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

Posts Tagged ‘Shamshad Begam


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 :

4374 Post No. : 15715

“Apni Chhaaya”(1950) was directed by P L Santoshi for C R Productions. The movie had Cuckoo, Mumtaz Ali, Tiwari, Kanta Kumari, Balwant Singh, Sulochana Chatterji, Jawahar Kaul, Ramsingh, Mona, Sajjan, Dulari, Radha Krishnan etc in it.

“Apni Chhaaya”(1950) had ten songs in it. Three songs have been covered in the past.

Here is the fourth song from the movie. This song is sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. The movie had Husnlal Bhagatram and Hanuman Prasad as the music directors. Music of this song is composed by Hanuman Prasad.

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


Song-Khushi ki ye ghadiyaaan mubaarak mubaarak(Apni Chhaaya)(1950) Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Hanuman Prasad Sharma

Lyrics

ye khushi ki ghadiyaan aan
mubaarak mubaarak
mubaarak mubaarak a a a k

khushi ki ye ghadiyaan
mubaarak mubaarak
khushi ki ye ghadiyaan
mubaarak mubaarak
khushi ki ye ye
khushi ki ye o
khushi ki ye ghadiyaan
mubaarak mubaarak

aa aa aa
huye door baadal l l l l
ghire thhe ae jo gham ke ae ae ae ae

zara dekhoon to
ghire thhe jo gham ke ae
nayi hasraton ke ae
sitaare hain chamke
aa haa
sitaare hain chamke
sitaare hain chamke

ye luta di hai sabne ye moti ki ladiyaan
luta di hai sabne ye moti ki ladiyaan
ye moti ki ladiyaan

ye moti ki ladiyaan
ye moti ki ladiyaan
ye moti ki ladiyaan
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ae
khushi ki ye o
khushi ki ye ghadiyaan mubaarak mubaarak

aa aa aa aa
aa aa aa
rahe ganga jamuna mein aen aen
jab tak ye paani ee ee

jab tak ye paani
rahe har jubaan par
tumhaari kahaani
tumhaari kahaani
tumhaari kahaani

ye sunaayegi bulbul
sune gul o kaliyaan
sunaayegi bulbul
sune gul o kaliyaan
sune gul o kaliyaan

sune gul o kaliyaan
sune gul o kaliyaan
sune gul o kaliyaan
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ae
khushi ki ye o
khushi ki ye ghadiyaan mubaarak mubaarak
khushi ki ye ghadiyaan mubaarak mubaarak


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.)


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 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 :

4358 Post No. : 15681

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.

The movie had seven songs in it. Four songs from the movie have been discussed in the blog in the past.

Here is the fifth song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Bharat Vyas is the lyricist. Music is composed by Chitragupta.

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


Song-Chori chori mat dekh balam (Hamaara Ghar)(1950) Song-Shamshad Begam, Rafi, Singer-Bharat Vyas, MD-Chitragupta

Lyrics

chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
dulhan ko najar lag jaayegi
to khadi khadi mar jaayegi
haaye chori chori mat dekh

ghoonghat ke pat tu khol
ghoonghat ke pat tu khol
zara saaja ki najar bhar jayegi
nazron se najar mil jayegi
to gori amar ho jaayegi

haaye chori chori mat dekh

kajre ki ret teri hamko laage pyaari
ho o pyaari
kajre ki ret teri hamko laage pyaari
ho o pyaari
mad bhari raseeli ankhiyaan jaise kataari
ho mad bhari raseeli ankhiyaan jaise kataari
haaye ankhiyaan jaise katari
chham chham chham chham teri paayaliya
jab run jhun run jhun gaayegi
hum jhoom jhoom dekhenge
jab teri patli kamar bal khaayegi

haaye chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
nazron se najar mil jaayegi
to gori amar ho jaayegi

haaye chori chori mat dekh

more dil ki suno more sainya
padu mai tore paiya
ha ha painya
more dil ki suno more sainya
padu mai tore paiya
haan haan paiya
mora dhak dhak dhadke jiya
chhodo mori bainya
mora dhak dhak dhadke jiya
chhodo mori bainya
haaye chhodo mori bainya
taaron ki chunariya odh dulhaniya
jab saj dhaj kar aayegi
ghoonghat ki oat daale kal
wo khud hi tujhe bulaayegi
haaye chori chori mat dekh
chori chori mat dekh balam
bholi dulhan sharmaayegi
ho najron se najar mil jaayegi
to gori amar ho jaayegi

haaye chori chori mat dekh


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:

4356 Post No. : 15677

“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C, Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.

The movie had seven songs in it. Three songs from the movie have been covered in the blog.

Here is the fourth song from “Sapna”(1952) to appear in the blog. This song is sung by Rafi, Shamshad Begam along with male and female chorus. Bharat Vyas is the lyricist. Music is composed by Shyambabu Pathak.

Only the audio of the song is available. It sounds like a community dance song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Ae ghanan ghanan ghan garje (Sapna) (1952) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-Shyambabu Pathak
Male Chorus
Female Chorus

Lyrics

babadik babadik
babadik baabdik
babadik babadik baabdik

hoy hoy
hoy hoy
hoy hoy
hoy hoy
ho rara ho

aa aa aa
aa aa aa

raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho

raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho

Ae ghanan ghanan ghan ghanananan ghanan garje
ba ba ba baadarwa
baadal ke dil mein khinch gayi
khinch gayi bilji ki rekha
?? bijli ki rekha
arre gori ki aankhen
mit gayi mit gayi
ye kisne dekha
kahoji bhai ye kisne dekha
baat ye sau baaton ki baat
raat ye sau raaton ki raat
baat ye sau baaton ki baat
raat ye sau raaton ki raat

Hoy
laar lilla
laar lilla
naar naweli aayi re
laar lilla
laar lilla
naar naweli aayi re
chamak chamak kar chale chaal ye
bijli si lugaai re
chamak chamak kar chale chaal ye
bijli si lugaai re
laar lilla
laar lilla
naar naweli aayi re

jyun jungle ki ee ee ee laakdi
gaanthh gathheelee hoye
baalaapan ki ee ee preetdi
bahot hathheelee ho o o o o ye

phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bagiya mein hamko nindiya jo aayee
nindiya
jo aayee
main to kaliyon ki godi mein so gayee re
ho main to
ho main to
ho main to kaliyon ki godi mein so gayee re
chupke se ungli ko kaante ne kaat liya

kaante ne kaat liya
daiyya re ghaayal main ho gayee re
haay daiyya re ghaayal main

ho gayee re
ho gayee
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto

bhanwron ke bhole bhaale jigar par
nainon ka teer mera

chal gaya re chal gaya
phoolon ke sang muskaate yoon dekhoon main
phoolon ke sang muskaate yoon dekhoon main
kaanta nigoda kyun jal gaya re
haaye kaanta nigoda kyun jal gaya re jal gaya

phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto

phulwa phulwa phulwa phulwa
aa aa aa aa
phulwa phulwa phulwa phulwa
aa aa aa aa

kisne chheda kaanon mein mere
zaalim jawaani ka raag re

raag re
raag re
raag re

tadpan lagi more man ki machhariyaa
tadpan lagi more man ki machhariyaa
paani mein laagi hai aag re
aag re
aag re
aag re

aa aa aa aa aa
aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa 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 :

4342 Post No. : 15645

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.

The movie had seven songs in it. Three songs from the movie have been discussed in the blog in the past.

Here is the fourth song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Bharat Vyas is the lyricist. Music is composed by Chitragupta.

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


Song-Teri tirchhi nazar teri patli kamar (Hamaara Ghar)(1950) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-Chitragupta
Both

Lyrics

o teri tirchhi nazar
teri patli kamar
lahraa ke bal khaake ham pe jaaadu kar gayi
haan aankhon ka kasoor chhuri dil pe chal gayi
ho meri tirchhi nazar meri patli kamar
main kya jaanoon haaye kaise dil pe jaadu kar gayi
dekha jo tumko saamne duniya badal gayi

ho o o
teri nagariya mein beech dagariya mein
nanha sa dil mera kho gaya
teri nagariya mein beech dagariya mein
nanha sa dil mera kho gaya

ho o o
teri atariya mein beech bajariya mein
tu meri main tera ho gaya
oye nanha sa dil mera kho gaya
hoye teri chhoti si umar tera nanha sa jigar
tere maathe ki bindiya ghazab kar gayi
haan aankhon ka kasoor chhuri dil pe chal gayi
ho meri chhoti si umar mera nanha sa jigar
main kya jaanoon kaise bindiya ghazab kar gayi
dekha jo tumko saamne duniya badal gayi

haan aankhon ka kasoor chhuri dil pe chal gayi

ho o o o
baaten banaao nahin aankhen milaao nahin
dekht log lugaai hain
baaten banaao nahin aankhen milaao nahin
dekhat log lugaai hain

ho o o
hamse lajaao nahin aankhen churaao nahin
tumko raam duhaai hai
ho o dekht log lugaai hai
ghoonghat waale o hazur kaahe itna guroor
gore gaalon ki laali julam kar gayi
haan aankhon ka kasoor chhuri dil pe chal gayi
ho meri tirchhi najar meri patli kamar
main kya jaanoon haaye kaise dil pe jaadu kar gayi

dekha jo tumko saamne duniya badal gayi
dekha jo tumko saamne duniya badal gayi


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: 4337 Post No.: 15635

“Raaj Raani”(1950) was directed by Satish Nigam for Jagat Pictures, Bombay. The movie had Meena, Rehman, Sohan, Usha Kiran, Cuckkoo, Vyas, Mehta, Shashikala etc in it.

There were seven songs in the movie. Three of these songs have been covered in the past.

Six out of seven songs were female solos, which were equally distributed among three singer namely Shamshad Begam, Surinder Kaur and Lata Mangeshkar. All of them had sung two songs each.

The seventh song is a duet which is sung by Shamshad Begam and Rafi. Here is this less known Shamshad Rafi duet from this less known movie. D N Madhok is the lyricist. Music is composed by Hansraj Bahl.

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


Song-Lo pakdo pakdo saajanwa jawaani bhaagi jaaye(Raaj Raani)(1950) Singers-Shamshad Begam, Rafi, Lyrics-D N Madhok, MD-Hansraj Bahl

Lyrics

lo pakdo pakdo
lo pakdo pakdo saajnwa aa
jawaani bhaagi jaaye
lo pakdo pakdo saajnwa aa
jawaani bhaagi jaaye
ek baar ye chanchaliya ye manchaliya
ek baar ye chanchaliya ye manchaliya
gayi to laut ke na aaye
ho o gayi to laut ke na aaye
lo pakdo pakdo
lo pakdo pakdo saajnwa aa
jawaani bhaagi jaaye

ra ra ra raar rara
matlab samjha do iska re re re re re re re
haaye na lo kisi ki ra ra ra rara ra ra
matlab samjha do iska ree ree ree reer ree ree
haaye na lo kisi ki
teri kaayam rahe jawaani
na jaana aag laga ke
mere armaan jaga ke
o teri kaayam rahe jawani
na jaana aag laga ke
mere armaan jaga ke
muddat ki lagi thi aag bhadkti jaaye na bas mein aaye

lo pakdo pakdo
lo pakdo pakdo saajanwa jawaani bhaagi jaaye

ra ra ra ra
rara

main kya jaanoon kaho kya ree ree ree ree reer ree
haalat buri hai dil ki
ra ra raraar ra ra

main kya jaanoon kaho kya ree ree ree ree ree ree
haalat buri hai dil ki
teri kaayam rahe jawani na hamko yoon tarsaao
thahar bhi jao
o teri kaayam rahe jawani na hamko yoon tarsao
thahr bhi jao

ye chalti phirti chhaaya kyun bharmaya haath na aaye
lo pakdo pakdo
lo pakdo pakdo saajanwa
jawaani bhaagi jaye
ek baar ye chanchliya ye manchliya
ek baar ye chanchliya ye manchliya
gayi to laut ke na aaye
ho o
gayi to laut ke na aaye
lo pakdo pakdo
lo pakdo pakdo saajnwa
jawaani bhaagi jaaye


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: 4332 Post No.: 15626

“Raseeli”(1946) was a “social” movie which was directed by Hanuman Prasad for Jaibharat Pictures, Bombay. The movie had Radharani, Sushil Kumar, Kanhaiyalal, Ramesh Gupta, Anant Prabhu, Ranibala, Meghmala, Shanti devi, Ramlal, Shamlal etc in it.

The movie had ten songs in it. Two of these songs have been covered in the past.

Here is the third song from “Raseeli”(1946) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Hanuman Prasad, the director of the movie, was the lyricist as well as the music director.

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


Song-Dil mujhko jalaata hai (Raseeli)(1946) Singer-Rafi, Shamshad Begam, Lyrics-Hamuman Prasad, MD-Hanuman Prasad

Lyrics

dil
dil mujhko jalaata hai
dil mujhko jalaata hai
main dil ko jalaati hoon
main aen dil ko jalaati hoon

main tumko bhulaata hoon
main tumko bhulaata hoon
main tujhko bhulaati hoon
main aen tujhko bhulaati hoon

ik dard mere dil mein aen aen
ik tees hai jigar mein
ik dard mere dil mein aen aen
ik tees hai jigar mein
haaye tees hai jigar mein

ye mujhko rulaata hai
ye mujhko rulaata hai
main isko rulaati hoon
main aen isko rulaati hoon

tum dil se nikal jaao
tum seene mein aa jaao
tum dil se nikal jaao
tum seene mein aa jaao
tum seene mein aa jaao

gham mujhko mitaata hai
gham mujhko mitaata hai
main gham ko mitaati hoon
main aen gham ko mitaati hoon


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: 4329 Post No.: 15621

“Idgaah” is a timeless classic penned by Munshi Premchand (31 july 1880-8 october 1936). This is the story of Hamid, a seven year old boy whose parents are no longer alive and he is brought up by his grandmother. On the festival day of Eid, he goes to Eid mela with his friends. While other kids buy themselves candies and toysHamid, thinking of his grandmother, buys a pair of tongs to help her make rotis, since she burns her hands trying to cook them bare-handed.

This moving tale was written by Munshi Premchand during his stay at Gorakhpur between 1916 to 1921, though the story itself could be published in 1933. The story, like many stories of Premchand, became a classic. It is a story that people, including children, can easily identify with. This story was there in my Hindi text book (class 7, I think). This story continues to be there in Indian school text books. I gather that even other regional language text books in India include this story.

TV serials came to India in 1980s, Premchand’s stories were telecast on Doordarshan in 1990s in a series called “Tehreer- Munshi Premchand Ki”.
This story too was telecast as part of this series.

The place in Gorakhpur where Munshi Premchand used to stay is today known as Premchand Park. In its rear is a famous Mazaar called Mubarak Khan Shaheed ki mazaar. There is an idgaah in front of this mazaar. Munshi Premchand used to be a regular visitor to this mazaar and he used to spend hours there.

A mela is held near this Idgaah during Eid. Munshi Premchand got the idea for his story of “Idgaah” from this particular idgaah located near his residence.

This time, there is a lockout due to coronavirus, not just in Gorakhpur, but also in India and for that matter in the entire world. It is also quite a coincidence that a similar pandemic of Spanish flue had take place in India (including Gorakhpur) from 1918 to 1919 when Munshi Premchand was in Gorakhpur. Some parts of Gorakhpur (namely Railway area called kawwaabaagh) was quarantined during those days when one person was infected with Spanish flu.

This time there will be social distancing in this famous idgaah and very few people will attend the namaaz during Eid. And there will be no mela this time.

Here is a song from Shamshad Begam on the occasion. It is a non film devotional song. One could imagine Hamid’s daadi singing this naat to her grandson on this occasion.

I have not been able to get a few words right in the lyrics. I request our knowledgeable readers to help fill in the blanks / suggest corrections as applicable.

I am not aware about the details of this song vis a vis lyricist and music director etc. I request our knowledgeable readers to fill in the details of this song.

On this occasion, I extend greetings of Eid Mubaarak to one and all. On this occasion, Let us savour this divine devotional song is the voice of Shamshad Begam.


Song-Ramzaan ka maheena bada barkaton ka hai (Shamshad Begam NFS)(1960) Singer-Shamshad Begam

Lyrics

paighaam mominon ke liye ae ae
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai
Ramzaan ka maheena bada barkaton ka hai

Jisko namaaz e roze ka armaan ho gaya
us par khudaay e paak meharbaan ho gaya
Ramzaan aaya qaid mein shaitaan aa gaya
naazil isi maheene se Quraan ho gaya
zyaada azeez rakhte thhe Ramzaan ko rasool
hoti hai is maheene mein har ik dua qubool
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

utre hain is maheene mein taurait aur zaboor
naazil hui hai Issa pe injeel bhi zaroor
khwaab e gumaan hain is mein shab e qadr ka zahoor
momin ne is maheene mein paaya khuda ka noor
waajib hai har ameer pe Sadqaa adaa kare
daaman gul e ummeed se mohtaaj ka bhare
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

is maah mein hi paida huye ghause nek naam
Ramzaan ka kiya hai unhone ye ehteraam
hargiz piya na doodh kabhi din mein maa salaam
bachpan mein hi huzoor ne roze rakhe tamaam
roza nazar ka noor hai dil ki ummeed hai
Ramzaan mominon ke liye goyaa eid hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai

har rozaadaar hashr ke din muskuraayega
deedaar e haq jamaal nabi ka wo paayega
dozakh ki aag se usey roza bachaayegaa
rahmat usey nawaazegi jannat mein jaayega
jo rozaadaar hai yahaan wo kaamyaab hai
iftaar bhi karaane ka behad sawaab hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

karta hai roza deen mein duniya mein sarfaraaz
hai humpe farz roza rakhen aur padhen namaaz
har waqt nek kaam karen ban ke paakbaaz
har ghamzada ko kar den museebat se beniyaaz
majboor aur ghareebon ki khidmat kiya karen
jitni bhi ho khuda ki ibaadat kiya karen
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

insaan nekiyon mein hamesha laga rahe
daaman gunaah o jurm se hardam bacha rahe
jaari dilon mein har ghadi hamd-o-sanaa rahe
har waqt lab pe zikr e habeeb e khuda rahe
Ramzaan rahmaton ka maheena hai mominon
Allah tak pahunchne ka zeena hai mominon
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai


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:

4324 Post No. : 15614

“Mud Mud Ke Na Dekh”(1960) was directed by Ramesh Tiwari for N C Films, Bombay. This “Social” movie had Bharat Bhushan, Anita Guha, Jeewan, Tiwari, Prem Chopra (debut), Krishnakumari, Bela, Kammo, Helen, Naaz, Mishra, Anwari Bai, Narbada Shankar, Rajinder Kathana, Ratan Gaurang, Nemo, Prakash, Robert etc in it.

The movie had eight songs in it. Six of these songs have been covered in the past.

Today (20 may 2020) is the remembrance day of Hansraj Behl (19 November 1916 – 20 May 1984). As a tribute to him, here is another song from “Mud Mud Ke Na Dekh”(1960). This song is sung by Rafi and Shamshad Begam. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl.

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

It is a very old and conservative kind of romantic song where the two spouses want to be together but they need to make sure that other family members do not take notice.

Lyrics of this song were sent to me by Prakashchandra.

Audio link (missing last stanza)

Audio link (Missing first stanza but containing an additional stanza at the end)

Song-Raat kaali jugnu chamke (Mud Mud Ke Na Dekh)(1960) Singers-Rafi, Shamshad Begam, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics(Provided by Prakashchandra)

raat kaali
jugnu chamken
ullu bolen
jheengar gaayen
mendhak dete taal
aayi na aa
aayi na aa
aayi na chham chham waali sajaniya aa
aa bhi jaa
aa bhi jaa
sajaniya aa
aa bhi jaa
aa bhi jaa
sajaniya aa
aa bhi jaa
aa bhi jaa
sajaniya
aa bhi jaa
aa bhi jaa
aa aa aa aa aa
aa aa aa aa
sajaniya aa
aa bhi ja
aa bhi ja

kya karoon main
hai laachaari
aadhi soyi aadhi jaagi
boodhhi saas maa aachha
kaise aaun
kaise aaun
kaise aaun
main raja sajanwa
ye bata ye bata
sajanwa
ye bata ye bata
sajanwa
ye bata ye bata
aa aa aa aa
ye bata ye bata aa aa aa aaaachh
ye bata ye bata
sajanwa ye bata ye bata

jinko milna ho
kami hai kya ji unke waaste ae
dhoondh lete hain milan ke
wo to laakhon raaste ae
raaste
teri khaatir bana main jogi
ab to na tarsa
aa bhi ja aa
aa bhi ja aa
aaja o matwaali sajaniya
aa bhi ja aa bhi ja
sajaniya
aa bhi ja aa bhi ja
sajaniya
aa bhi ja aa bhi ja
sajaniya
aa bhi ja aa bhi ja
aa aa aa aa aa
aa aa aa aa aa
sajaniya aa bhi ja aa bhi ja

dil kahey ke
chal tu aagey
mann kahey chal peechhey
kadam kadam pe
laaj ka pehraa
daaman mera kheenchey
(haachooo)

chhod de tu duniyaadaari
bann jaa jogan hamaari
aa bhi jaa aa aa
aa bhi jaa aa aa
sunn bade gharwaali
sajaniyaa aa bhi jaa aa bhi jaa
sajaniyaa aa bhi jaa aa bhi jaa
sajan main aa gayi aa gayi
sajan main aa gayi aa gayi
sajan main aa gayi aa gayi
(aachoo)


This article is written by Arunkumar Deshmukh, 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 :

4321 Post No. : 15608

Today’s song is from an obscure film Hamara Sansar-45. It was a film made by Prakash Pictures, whose 2 Mythological films – Bharat Milap-42 and Ram Rajya-43, had become super duper hit films of that era. This branded Prakash Pictures as experts in Mythological films. Film Hamara Sansar-45 had actually followed another social film Police 44, but both films failed to continue the Hit parade of the two earlier successes. Prakash never wanted to be stamped or labelled as a film company of any particular Genre, so they decided to continue making social films, till they made the 3rd of the ” Shri Ram” series film few years later. They made film Raam Baan-48, with the same lead pair, but this film failed miserably due to various reasons.

Film Hamara Sansar-45 was directed by Dr. Shanti Kumar – not to be confused with Music Director Shanti Kumar Desai. In spite of several attempts, I could not get any information on this director since about 8 years. Film’s music was given by Pt. Gobind Ram, who was one of the major composers from among the Punjabi school of film composers in the 40s. His songs did not have exactly the Punjabi rhythm, but the style was exclusively Punjabi. His songs were sweet to ears. The cast of the film was Jeevan, Ranjana, Sumati Gupte, Jilloo, Umakant, Rajkumari Shukla, Susheel Kumar and many more.

When the film industry started growing, in the initial stage there were very few film making centres. By 1931, they were Calcutta, Bombay, Madras, Lahore and Kolhapur. It was but natural that in Calcutta, most artistes and technicians were Bengali. Nearby states like Assam, Dhaka,Orissa and Bihar also supplied manpower. Similarly in Madras, Tamilians, Andhrites, Kannada and Malayalam people were more in the industry. In Lahore, Muslims, Punjabis and Sindhis worked in films there.

In Bombay, two communities – Marathi and Gujarati played prominent roles in this growing industry. Bombay being the ‘ Mayanagari’ which provided work to everybody and anybody, who was ready to do work, no wonder people from every corner of India gathered here. Take the case of India’s first Talkie film Aalam Ara-1931. The producer and the screenplay writer-Ardeshir Irani, as well as the Music Director Phirozshah Mistry were Parsees, Dialogue writer Joseph David Penkar was a Bene Israeli Jew from Coastal area of Konkan, Hero Master Vithal was from Kolhapur of Maharashtra, Heroine Zubeida was from Gujarat, Jilloo was a tawayaf from Delhi, Prithviraj Kapoor was from Peshawar, W M Khan was from Western Frontier area, Jagdish Sethi was from Punjab, Elizer was from Tamilnadu, L V Prasad was from Andhra and Omkar Devaskar was from Madhya Pradesh.

However, the financial strings of film industry were in the hands of Gujarati people (including Parsees) and the actual work of acting, direction, music, singing, make up, costume and other technical aspects were done mostly by Marathi people. As the times moved on, the regional film centres anf films became stronger enough to provide opportunities to artistes etc and Marathi, South and others’ participation in Bombay became thinner. However, on and off Marathi artistes kept on coming to Hindi films in various departments-mainly acting and music. One such artiste was Sumati Gupte, about whom, hardly any information is available in English or Hindi books or on internet sites. For the first time, here are her details, for our readers.

Sumati Gupte was born on 11-5-1918 in a small town, Vai, in Satara District of Maharashtra. However, her education took place in Baroda, Gujarat, from where she completed her graduation and obtained B.A. degree. She was keen to work in films.

She joined Prabhat Film company to work in its Bilingual film Sant Dnyaaneshwar-40. The film was released on 21-5-1940 in Central cinema, Bombay. It became a hit film. She sang 2 songs also in this film. She started getting film offers in Marathi. She acted in several films like Thoratanchi kamala, Navardeo and Chimukala Sansar. The last film was directed by a young man-Vasant Joglekar. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.

Sumati acted in many Marathi films, but at the same time she also acted in Hindi films. She acted in Sant Dnyaneshwar-40, Sharbati Aankhen-45, Hamara Sansar-45, Santan-46, Veer Ghatotkach-49, Nand Kishore-51, Shiv leela-52, Samaj-54, mausi-58, Kareegar-58, Keechak Vadh-59, Waqt-65, Pariwar-68, Adhikar-71, jalte Badan-73, Paise ki Gudiya-74, Sajjo Rani-76 and Aadmi Sadak ka-77.

Sumati also sang 4 songs-2 each- in film Sant Dnyaneshwar-40 and Panghat-43. Vasant Joglekar’s family had very close relationship with actor Ashok kumar. Joglekar produced 10 films and directed 20 films. In most of them, Ashok kumar had acted. When film Kareegar-58 was to be made, Ashok kumar had already 30 films on hand, but he agreed to work in his film. Ashok kumar always took only 50% fees in his films. His only condition used to be that Sumati Gupte should bring lunch box of her cooked food on the sets. He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and Bangali babu liked Fish dishes very much !

Besides films, Sumati loved to work in Marathi stage dramas. She worked in many famous and popular dramas. The drama advertisements used to highlight her name, to attract the audience. Sumati got many awards like Rasrang magazine’s Phalke award, V. Shantaram award and Chitrabhushan, Life time achievement award from Maharashtra Govt.

Her husband Vasant Joglekar died in 1993.They had tried to promote their elder daughter Meera in Hindi films. She acted opposite Joy Mukherjee in film “Ek Kali Muskayi”-68. Neither she nor the film succeeded. She left films and got married to Ajit Gulabchand, a famous businessman of Mumbai. However, after few years, they divorced and she married Achyut Vaze, a stage Producer.

Sumati Gupte Joglekar died on 31-10-2009. After her death, their was a court dispute about her estate. Meera’s sister Chanda filed a case in court against her, but Meera won the case and the estate, in crores, was evenly divided between 3 sisters.

There was another Marathi actress in this film – Ranjana. The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. Here is some information about her.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer Arvind Shukla. But after few months he fell sick and there was no income. So, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip kumar, Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example.

Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 6 Hindi films starting with the Rajkamal Pictures’film “Ladki Sahyadri ki”-66. She was just 11 year old then.Her other films were Chaani-77, Jai Mahakali-79, Navratri-83, Jhanjhar-86 and lastly Upraant-87. Unfortunately, she first met with a car accident and then died of Heart attack at the age of just 44 years or so, on 3-3-2000.

The film’s Music Director Gobind Ram was a good composer, but he never got enough fame in the industry. There is a very good, but very long article on him in apnaarchieve.com, written by Vidur Suri. Here is an adapted short version for our readers.

In the pre-partition period of Hindi films, there were many schools of music directors, many times on a regional basis, but some were just unique. The Punjabi school of film composing was a very important and innovative school among these. This school gained popularity in the 1940s, which also resulted in the immense popularity of Punjabi folk music. Ghulam Haider was considered to be the most important of these, but equally great were Pandit Amarnath , Shyam Sundar , Husnlal – Bhagatram , G. A. Chishti , and Pandit Gobindram .

Pandit Gobindram Ji was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. One could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, only second to Gyan Dutt, one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.

Among his landmarks are the introduction of and enormous contribution to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi , and also introduced great singer Zeenat Begum to films. He has about 30 films to his credit and each one had equally superb music. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.

Pandit Gobindram Ji started his career with Jeevan Jyoti (1937), but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum Ji, where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.

His last film was Naqaab-55. Gobindram worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor. Some of the other prominent lyricists he worked with include Bharat Vyas , Ram Murti Chaturvedi , Ramesh Gupta , and Qamar Jalalabadi . (adapted from an article by Vidur Sury, with thanks).

Today’s song is sung by Shamshad Begum. It is 4th song from this film to be posted on this Blog.


Song-Ham kis’se karen shiqwa rona hai muqaddar mein (Hamaara Sansaar)(1945) Singer-Shamshad Begam, Lyrics-Ramesh Gupta, MD-Pt Govindram

Lyrics

hum kis’se karen shiqwa
rona hai muqaddar mein
hum kis’se karen shiqwa
rona hai muqaddar mein
kashti bahi jaati hai
toofaanon ke manjar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shikwa
rona hai muqaddar mein

har taraf mere chhaayi hai
gham ki ghata kali
har taraf mere chhaayi hai
gham ki ghat kali
armaanon bhari duniya
kismat ne mita daali
armaanon bhari duniya
kismat ne mita daali
dil toot gaya mera
bas ek hi thokar mein

gulzaar e chaman n n n n n
ab to
ujda nazar aata hai
hai ae ae ae
gulzaar e chaman n n n
ab to
ujda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
mallaah bhi kehta hai
toofaan hai samandar mein
mallaah bhi kehta hai
toofaan hai samandar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shiqwa
rona hai muqaddar mein


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 ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,618,752 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,873 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: