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

Posts Tagged ‘Shamshad Begam


This article is written by Sadanand Kamath, 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 :

4443 Post No. : 15891

In my last post on the Blog, I had written about Mohana Cabral, the dancer who had ruled Hindi film industry during 1949-55. After writing this post, I thought that I should do, more or less, a similar exercise on another well- known dancer who was one of the much sought-after dancers during 1955-60, now almost forgotten. She had worked in the films of big banners like R.K. Films, Navketan Films Guru Dutt Films, Filmistan etc. The dancer is Sheila Vaz. And what a coincidence! Both Mohana and Sheila Vaz had Goan background. When Mohana ‘vacated her seat’ from Hindi films in 1955, Sheila Vaz stepped in to fill the vacant seat in 1955.

While Mohana came from theatre background and became dancer in Hindi films, Sheila Vaz came from a dancing background having learnt dancing, especially folk dancing during her teenage days in Mumbai. But unlike Mohana, Sheila Vaz had tough competitions from reigning dancers like Cuckoo, Roopmala and the emerging dancers like Helen, Kumkum, Minoo Mumtaz etc. But Sheila Vaz created a niche for herself among her contemporary dancers in Hindi films. Like Mohana who bid adieu to Hindi films in 1955 after her marriage, Sheila Vaz too left Hindi films in 1960 after her marriage and remained in Mumbai as a housewife keeping aloof from the Hindi film industry.

I could not get much information about Sheila Vaz on the internet or articles in the newspapers/film magazines as to her background, upbringing and as to how she got associated with Hindi films. Some bare information about Sheila was available in an article ‘Dances with Sheila’ written by Karan Bali which appeared in upperstall.com. The article was based on an interview of Sheila Vaz conducted by him in 2009. Since he had interviewed her for his project on the golden age of Hindi cinema, he shared only some background information and her dance songs in the article.

Sheila Vaz’s family hailed from Goa. She was born on October 18, 1934 in Dadar, Mumbai. Her schooling was completed in Mumbai. Simultaneously, she learnt dances especially Indian folk dances. Initially, she had to face some resistance from the family who were against her joining films but eventually she got permission to dance in Hindi films. She began her filmy career with Kishore Sahu’s ‘Mayur Pankh’ (1954) as dancer though Kidar Sharma’s ‘Gunaah’ (1953) was released first. [According to me, she seems to have acted as a chorus dancer in Kidar Sharma’s ‘Shokhiyaan’ (1951) followed by a full-pledged dancer in ‘Maa’ (1952)]. In the interview, Sheila Vaz had said that she was extremely fortunate enough to have worked with legends like Kidar Sharma, Raj Kapoor and Guru Dutt. Her active years in Hindi film industry was during 1955-60. She got married sometime in 1960 after which she quit her filmy career. After marriage, she became Rama Lakhanpal.

Since Sheila Vaz could neither read or understand Hindi, she was given the songs in Roman script and explained their meaning so that she would know what expressions to give. One of many interesting anecdotes revealed during the interview was the shooting of the song ‘leke pehla pehla pyaar’ from CID, which was choreographed by Zohra Sehgal. The song was shot at Worli Sea face and was completed in two days.

I have been working on the filmography of Sheila Vaz and on the songs picturised on her in Hindi films. But I found collating her filmography somewhat a hard task. The reasons were that in some films, she was not accredited. And if accredited, her name appeared as ‘Sheila Vaz’, ‘Sheela Vaz’. ‘Shela Vaz’, ‘Shila Vaz’ or simply ‘Sheela’. In this context, Sudhir ji helped me by sending a list of her films by culling out information from HFGK which has listed 61 films between 1955 to 1961. I compared the HFGK list with my list which I had compiled from checking on the internet with different spellings of Sheila Vaz and also from our Blog which has tagged her songs under the category ‘Sheila Vaz Dance Songs’. With these, my revised list merging with HFGK list provided by Sudhir ji came to a whooping 70 films in about 6 years of her Hindi film career.

Year-wise details of Sheila Vaz’s 70 films are as under:

1952 (1): Maa

1954 (1): Mayur Pankh

1955 (4): House No.44, Sardaar, Shree 420, Tees Maar Khan.

1956 (8): Anokha Jungle, Basre Ki Hoor, CID, Durgesh Nandini, Jallad, Kaarwaan. Patraani, Shatranj.

1957 (23): Abhimaan, Agra Road, Bade Sarkaar, Bansari Bala, Begunaah, Ek Saal, Hill Station, Johny Walker, Maya Nagri, Mirza Sahibaan, Miss India, Mr. X, Nausehrwaan-e-Adil, Pawan Putra Hanuman, Ram Hanuman Yudha, Sant Raghu, Sati Pareeksha, Shaahi Baazar, Sharada, Silver King, Tumsa Nahi Dekha, Ustaad, Yahudi Ki Ladki.

1958 (9):Chaubees Ghante, Hathkadi, Light House, Mr. Qartoon MA, Paravrish, Raj Sinhaasan, Sawera, Solva Saal, Taqdeer.

1959 (11): Bus Conductor, Chaand, Chhoti Bahen, Guesh House, Jagga Daaku, Jaagir, Kaagaz Ke Phool, Madaari, Madhu, Naya Sansaar, Samraat Prithviraj Chauhan.

1960 (8): Bade Ghar Ki Bahu, Bahaana, Duniya Jhukti Hai, Kala Aadmi, Laal Quila, Manzil, Miyan Biwi Razi, Superman.

1961 (5): Batwaara, Chhote Nawab, Modern Girl, Ramlila, Ramu Dada.

Our Blog have listed 33 songs picturised on Sheila Vaz under the category Sheila Vaz dance songs for which video clips are available to watch. There would have been more of her dance songs if the VCDs/DVDs of her other films were available on video sharing platforms. I have listed some of her popular dance songs with links below:

sach keh den gar bura na maano – ‘Maa’ (1952)

tandaana tandaana tandaana – ‘Mayur Pankh’ (1954)

ramaiyya vastavaiyya – ‘Shree 420’ (1955)

leke pahla pahla pyaar – ‘CID’ (1956)

thandi thandi hawa pooche unka pataa – ‘Johny Walker’ (1957)

jaane kaisa jaadoo kiya re – ‘Parvarish’ (1958)

akeli mujhe chhod na jaana – Madaari’ (1959)

suna hai jab se mausam hai pyaar ke kaabil – ‘Ramu Dada’ (1960)

With 70 films to her credit in a short filmy career of 6 years, Sheila Vaz was in great demand for her dance songs. I have watched almost all of her dance songs for which video clips are available. One thing comes out clearly from her dance songs is that she has an electrifying presence in almost all her dance songs. For example, in dil ka haal sune dilwaala, though Sheila Vaz presence in the song is less than one minute out of 5 minutes of song, when she dances with Raj Kapoor, the attention of the audience would be more on her rather than on Raj Kapoor. Similarly, in the song, thandi thandi hawa pooche unka pataa, in my view, Sheila Vaz outperformed Shyama. When the old timers listen to the songs like leke pahla pahla pyaar, they are likely to remember more of Sheila Vaz though Dev Anand and Shakila were also present in the song sequence.

On the basis of my searches, I think only 3 dance songs of Sheila Vaz for which video clips are available are remained to be covered in the Blog. Of the three songs, I present one of her dance songs, ‘sasuraal mein hogi tu akeli’ from the film, ‘Mirza Saahibaan’ (1957). The song is sung by Shamshad Begum and picturised on Sheila Vaz. The song is written by Verma Malik which is set to music by Sardul Singh Kwatra. The audio clip has a shorter version of the song without the second stanza of the video clip.

This song ia probably based on a Punjabi traditional pre-wedding song. And what a guidance to the ‘would be bride’ from her friends!

ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo

Enjoy the dance song.

Video Clip (Longer)

Audio Clip:

Song-Sasuraal mein hogi tu akeli (Mirza Saahibaan)(1957) Singer-Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Chorus

Lyrics(Based on Video Clip)

akadi to akadi leke aaya kakdi
gupchup khaane laga saari
Razia Saeeda aur Fatima ko chhod kar
aayi hai Julekha sarkaari

sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo

ban jayiyo na
ho ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo

har raat nayi
har baat nayi
har raat nayi ji har baat nayi
ik baat mein sau sau baat nayi ji
ik baat mein sau sau baat nayi
wo raat bhi hogi paheli
haay
wo raat bhi hogi paheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo

dildaar mila
tujhe pyaar mila
dildaar mila ji tujhe pyaar mila
gharbaar mila sansaar mila ji
gharbaar mila sansaar mila
mili balam ki oonchi haveli
haay mili balam ki oonchi haveli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo

phoolon mein pali
naazuk si kali
phoolon mein pali naazuk si kali
lekar khushiyaan ban thhan ke chali ji
lekar khushiyaan ban thhan ke chali
maa baap ko chhod akeli
haay maa baap ko chhod akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo

ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo


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 :

4433 Post No. : 15868

Today’s song is from the film Gumashta-51. This was a film by S M Yusuf, the producer and Director, under his own banner Aaina Pictures, Bombay. The music Director was K.Datta aka Datta Korgaonkar. This style of nomenclature especially by Marathi composers was started first by the successful C Ramchandra aka Ramchandra Narhari Chitalkar. Till he changed his name, when he had joined Jayant Desai in 1943, C Ramchandra used to write his name as Ram Chitalkar. Besides these two Music Directors, there were some more like N Dutta or Dutta Naik, SbPurushottam or Purushottam Solankurkar and C Balaji or Balaji Chougule. Off hand, I can remember only these names.

The cast of the film was Nigar Sultana, Wasti, Kuldip Kaur, Baby Tabassum, W M Khan, Husn Banu, Ismail, Nurjehan Sr, Mirza Musharraf etc etc. There were 9 songs in the film written by Raja Mehdi Ali Khan, Wahid Qureshi and Noor Lucknovi.

The title of the film is Gumasta- spelt differently as Gumastha or Gumashta etc. How many of us really know what the meaning is of the word Gumasta ? The simple meaning is ‘ Agent ‘. Actually, this word came into use when the British East India Company appointed people to collect Protection money from the rich people as a ransom. Thus, they became agents. Later on, this was the name used for anyone who came for collecting money. For example, Rent collector from the house owners, Bill payments from the shop keepers, doctors and other suppliers of goods and services.

Our filmmakers were quite imaginative. They solved their problem of giving titles to their films, by opting for those who did specific jobs, like say Pandit ji, Munimji etc etc. Out of just curiosity a cursory look at the catalogue of film titles, which is otherwise a very prosaic document, I found that films were titled for various Service Providers.

Let us see some Film Titles…. Pandit ji, Munim ji, Gyani ji, Gurudev ji (but not Guruji ? injustice !),Chowkidar, khazanchi, Daak Babu, Band Master, Bank Manager, Barrister, professor, School Master, Minister, Chief Minister, President, Boss, Body Gaurd, CID Inspector, Inspector, Boxer, Chaandaal, Daroga ji, Daaku, Dalal, Detective, Director, Dancer, Doctor, Durban, Fauzi, Film star, Gawaiya, Gramophone singer, Hero, Heroine, Jadugar, Jagirdar, Jasoos, Jailor, Jallad, Joker, Juari, Kavi, Police, Postman, Pujari, Qaidi, Raisaheb,Senapati, Taxi Driver, Typist Girl, Ustaad etc etc.

This information only confirms that our filmmakers are very imaginative and the films made in India are on varied topics. With this kind of angle to look at the film catalogue, hitherto unthought of, provides insight into film making, surely !

The producer director of film Gumasta-51, S M Yusuf was one of the very few people from Indian film industry, who became very successful in Pakistan. After his last film Mehendi-58 in India, he migrated to Pakistan, and remade this film as Saheli-60. It was released on 23-12-1960. It proved to be a great Super Hit film and offers piled up with Yusuf. Later, he also made a remake of Indian film Gumasta-51 as Bahurani-69. It was released on 4-7-1969. This was also successful. Lastly, he remade Indian film Nek Parveen-46, with the same name. It was released on 5-12-1975. This film, however, did Average business. In all he did 13 films in Pakistan. In today’s film Gumasta-51, his own wife Nigar Sultana was the Heroine.

In the cast two names-Wasti and W M Khan- are actors about whom not much is known. I feel the younger generation may not have heard their names even.

Riyasat Ali Wasti was born in 1912, at Naagao in U.P. His father was Citi magistrate, a judge and Dewan of the state. The family was well known in Bundelkhand area. After graduating from Ambala, Wasti did service for 7 years in the PWD of Punjab. He wanted to join films and he became a Hero in New oriental Films, Lahore’s ” Premyatra”-37. His Heroine was Umarazia Begum,later on the wife of Ghulam Haider. He acted in Bombay’s films like Baghban,Industrial India,Pati Patni, Rikshawala,Thokar , Qaidi, Nartaki, Kudmai(Punjabi), Awaz, Nai Duniya, Sharda, Namaste etc. He was a fixture for Kardar films.As a Hero he did many films. In all he had acted in 63 films. He sang 5 songs in 2 films also-Rikshawala-38 and Pati Patni-39.

In the 50s he acted in 11 films. In 60s and 70s he did 20 films. His roles in jab pyar kisi se hota hai and Phir wohi dil laya hoon may be known to many.His last film was kasam-76. Two films produced by him in 1952 and 56 flopped. Last 20 years of his life were spent in penury and anonymity. In his last years,he was often seen begging near liberty cinema in Bombay. He died on 15th April 1996.

Old timer Wasti, who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in the forties and many Punjabi & Hindi movies later on, was passing through a bad phase . Nasir Saheb honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon.

Actually Wazir Mohammed Khan is a name which will be always mentioned, whenever Hindi Talkie films are chronicled. He was the FIRST on screen singer in the first talkie film- Alam Ara-1931. W.M.Khan was a Pathan. His first film was ‘Alam Ara’-31 and his last film was also Aalam Ara-73. He sang a song in the first film and again the same song in the similarly titled film Alam Ara-56. I saw him on the screen for the first time in the film Kabuliwala-61, in which he lip synched the famous song ” Aye mere pyare watan…”. W.M.Khan acted in 105 films. He sang 6 songs in 4 films, namely Alam Ara-31, Sair e paristan-34, Dard e dil-34 and after 22 years he sang his first song again in film Alam Ara-56- though no record was issued for it, even here !

When he acted in the third version of Aalam Ara in 73, he became the first male actor to have worked in 3 films with the same title, from the very first Talkie film. The next and the only other actor to achieve this feat was Ashok Kumar, who acted in Kangan-39, kangan-59 and kangan-72. The only female actress to achieve this feat was Sulochana ( Ruby Meyers) who had acted in Anarkali-28, Anarkali-35 and Anarkali-53.

W.M.Khan died on 14-10-1974, in Bombay.

Today’s song is a comedy duet sung by Shamshad Begum and G M Durrani. Almost all songs of this film are very good.


Song- Tera gora gore gaal humko ekdum pasand hai (Gumaashta)(1951) Singers-G M Durrani, Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD- K.Datta
Unknown male voice

Lyrics

Tera gora gore gaal
Tera gora gore gaal
humko ekdum pasand hai
hoy tera honth laal laal
humko ekdum pasand hai
ekdum pasand
Tumhre gora gore gaal
ye lipstick ki baaliyaan
tauba hai tauba hai
hoy hoy hoy

ye aankhen chaai ki pyaaliyaan
tauba hai tauba hai
aay haay

oy tauba
oy tauba
ye London ka maal
ye London ka maal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

hua hai ya nahin hua hai
shaadi aap ka

mere shaadi nahin hua
hua thha mere baap ka
hum ekdum kunwaara hai
ekdum kunwaara hai
bundle to nahin maara hai
bundle to nahin maara hai

naay naay naay naay
tumhaara dekh bhaal
tumhaara dekh bhaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

zara humse door rahiye jee
ye dil churaaye maal hai
dil churaaye maal hai

aisa na kaho memsaab
hamaara bura haal hai
jee hamra bura haal hai
tumhra bura haal
tumhaara bura haal
humko ekdum pasand hai
ekdum pasand hai

tumhre gore gore gaal

aa aa aa aa
aa aa aa aa aa
lalalalalalala
teri nazar to mere gore mukhde par nisaar hai
lekin
pati hamaara kahta hai
hum ekdum ganwaar hai
hum ekdum ganwaar hai

na
gadha hai
arre bewaqoof hai
kahaan hai wo
khabar loon
us manhoos beimaan ki
bhala gadha kya jaane
kadr ?? kuraan ki
tumaara ye khayaal
tumaara ye khayaal
humko ekdum pasand hai
ekdum pasand hai saab

tumhaara intkaal
tumhaara intkaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
tumhra gora gora gaal
humko ekdum pasand hai
haan munna
tera honth laal laal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal


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 :

4423 Post No. : 15836

Today’s song is from the film Sarkar-1951. If this was the title from the times after year 2000, one would find this movie made on some Political subject. But the year was 1951, just 4 years after Independence.

When I was a young boy of about 8-9 years, like most others of my age, I too was very fond of reading stories of Kings and queens. As I grew up, slowly my interest in such stories waned. As I was exposed now to a bigger, wider and different world, my interests rested in many other subjects and after a few years, I totally started avoiding such stories.

Till 1947, there were 562 Princely states. After getting Independence,all these states were merged with India, but the kings retained their status as “Raj pramukh” or the Head of their states, albeit for namesake. Indira Gandhi abolished their Privy purses ( salaries) in 1971 and gradually the remaining status of these heads vanished completely. For thousands of years, Indians lived under some or the other Kings. No wonder their minds liked stories of Kings and Queens. This trait was precisely picked up by the filmmakers and they made films, practically in every Genre, woven around a kingdom or kings, queens and vaziers.

As the newer generation emerged from the Post-Independence period and became adults, they had neither any affinity nor interest in stories of Kings. Their world was wider and hence their film choices were different. By the end of the decade of the 60’s, films woven around kings, kingdoms etc stopped being made regularly.

Now films were made on a variety of topics and themes. The film Genres of Action/Stunt, Costumes and Folk tales became nearly extinct and their place was taken over by crime, horror, music, comedy, action by Spl FX etc etc. The older generation audience compromised with the new changes and started enjoying the new types of films, based on day-to-day topics, called New Wave or Parallel Cinema.

The senior generation of actors who were known for their typical acting in Monarchical films, like Sohrab Modi, Prithviraj Kapoor, Premnath, Ajit etc, either disappeared with time and age or changed their style of acting. In due course of time, the entire set of old actors was replaced by New Generation actors. This is the rule of Times. Almost every 15-20 years, the set of actors and others like singers, composers,directors etc get replaced and suitable people take over.

Today’s film is one of those films, which had a Monarchic story. It was produced by Ramniklal Shah, under his banner of Mohan Pictures, which used to make Action/Stunt, Costume and Mythological films. The film was directed by a veteran K.Amarnath (1-12-1914 to 14-5-1983), who had 34 films to his credit as a successful Director, from Matwali Jogan-36 to Voh din yaad karo-1971. He is known for well known films like Gaon ki gori-45, Mirza Sahibaan-47, Bazaar-49, Beqasoor-50, Bara Dari-55, Naya Andaz-56, Bada Bhai-57 etc etc.

Amarnath is also known for renaming Ajit ( from Hamid Ali Khan), for launching Saleem Khan (Salman khan’s father and one of the famous Saleem-Javed story writers), Sanjay Khan, Minoo Mumtaaz, and Helen. Noorjehan did her last film in India-Mirza Sahibaan, under his direction.. He directed 3 Tamil films also. ( information from his site k.amarnath.com with thanks.)

The 9 songs from the film were written by Qamar Jalalabadi (9) and Mulk Raj Bhakri (3). The music was by Pt. Gobind Ram. The cast included Veena, Ajit, Shashikala, Ulhas, Usha Kiran, Murad, Cuckoo and many others. The story of the film Sarkar-1951 was….

Vikram was head of a Gypsy Group and he had brought up Vijay as his own son. Vijay was so versed in the art of handling swords, that even Vikram was forced to bend down before the swordsmanship of Vijay. . Vijay was son of the king of Ram Nagar who was killed by the usurper, the present king-this secret told by Vikram to Vijay when they actually reached the skirts of Ram Nagar. Vijay was furious to take revenge but Vikram advised him to take every step cautiously.

One night Vijay stealthily entered the palace and reached near the garden where the princess was witnessing a Dance. Cupid did his trick and without Caring to know who is who-Vijay and Princess became one is Love. Vijay returned to his Camp but his heart was with Princess Bella, the daughter of Vikram, who was also in love with Vijay, noticed this change but could not understand it. . Again next night Vijay went to the palace but he could not find the princess in the garden, in search of her, he reached her bed room. Princess was surprised to find him there but more she was pleased to meet him. Now Vijay realised the blindness of his love – he had given his heart to none other than the princess herself but he had to tell l her with a solemn heart that he had come to take off the head of the King-to take revenge of his fathers opposed him, challenged him Vijay was determined, he proceeded.

The prime minister also noticed the steps of Vijay-he drew his sword there was a duel between Vijay and the Prime minister. Hearing the noise, the king got up and saw a stranger in the Palace. Vijay thought best to flee away and he did. The King was surprised and became enraged to see an enemy in the Palace and that too with the Princess. He inquired from her but she could not satisfy him. King gave orders for the execution of the Princess. . When Vijay reached the Camp-Vikram and Bela found him bleeding-they smelt the wound of Love in his heart and Vikram instructed Bela to have a watch over Vijay.

Vijay had no peace-he had to see the Princess-Bela allowed him to go but accompanied him. In the palace the Prime Minister had laid a plot-and the innocent lovers fell Victim. Vijay was arrested and thrashed into the dark cell where Sher Singh, loyal servant of the Late King, was locked up. They both came to know each other but were helpless. . Princess and Bela both tried to save Vijay from the execution- They secretly brought him out of the prison, but this was seen by the Prime Minister and he came to kill Vijay. Meanwhile the King too came there and the prime Minister killed the king and Vijay killed the prime Minister. Finally he and the princess get married and Vijay is crowned the king. All is well that ends well. [Source: Booklet]

The name AJIT evokes an image of a suited,Booted,suave,Corporate style Villain,who has a battery of assistants,typically named Michael,Robert,Peter and the like.He also carries a Black cat in his arms and moves with his moll, ‘Mona Darling’. This villain does not do any bad acts himself. He would mix with the Rich and the Famous,till a poor hero exposes him. One can also recall the flood of ” Ajit Jokes ” in the 80s and the 90s.

Ajit (Hamid Ali Khan) was born on 27-1-1922, in Shahjahanpur-UP. His father was the personal driver of Hyderabad Nizam. Ajit completed education,sold all his books and ran away to Bombay,to become a Hero. After doing some secondary roles in Shah e Misr, Sikandar, Aap Beeti, Hatimtai and Sone ki Chidiya, he became a Hero first time in film JANAMPATRI-1949, opposite Sudha Rao. While doing film Beqasoor-50, Director K.Amarnath gave him his new name AJIT. Till then he was Hamid in the credits,

When he became a hero, Raj, Dilip, Dev and Ashok kumar were in the First grade. Among the second grade were the heros like Karan Dewan, Suresh, Bharat Bhushan,or Shekhar. Ajit looked manly with his height and masculine figure. He worked in 195 films, out of which he was the Hero in about 40 films. He did maximum films -10- with Nalini Jayawant. He was so much accustomed to call her Nalini, that few times he called his own foreigner wife (an Ava Gardener look alike ) as Nalini and enraged by this, she gave him the divorce.
His other heroines were, Madhubala, Geeta Bali, Vanmala, Begum para, Rehana, Kamini Kaushal, Bina Rai, Veena, Jayashree, Nimmi, Meena Kumari etc.

From Mughal e Azam and Naya Daur, he started doing side roles. In Naya Daur, he matched Dilip kumar by all standards. He delivered dialogues like ‘ Rajput jaan se jaate hain, Vachan se Nahin (Mughal-e-Azam) and ‘ Dosti ke naam pe thook diya toone, voh bhi ek loundi ke khatir’ (Naya Daur) and the audience clapped !

From Suraj-1966 he turned a Villain and established his special brand of villainy. He modified and fine tuned the suave Pran’s style further,which became his trademark. Ajit acted in 195 films. Ajit died on 21-10-1998.

Here is what ” Independent” the London daily newspaper wrote in his obituary, on 27-10-1998-

” AJIT was Indian cinema’s most successful villain. Acting in over 200 films in a career which spanned nearly four decades, Ajit delivered his outrageously evil, double entendre one-liners with a deadpan face which inspired a genre of outlandish jokes and eventually made him into a national folk hero.

With his Clark Gable-style pencil moustache and imposing physique, Ajit gave a twist to villainy in Bollywood, India’s film capital city of Bombay. He ably portrayed the ruthlessly suave, archetypal thug constantly surrounded by an army of “heavies”. He was invariably accompanied by a vacuous moll named something like Silly Lilly or Mona Darling and a side-kick called Robert or Mike.

In one of his movies he nonchalantly confines the hero, already beaten to a pulp and chained to a dungeon wall, to a living hell by ordering him to be dipped into a drum full of liquid oxygen. “The liquid will not let him live and the oxygen will not let him die,” he cries. In another film he tells Mona Darling, “The password is `Legs’. Spread the word.”

Ajit’s dialogues were a hilarious mix of Hindi and pidgin English which captured the public’s imagination and led to hundreds of Ajit jokes that are still in circulation today. In one such quip Ajit is asked by his sidekick Peter to suggest a name for his newly born son. “Call him Re Peter,” comes the unblinking response. Ajit himself was vastly entertained by these jokes, which continued long after his retirement from films in the early Nineties. “I used to download them from the Internet and read them to him and he would laugh heartily,” said his son Zahid Ali Khan. ”

Today’s duet is by Mohd. Rafi and Shamshad Begum. It is a good song.


Song-Main maali ka chhokra (Sarkaar) (1951) Singers-Rafi, Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Pt Govindram

Lyrics

Main maali ka chhokra
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
ho mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy tararararararara hoy
hoy main kisaan ki chhokri
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar
mera khet hai ganga paar paar
mera khet hai ganga paar

lelo kela aur naarangi
le lo laal anaar
baabu le lo laal anaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
do do aane
do do aane
do do aane
do do aane
le lo laal anaar yaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy
hoy
teri anaar ??
sasti aur mazedaar
lelo sasti aur mazedaar
aao logon le lo isko
ik paise ki chaar
aao logon le lo isko
ik paise ki chaar
ik paise ki chaar chaar
mera khet hai ganga paar
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar

arre suno suno suno suno suno
Amritsar ke lo kharboooje
Kaashi ke amrood
bhaiyya Kaashi ke amrood
Poone ki mausambi le lo
wo bhi hai mauzood
Poone ki mausambi le lo
wo bhi hai mauzood
aur Kaashmeer ke seb khareedo
ek rupaye ke chaar
Kaashmeer ke seb khareedo
ek rupaye ke chaar
ek rupaye ke chaar chaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy dekho dekho dekho dekho dekho
khet hai iska kitna maghanga
saste ka ye khaana
mere saste ka ye khaana
Changu khaaye
Mangu khaaye
khaaye boodhha naana
aur Mangla khaaye
Bindiya khaaye
khaaye sabhi zamaana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
ek ek aana
ek ek aana
hurr
haa


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 :

4396 Post No. : 15771

Today is 31 july 2020. It is the 40th anniversary of the passing away of Mohammad Rafi ( 24 december 1924-31 july 1980) as all HFM lovers are only too aware. 31 july 1980 is a day which is still fresh in the minds of music lovers who were around at that time.

31 july 1880, a date exactly 100 years prior to 31 july 1980 was also an important day. It was on this day that Dhanpat Rai was born, who would later be known as Munshi Premchand (31 july 1880-8 october 1936), one of the most influential Urdu-Hindi author in modern Indian literature.

I have covered Munshi Premchand a few times in this blog. When one reads his creations, one is astonished at his vision, and his progressiveness. He was far ahead of the times in which he lived. He championed the cause of women empowerment, human rights and even animal rights at a time when these causes had not even become fashionable.

Munshi Premchand is considered an Urdu-Hindi literateur, but he was much more than just that. He was conversant in English as well. He was very well read in foreign literature. Translating foreign classics into Urdu and Hindi was one of his passions that has not received much attention from those who have studied him.

Munshi Premchand not only championed noble causes, he also practiced what he preached. After he separated from his first wife (with whom he was married as a child, in accordance with the then prevailing social practice), he married a widow, which was quite a revolutionary act those days.

Premchand began his career as a writer in Gorakhpur. Gorakhpur turned out to be the place where he was at his most creative. Gorakhpur was also the place where he spent the happiest days of his life (1916-1921). He was leading a contented life in Gorakhpur as a government school teacher (Assistant Master at Norman High School, Gorakhpur) when he listened to the speech of Mahatma Gandhi on 8 february 1921, where Gandhi Ji exhorted Indians to give up government jobs as part of non-cooperation movement. Munshi Premchand acted on this call and resigned from his job (he has received a promotion while at Gorakhpur and had become Deputy Inspector of Schools). With the consent of his wife, he resigned from his government job. Rest of his life was largely a struggle to make both ends meet. All that did not affect the quality of his penmanship.

Premchand briefly dabbled in the then new art form of Talkies. But he failed to adjust to the ways of the movies and went back to his first love, viz writing.

Many of his writings later went on to be made into films (Hindi as well as other languages). I have discussed ‘Do Bailon Ki Katha’ (which was made into ‘Heera Moti’ (1958) in the past. I have also discussed ‘Idgaah’. ‘Gaban’ is another of his novel that has been made into a movie.

It was in 1924 that Munshi Premchand wrote ‘Rangbhoomi’. It is the story of a blind beggar called Surdas. This story was made into a Hindi movie in 1946. This movie ‘Rangbhoomi’ (1946) was produced and directed by Mohan Bhavnani for Bhavnani Productions, Bombay. The movie had KN Singh, Nigar Sultana, Jagdish Sethi, Sulochana Chatterjee, Maqbul, Navin Yagnik, Gope etc.

To pay tribute to both Munshi Premhand and Md Rafi, here is a song from ‘Rangbhoomi’ (1946). This song is a multiple part song. Part I is sung by Rafi and chorus, while part II is sung by Rafi, Sahmshad Begam and chorus. Pt Phaani is the lyricist. Music is composed by Premnath (music director).

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


Song-Kadam suye manzil badhaaye chala chal (Rangbhoomi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Pt Phaani, MD-Premnath (MD)
Male chorus
Female chorus
All chorus

Lyrics

———————–
Part I
———————–

kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

teri raah tedhi
teri door manzil
teri raah tedhi
teri door manzil
museebat nayi
har kadam se mukaabil
museebat nayi
har kadam se mukaabil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
tu har khauf isse mitaaye chala chal
tu har khauf isse mitaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera hardam rawaana
hardam rawaana
rahe kaafilaa tera hardam rawaana
tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

—————————
Part II
—————————

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera lekin rawaana
rahe kaafilaa tera lekin rawaana

tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

sun ae naujawaan
sun ae naujawaan
tujhko jhukna nahin hai
sun ae naujawaan
tujhko jhukna nahin hai
unhen chhod de jinke ghutna nahin hai
unhen chhod de jinke ghutna nahin hai
tujhe raaste bhar mein rukna nahin hai
tujhe raaste bhar mein rukna nahin hai

tu kaandhe se kaandha milaaye chala chal
tu kaandhe se kaandha milaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

tu aage badhe usko peechhe hataa de
peechhe hataa de
jo roke use thokaron se uda de
thokaron se uda de
khuda se jo kehta hai use tu kar ke dikha de
tu kar ke dikha de
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal


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 :

4390 Post No. : 15753

“Laxmi Pooja”(1957) was produced and directed by Jayant Desai for Hemlata Pictures, Bombay. This “bhakti pradhan” (devotional) movie had Nirupa Roy, shahu Modak, Jeewan, Niranjan sharma, Anand Kumar, Babu Raje, Praveen Pal, Indira, Manju, Shree Bhagwan, Sukumar, Rajrani etc in it, with Minu Mumtaz in guest appearance.

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

Here is the second song from “Laxmi Pooja”(1957) to appear in the past. The song is sung by Shamshad Begam and Rafi. The song is penned by Bharat Vyas. Music is composed by Chitragupta.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the “remonstrating with the Almighty” genre of song.


Song-Itni si meri hai pukaar prabhu (Laxmi Pooja)(1957) Singers-Shamshad Begam, Rafi, Lyrica-Bharat Vyas, MD-Chitragupta

Lyrics

itni si meri hai pukaar prabhu
itna sa mera kehna
bhagwaan tere bhakton ko jagat mein
padta hai dukh sahna aa aa
itni si meri hai pukaar
sukh dukh se bhara sansaar
yahaan sab hanste huye sahna
jis haal mein raakhe gopal humen
usmein hi magan rehna aa aa
sukh dukh se bhara sansaar

dekh muraari tera pujaari
haare kahin na baazi
dekh muraari tera pujaari
haare kahin na baazi
jismein hai raazi maalik hamaara aa aa
jismein hai raazi maalik hamaara
hum sab usi mein raazi
humen kiska hai darr
humne to teri bhakti ka mukut pahna aa
jis haal mein raakhe gopal
humen usmein hi magan rahna aa aa
sukh dukh se bhara sansaar

duniya ke daata
o re vidhaata
tera vidhaan anoothha
aisa hamaare man ko laga re
tu aaj humse roothha

tera bharosa bhagwan agar kahin satiyon ke man se toota
pooja karega na koi teri
tu jag mein padega jhoothha
aaj koi abla ke bhaag ka
loot raha gehna
jis haal mein raakhe gopal
humen usmein hi magan rahna

bhagwaan tere bhakton ko jagat mein
padta hai dukh sehna


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 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 :

4380 Post No. : 15726

“Chandi Pooja”(1957) was produced by Dinu M Desai and directed by Raman B Desai for New Precious Pictures, Bombay. The movie had Nirupa Roy, Manhar Desai, Prem Adib, Shanta Apte, Malay Sarkar, Sapru, Pandey, Sangeeta, Narbada Shankar, Hansraj, Sudhir, Moni Chatterjee etc in it.

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

Here is the fourth song from “Chandi Pooja”(1957) to appear in the blog. The song is sung by Shamshad Begam and Rafi. Kavi Pradeep is the lyricist. Music is composed by Ajit Merchant. In this movie, all other songs were solos, and this song is the only duet song. Only the audio of the son is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it was picturised on the lead pair of Nirupa Roy and Manhar Desai.


Song-Ae jee o jee kaho (Chandi Puja)(1957) Singers-Shamshad Begam, Rafi, Lyrics-Kavi Pradeep, MD-Ajit Merchant

Lyrics

ae ji o
ji kaho
badi aaj ki daraawni hai raat
zara jaagte rehna
ae ji o
ji kaho
badi beimaan hai ye barsaat
zara bach ke rehna

aisa mat bolo ji
laage mohe darr
darr jo lage to gori aa jaao idhar
aisa mat bolo ji
laage mohe darr
arre darr jo lage to gori aa jaao idhar
tumhen kya khabar
badi door mera ghar
main hoon tere paas gori
phir kya fikar

ae ji o
ji kaho
kahin ho na jaaye aisi waisi baat
zara jaagte rehna
badi beimaan hai ye barsaat
zara bach ke rehna

aaj ki ye raat gori badi hai kathor
hamko bata do ji kab hogi bhor
aaj ki ye raat gori badi hai kathor
hamko bata do ji kab hogi bhor
gori tera dil hua kaahe kamzor
suna hai ke rehta hai yahaan ek chor
ae ji o
ji kaho
badi buri hoti chor ki zaat
zara bach ke rehna

badi aaj ki daraawni hai raat
zara jaagte rehna

kaale kale ghan dekho banen dushman
bade dhokhebaaz hain ye loot lete man
kaale kale ghan dekho banen dushman
bade dhokhebaaz hain ye loot lete man
koi to upaai karo kuchh to jatan
arre iske liye dena hoga pyaar ka vachan
ae ji o
ji kaho
dekho chhod na dena mera saath
zara jaagte rehna


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


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 TWELVE years. This blog has over 15900 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

15916

Number of movies covered in the blog

Movies with all their songs covered =1221
Total Number of movies covered =4362

Total visits so far

  • 13,837,249 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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