, Coffee House-57, Mujrim-58, Jailor-58, Aji Bas Shukriya-58, Mr. India-61 etc etc.

Geeta and Shammi Kapoor fell in love, while working together. However, initially Geeta refused his marriage proposal for 4 months, saying that her family was dependent on her income for living. He did not leave hopes. When Shammi kapoor signed the film Rangeen Raaten, opposite Mala Sinha, she was jealous and approached Kidar Sharma for a role in that film. The story had no scope for another female role. Finally, a new role was introduced in the film-that of the Heroine’s brother and Geeta Bali did this male role throughout the film, just to be with Shammi Kapoor. This may be an unique example in the film world.

During the shooting days, Shammi Kapoor proposed to her again and this time she agreed, with a condition that they get married immediately, the same day. Shammi had not dared, so far, to inform his family about Geeta Bali, as he was afraid of opposition. Same night, in the presence of friends Johnny Walker and Hari Walia, they got married in the Banganga Temple, Napean Sea Road, Bombay, on 23-8-1955. Shammi Kapoor had to use Geeta’s lipstick for filling her ” Maang” with ‘ Sindoor’ ! Within a year, they got a son- Aditya Raj and in 1961 Kanchan was born to them. Contrary to Shammi’s fears, Kapoor Khandaan, did not object to their marriage.

While shooting for film Rano, made by Rajinder Singh Bedi, in Punjab, Geeta Bali contracted Smallpox and she died on 21-1-1965. ( adapted from books Star Portraits by Harish Booch and Stars of the Indian Screen by Baburao Patel, India Today, Yaadon ki Baaraat by Shirish kanekar and my notes).

In the cast of the film, I find at least 4 names who were Kashmiris, namely Prem Adib, Jeevan, Gulab and Yashodhara katju.

Yashodhara Katju (born 15 April 1928 – died – 1974), a forgotten actress of Indian Cinema, belonged to a reputed Kashmiri Pandit family from Lahore that had moved to Lucknow, where her father Jeevan Lal Katju, was a Zamindar and owned lands in Warburton in Khupra district, Punjab. He was appointed to a senior Administrative position by the British Government. J L Katju later resigned his Government job and joined the freedom struggle of the country. Her Mother’s name was Kailashwati (sister of well known Urdu poet & Judge of Allahabad High Court Late Anand Narain Mulla).

Yashodhra was fondly called as Chunnu by her parents. Other members of this Katju family were her brothers Moti Lal Katju , Pyare Lal Katju & her three sisters Chandra (Manno)-a Professor, Usha (Panno)-an M.A., and Manorama- a Doctor.

Yashodhara studied in English medium schools and was fluent in English, Hindi and Urdu. She did her Junior Cambridge. Apart from that, she was a highly talented girl who was equally well versed with singing and dancing. For some time she also joined Bhatkhande Music Institute, Lucknow to learn music but devoted more time to dancing and got herself trained as a professional dancer (Kathakali, Katahk and Manipuri) from some Masters of Lucknow. Later she took dancing lessons in Delhi as well.

All this apart , this talented girl nursed a desire from her childhood to join films. In 1941, Agha jani kashmiri , who was on a Talent Hunt, saw her in Lucknow and talked to her parents. Finally, much against the wishes of her family, she moved to Bombay in 1941. The family is reported to have sought intervention of Pandit Jawahar Lal Nehru also to dissuade her from joining films but she proved adamant. Katjus were closely related to Pandit Jawahar lal Nehru’s family. It is said that Chandra Mohan Wattal, another Kashmiri actor of that period too tried to dissuade her from acting in films but she remained adamant. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1973. Her parents finally consented to her decision and ensured a boarding and lodging for her in Bombay .

Prior to Yashodhara, Shyama Zutshi was the kashmiri Girl who joined films. (She acted in Vishnu Bhakti produced in 1934 and Karvaan E Hayat-35). However, the first Kashmiri girl to work in films was Gulab (real name Saraswati Devi), who worked from 1924 to 1964, in 160 films.

In 1941, at a young age of 14 years, she was offered a role of ” Aarti” in a movie Titled “Lalaji” produced by National Studios. The movie was completed in 1942. Her co-actors in that movie were Yakub, A. R. Kabul, Wasker, Amar, Sunalini, Vatsala Kumtekar, Maya Devi and Krishnakant.

Yashodhara always wanted to be an actress and on 15th August 1941 she joined National Studios. She played heroine and side heroine parts in films like Mahatma Vidur (1943), Dulhan (1943), Vijay Laxmi (1943) etc. Later she was reduced to character roles and became a popular comedienne in the 1950s. Her short plump stature and mischievous eyes really aided her in transitioning from leading to comedy roles. In films like Naujawan (1951), Dholak (1951), Sindbad the Sailor (1952), Ek do Teen (1953), Baaz (1953) etc she was cast in happy-go-lucky roles and even paired with other popular comedians of her time e.g. Bhagwan in Sindbad the Sailor (1952) and Gope. Her last few films as character actress were released in early 1970s including Seema (1971), Hare Rama Hare Krishna (1972), Do Phool (1973) etc .

Between Lalaji (1942 Her first Movie) and Do Phool (1973 her last movie), she acted in about 85 films. Her co stars included Jagdish Sethi, Pahari Sanyal, Shanta Apte, K. C. Dey, Manorama, Motilal, Shobhana Samarth, Leela Misra, Trilok Kapoor, Sadhana Bose, Khurshid, Kanhaiyalal, Ulhas, Yakub, Jairaj, Rehman, Suraiya, Prem Adeeb, Nirupa Roy, Shyam, Kuldip Kaur, Jeevan, Cuckoo, Bharat Bhushan, Lalita Pawar, K. N. Singh, Meena Kumari, Jankidas, Durga Khote, Mukri, Bhagwan, Jagirdar, Nigar Sultana, Ajit, Pran, Agha, Sunder, Anwar Hussein, Jayant, Shakila, Naseem Bano, Guru Dutt, Ratan Kumar, Mahipal, Ifftekhar, Bina Rai, Rajendranath, Helen, Madhubala, Sapru, Sulochana, Sunil Dutt, Meena Kumari, Daisy Irani, Ashok Kumar, Kumkum, Vaijayantimala, Begum Para, Tuntun, Balraj Sahni, Devanand, Prem Chopra, Rajendra Nath, Aruna Irani, Mehmood & Rajendra Kumar.

From the younger generation, her co-stars included Rakhee Gulzar, Rakesh Roshan, Hema Malini, Simi Garewal, Kabir Bedi, Zeenat Aman, Vinod Mehra, Mumtaz and Mehmood Junior. She worked with almost all prominent directors in Film industry including S. S. Vasan, Devendra Goel, Guru Dutt, Mohan Segal, P. L. Santoshi, M.Sadiq, D. N. Madhok, H.S.Rawail, B. R. Chopra, Rafiq Rizvi, Kishore Sahu, Dev Anand and Mahesh Kaul.

She started as a co-star, moved to lead roles, shifted to comedy (Mostly with another comedian of her time known as Bhagwan and Gope) and finally did some memorable performances as a character actress (Seema, Hare Rama Hare Krishna and Do Phool etc.).

Her close friends included Nalini Jayawant, Laita Pawar and Nirupa Roy. Sometime in around 1958, she married a Naval officer (Commander Bhandari) and lived a happy married life. After 1973, she did not act in films and slipped into Oblivion. She died of a sudden heart attack, in 1974 (Autar Mota)
(Thanks to Suresh Sarvaiya, Blog Chinar, Film Directory-46 and my notes).

Before I conclude this post, once again ” Happy Birthday ” to this Blog and Congratulations to Atul ji. After today, the Blog will enter its Teen Age-Thirteen!


Song-Baithe raho joru ke paas baaki duniya sab bakwaas(Bhai Bahan)(1950) Singers- Shamshad Begam, Satish Batra, Lyricist-Raja Mehdi Ali Khan, MD- Shyam Sundar
Both

Lyrics

hum chaand si ik dulhan
aaj apne hain ghar laaye
koi na idhar dekhe
koi na idhar aaye
baithe raho joru ke paas baaki duniya sab bakwaas
baithe raho joru ke paas baaki duniya sab bakwaas

baithi rahoon dulha ke paas baaki duniya sab bakwaas

kaisi sundar surat ho tum ik cheeni ki
ae ji ik cheeni ki moorat ho tum
narm narm ho jaise kapaas baaki duniya sab bakwaas
baaki duniya sab bakwaas
main halwaa hoon tu hai mithaai
main halwaa hoon tu hai mithaai
tu hai rabadi main halwaai
main hi jaanoon teri mithas
shahad aur shakkar sab bakwaas
shahad aur shakkar sab bakwaas

koi na sharbat de ab mujhko raam kasam hai
ae ji raam kasam hai
dekh ke tujhko bujh gayi mere man ki pyaas
lemon soda sab bakwaas lemon soda sab bakwaas

log mujhe kahte hai Gope
tu bandook hai main hoon top
donon kar de satyaanaash
bomb aur gole sab bakwaas
bomb aur gole sab bakwaas
kad ke itne chhote ho tum
kad ke itne
aji phir kyun itne mote ho tum
khaata hoon do ser malai
khata hoon sau baar mithaai

uyi meri maiyya raam duhaai
sajani ho sajani bhookh lagi hai mujhko
saajan ho saajan main doongi tujhko
ubli hui sabji aur daal
rabdi mithaai sab bakwas
aji baithe raho joru ke paas
ae ji baithi rahoon dulha ke paas
baaki duniya sab bakwaas


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 : 3870 Post No. : 14888

Today’s song is from film Tara-49. The cast of the film was Majnu, Kuldip Kaur, Jawahar kaul, Shyama,Nayantara, Chand Burke etc etc. This is a duet song sung by Satish Batra and Premlata. Aziz Kasmiri’s songs were composed by the melody master Vinod. The film was directed by R D Parinja.

I like to discuss less heard and not so famous films, because it gives me an opportunity to dig out information on the forgotten small time and big time artistes of yore. Some of the names are not even heard by the new generation and no wonder. That way, older film buffs of my age group (75 to 80) are not aware of the new and current Bollywood superstars- even if they are very popular and famous. With films making(rather raking) business in crores these days ( anything between 100 to 200 crores), every alternate actor is a superstar for a period of 2 to 3 years !

TARA-1949 was truly an obscure film,because when it was released,for unknown reasons,it went off the theatres within a week’s time and never came for even a second run,like other movies.
All my efforts to see this film came to a nought. I was keen to see this film,as its MD was VINOD,who had become popular due to the immortal Lara Lappa song from EK THI LADKI-49.

This film had 12 songs. Vinod had a penchant for giving chance to new/less known singers in his films. Thus Vinata Amladi(Dilli se aaya bhai Tingu fame) and Gandhari (Rane),Meenal Wagh, Satish Batra etc got opportunities in film world. In the 12 songs of the film Vinod had used as many as 7 singers-
Gandhari (Rane), Premlata, Uma Devi(Tun Tun), Raj kumari, Geeta Roy, Hameeda Bano and Satish Batra-the only male singer.

Vinod had another(good) habit. He liked to have atleast 1 or 2 fun songs in his films.In this film also there were 2 fun songs.

1. Mithhaai ki dukaan meri Dilli ke baazaar mein(Taara) Gandhari(Rane) and
2. Pyaar karna ho to yaaron kar lo teliphoon(Taara) Satish Batra and Rajkumari.

The director of this film was Mr.R.D.Parinja. He started his career as a Cinematographer in Bombay Talkies in its haydays.
He filmed Izzat, Prem kahani, Jeevan Prabhat,and Savitri-all 37 films, and then Kangan,Azaad,Jhoola,Bandhan,Naya sansar and Kismet.
When he was in Bombay Talkies,the German pair of Director Franz Osten and Cinematographer Joseph Wirsching were also there. He must have learnt a lot from them(or did he ?).

When Parinja left Bombay Talkies in its waning bad times he tired to produce and Direct films on his own.
first it was Sona Chandi-46 and then it was Tara-49.
After Tara,the film and the producer/Director disappeared into obscurity for ever.

Jawahar Kaul was the Hero of the film and the Heroine was not Shyama ( she was still a struggling artiste doing titbit roles) but Kuldip Kaur in this film. This was one of the few films where she was Heroine. Otherwise she was a perfect Vamp in films. Her life story is different . Saadat Hasan Manto has written several pages on her in his book ” Dastavez”-Volume 5 and as his wont was, it was not a flattering description of Kuldip.

Kuldip Kaur was born sometime in 1927 and brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side.

Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.

Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur
decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over
the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat chin made her an ideal choice for the role of a vamp.
The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip
Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”. 1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.
1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”.

In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding. When Kuldip had fewer Hindi films in hand, she worked in Punjabi films.
1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died on 3rd February 1960. She worked in 69 films.

Jawahar kaul was one Hero, about whom not much is written about. That is because hardly any of his film was famous, nor was he known for his acting prowess or good looks like say Karan Dewan or Bharat Bhushan. I remember him in films like Khidki-48, Dekh kabira roya-57 and Bhabhi-57. Jawahar Kaul was born into a Nehru family on the 27th of September in the year 1927 in the place once revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to potray supporting characters in big films. He made his debut while playing actor Kishor Sahu’s younger brother in the 1945’s ‘Veer Kunal’. In this year, he was seen in the role of ‘Humayun Mahawat’ in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in the flick ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.

In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, ( brother of stunt film actor Navin Yagnik), the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like Azadi Ki Raah Par, Apni Chhaya, Kathputli, Pehli Jhalak, Laal Batti, Sahib Biwi Aur Ghulam, etc. He was a legend of the Black and White Cinema. He was a superstar in the films made in the 1960s. Throughout his career, he worked only in a few selected flicks, but he was able to efficaciously enrapture the audience’s attention.

Jawahar was never happy about his career- the way it went. he had wanted it to be more successful. Anyway after his last film Zalim-1980, he left acting and joined as a Production Manager with Jwala Pictures of Sandeep Sethi. After two years he became his Secretary for the next 17 years. Meanwhile he produced a film-” Agniputra “, with Mithun Chakrawarty. It took a long time to release finally in 2000. Not only it was a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. Today Jawahar is about 92 years and lives peacefully in Andheri,Mumbai. He looks after his school and college ‘ Children’s welfare Centre, nearby.

Jawahr Kaul acted in 31 films starting from a small role in Geet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.

In film Tara-49, there were two names which need a spotlight on them, because they are not a very popular or well known names. Sometimes a memorable role in a film becomes totally identified with the actor doing it. Many times the role name gets attached to him and he is known by that name popularly. off hand I know atleast two such names. One is ofcourse Gabbar singh. Amjad Khan did that role so intensely that this name became his identity. Second example is Meena Shorey. In her entire life time she was always known as the Lara Lappa Girl…that song from film Ek thi ladki-49 became her second name. There was also a name Bajarbattu, which many readers must have seen in the cast of old films of B and C grades. This was the name of actor Anant Apte, who did the role of Bajarbattu in film Amar jyoti-1936. The name stuck to him and till his last film he was billed as Bajarbattu in every subsequent film.

Similarly actor Majnu’s real name was Harold Lewis, but due to his role in his first film as Hero-Laila Majnu-1935, he became popular as Majnu only, till end of his career. MAJNU-Harold Lewis – was a Punjabi Christian.He was the childhood friend of Roop K.Shorey. When Shorey wanted to make his second film, he chose Harold as a Hero. The film was MAJNU-1935,which was a satirical spoof on the old Laila-Majnu story. There were many stunts and in one scene Majnu is tied up on railway track by the villain. The film became a hit and Harold was renamed MANJU for his film career.

He appeared in almost all of Shorey’s films.He was also doing films with other producers.In 1942 he did a double role in Nishani and in 1943 he directed his first film Paapi. Shorey also gave him a film Badnami-1946 for direction and it was here that Majnu met I.S.Johar who wrote the story and Dialogues of Badnami.

Majnu paired with I.S.Johar in EK THI LADKI-1949,the debut film of Johar.Later they made a comedy pair in 10 films,including the hit HUM SAB CHOR HAIN-1956.

Majnu acted in 77 films,from 1935 to 1966 film Akalmand-also with Johar for the last time.
Majnu directed 8 films including,Paapi-43,Badnami-46,Son of Alibaba-55,Tatar ka chor-55 baghi sardar-56,Chandu-58 etc.

The other less known name was Chand Burke. Chand Burke made her debut in Maheshwari Productions’ Kahan Gaye (1946), which Niranjan wrote and directed. They fell in love on the sets and got married in 1945. Thereafter, Chand appeared in a number of films made in Lahore, and was widely known as “the Dancing Lily of the Punjab.”

Partition and her subsequent migration to Bombay adversely affected her career. After “Hamari Manzil,” which was released in 1949, Chand Burke went into complete oblivion. It was Raj Kapoor who selected her for that important role as children’s tormentor in “Boot Polish,” over 200 other contestants, her screen-test convincing Raj Kapoor that she was a talented actress. Some of her well known films were Basant Bahar-56, yahudi ki beti-56, Adalat-58 and Lajwanti-58.

Chand was the only one in a family of twelve brothers and sisters to have joined the films (her brother S. M. Burke, I.C.S., was a Minister to the Scandina­vian countries for Pakistan). Chand ob­tained judicial separation by mutual consent from her husband, writer-director Niranjan in 1954.

She was also married to Sunder Singh Bhavnani- grandfather of superstar Ranveer Singh. She is also related to Suneeta Kapoor.

She acted in about 30 films. Her last film was Pehchan-72.

Let us now listen to the well tuned duet of Premlata and Satish Batra. this will be the 9th song from this film.

( Thanks to apnaorg, cineplot, netttv4u.com, beetehuedin.com, film directory 1946, HFGK, cinerang by Isak Mujawar, MuVyz and my notes, for information used and adapted in this post.)


Song- Duniya se nyaare hain khel hamaare (Taara)(1949) Singers- Satish Batra, Premlata, Lyrics- Aziz Kashmiri
MD- Vinod
Both

Lyrics

Duniya se nyaare hain khel hamaare
ho o khel hamaare
Duniya se nyaare hain khel hamaare
ho khel hamaare
khelo praan pyaare
khelo preetam pyaare ae ae
khelo praan pyaare
khelo preetam pyaare ae ae
duniya hamko
dekhe aate jaate saanjh sakhaare
duniya hamko
dekhe aate jaate saanjh sakhaare

hum duniya se aankh bacha kar
hum duniya se aankh bacha kar
karen ishaare ae
karen ishaare
karen ishaare ae
karen ishaare

Duniya se nyaare hain khel hamaare
ho o khel hamaare

isko duniya kahe muhabbat
hum isko ik khel kahen
aankh michauli aankhon ki
dil ka dil se mel kahen

haan aan aan
ye mel kabhi na chhoot sake
ye mel kabhi na chhoot sake
koi laakh jatan kar haare
Duniya se nyaare hain khel hamaare
ho o khel hamaare

deepak par jal gaya patanga
bol gaya hai duniya waalon
haan haan ae duniya waalon
bol gaya
jeewan hai ek khel
khel mein
apne sab armaan nikaalo
haan haan
armaan nikaalo
bol gaya
aas paas chanda se khele ae ae
aas paas chanda se khele ae ae

taare ban armaan hamaare
taare ban armaan hamaare
Duniya se nyaare hain khel hamaare
ho o khel hamaare
Duniya se nyaare hain khel hamaare


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 : 3840 Post No. : 14852

“Dhun”(1953) was directed by M Kumar for Silver Productions, Bombay. The movie had Raj Kapoor and Nargis in lead roles with Motilal, Pramila, Kamal Mehra, M Kumar, Cuckoo etc also there in the movie.

The movie had eleven songs in it. Seven songs have been discussed in the past.

Here is the eighth song from “Dhun”(1953). This song is in fact a two part song. Part I is sung by Rafi, Batra, Baabul and chorus. Part II, which is an extension of the same song, is sung by Rafi, Madan Mohan, Baabul and chorus.

Bharat Vyas is the lyricist of this llong light hearted song. Music is composed by Madan Moahn.

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

Since this is a two part song, so with this song, now nine songs from the movie have been covered. HFGK mentions two more songs- “hansa hai mukpe zamaana” and “is duniya mein ham aa nikle”. Thouh the lyricist for these two songs is mentioned in HFGK 9Kaif irfani), no other fdetails are known for these songs. Record numbers are not mentioned so may be records of these songs were not mentioned.

I request our knowledgeable readers to throw light on these remaining two songs that do not seem to be available as of now.

PS-This writeup replaces another song from the movie, namely “nindiya na aaye tum bin” which was already covered in the blog in the past.

Another special fact about this song is that this is the fourth song in the blog that has the voice on Madan Mohan as a singer. Madan Mohan had lent his voce in four songs in Hindi movies. with this song, now all these songs have been covered in the blog.

Audio (Both Parts)

Koi ek aana koi do aana (Dhun)(1953) Singers-Rafi, Satish Batra, Baabul, Madan Mohan, Lyrics-Bharat Vyas, MD-Madan Mohan

Lyrics

Part I
———————
koi ek aana
koi do aana
koi teen aana
koi chaar aana
is duniya mein sab paagal hain
haan
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya mein sab pagal hain
hum paagal hain solha aana
hey
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana
koi char aana

hahaha
paise waalon ko dekho jinke hain mote pet
dhandhe karte hain khote
aur kahlaate hain seth
haan
din ke ujiyaale mein karte hain kaala bazaar
ho phir bhi paagal duniya unko kahti saahukaar
o mere bhaiya kehti sahukar
o bhaijaan kehti saahukaar

main hoon saahukaar bhaiya main hoon saahukaar
maine hi ye kaam kiya hai
baap ka ooncha naam kiya hai
chauraahe par dhol bajaa kar
chauraahe par dhol bajaa kar
tera ghar neelam kiya hai
mujhko maaro
arre bhai mujhko maaro
sab mil kar maaro aao aao sab mil kar maaro
jhaadu maaro joote maaro
patthar maaro kankar maaro
maaro maaro maaro
sab mil kar maaro
are bhai baithe kyun ho
o bhaiya uthkar maaro na

koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi char aana

koi mera sher suno
khuda ke liye
koi mera sher suno
haaye
koi nahin sunta
kaun karta doston
duniya mein shaayar ki kadar
ghoomte firte hain ye shaayar ke bacche dar badar

———————-
Part II
———————

kaun karta doston duniya mein shayar ki kadar
mori kadar nahin jaane raam rahen
mori kadar nahin jaane ram rahen
sapt suran teen graam
aam ke aam
guthli ke daam
saa re ga ma
haaye raam
aa ha ha
waah ustaad

saa re ga ma
haaye raam
dhum t na n n n n na na na na
mori kadar nahin ja ja o ja ja
mori kadar nahin ja ja ja ja
ja mori kadar nahin
ja mori kadar nahin
ja mori kadar nahin

johny o ho o johny
j j johny o johny duniya faani faani faani
o ho o jolly hey hey johny
o johny johny johny johny
haaye johny

koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi char aana

aasha aasha pukaaroon main van mein
o meri aasha
bandhi astabal mein haan
o o o
mujhe baap ne ghar se nikaala
ae haaye kar diya munh mera kaala
o aasha aashaa aashaa
kar diya munh mera kaala
o tere liye kar diya munh mera kaala
haay aasha ji kar diya munh mera kala
aasha ji aasha ji aasha aasha ji haaye haaye
aasha ji aasha ji aasha aasha ji

fukut vukut de dheel dheel
fukut vukut de dheel dheel
o mera neela patang kare
dushman se jung
iske baap ke rang dhang dekh lo
mera neela patang kare dushman se jung
dekho dekho dekho
are dekho dekho dekho

dekh liya duniya ke mela
log hain rang rangeele ae ae ae ae
koi kam hai koi jyaada aa
par sabke purje dheele
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya me sab pagal hain
hum pagal hai solha aana
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
hey bacho


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.

While discussing HFM in this blog, we have come across artists with same names who often get confused among each others. We in this blog call it “same name confusion”- a phrase coined by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia. He has written lots of articles in this blog, as well as elsewhere, trying to clear confusions about artists with similar names.
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.

So old order changes and gives way to new. 2015 is gone and now we are onto the new year of 2016. Just the change of one day changes the month as well as year. It is a symbolic change that is recognised only by humans. Other species, like for example our pets do not recognise this concept of change of months and years.
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.

“Baazaar” (1949) was a Madhukar Pictures Production. It was directed by K Amarnath. The movie had Shyam, Nigar Sultana, Cuckoo, Misra, Badri Prasad, Gope, Yakub, Amir Banu 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.

“Baazaar” (1949) was a Madhukar Pictures Production. It was directed by K Amarnath. The movie had Shyam, Nigar Sultana, Cuckoo, Misra, Badri Prasad, Gope, Yakub, Amir Banu etc in it.
Read more on this topic…


This article is written by Sudhir, 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.

This post is upon request from Manju ji, the daughter of the famous film director, Shri K Amarnath. She is compiling a collection of the films produced and / or directed by her father, and also the songs contained in this films. Shri Amarnath’s career as a director started in 1936, and much of his earlier films are not traceable as of now. When we communicated via this blog, Manju ji indicated that she is continuing to search for such films and songs.
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 FOURTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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Movies with all their songs covered =1329
Total Number of movies covered=4609

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