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

Posts Tagged ‘Shewan Rizvi


This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4751 Post No. : 16490

Mukesh and his Composers -21
————————————————

Did Mukesh act in ‘Uss Paar’ (1944)?

The correct and factual answer along with credible proof to the above question is of historical importance as it refers to the first ever payback rendered by Mukesh.

If Mukesh has not acted in the film, then apparently it will be his first playback.

If he has acted in some capacity, then there are again two possibilities.

  1. He was a side actor and the duet with Kusum was featured on him only.
  2. He had a role in the film, but said duet was picturized on someone else.

One song from ‘Uss Paar’ (1944) has been covered on the blog and it is in fact, the elephant in the room.

Sudhir ji in his extraordinary series ‘The voice of Mukesh’ has covered this duet with Kusum Mantri and has considered it to be the first playback of Mukesh.

All indications are that Mukesh did not act in the movie, but undeniable proof is yet to surface.

Coming to the next post in this series, we take up the career of Mukesh with composer-singer Bulo C Rani today.

Yes, I agree that Bulo C Rani had nothing to do with ‘Uss Paar’ (1944) as it was composed by Feroz Nizami.

But then while searching for some information on Bulo C. Rani, I happened to refer to the book Hindi Film Song by Ashok Da. Ranade. In his description of the works of Bulo C. Rani, Ashok ji in his book on p. 226 says about the film ‘Moorti’ (1945).

In it “badariya baras gai” – which was Mukesh’s first song as the composer often claimed with pride – won popularity.

There we go again. Was Bulo C Rani implying ‘Uss Paar’ duet of Mukesh was not his first playback. Since Bulo C. Rani was very much part of HFM during 1944 -1945, he must have known about Mukesh’s actor-singer songs to take the credit of composing the first song (playback) of Mukesh.

Matters get more complicated with Mukesh with many firsts such as first song, first playback, first popular song etc. And before all these we have his six NFS which he recorded in 1939 at Delhi before coming to Bombay.

When the question referred in the very first line of this post is addressed satisfactorily with proof, I intend to write a separate post on the many firsts of Mukesh with a detailed table.

Coming to the discussions on today’s collaboration, I am happy to bring forth the many memorable and sweet songs that Mukesh sang under the baton of Bulo C Rani.

Before I go into the details of the songs, here is a brief and bullet point summary on the life of Bulo C Rani much of it from the book referred above.

  • He was born on 6 May 1920 in Hyderabad Sindh and his originally name was Bulo Chandiramani Ramchandani.
  • He came to Bombay in 1942 with DN Madhok and joined Ranjit Films to assist Kemchand Prakash.
  • In his initial part of film career, he sang a few songs under different composers.
  • He is credited for composing for the first Sindhi film Abana (1958)

Apart from the above, I request interested readers to apprise themselves of the life and career of the composer with the following three links in which the respective authors have done enough and valuable research.

 

S.No Name of song Movie (Year of release) Co-singer if any Lyricist
1 Badariya baras gayi uss paar Moorti (1945) Khursheed and Hamida Bano Pt Indra Chandra
2 Haseeno se haseeno ko Moorti (1945) Pt Indra Chandra
3 Maana ke tum haseen ho Moorti (1945) Pt Indra Chandra
4 Pardesi dhola Prabhu Ka Ghar (1945) Mohantara Pt Indra Chandra
5 Jaa parwaane jaa Rajputaani (1946) Hamida Bano Pt Indra Chandra
6 Kiye jaa pyaar Rajputaani (1946) Pt Indra Chandra
7 Kaise bataaun unse Anjuman (1948) Shamshad Begam Majrooh Sultanpuri
8 Woh teer kaleje par Anjuman (1948) Majrooh Sultanpuri
9 Unki gali mein aaye hum Nazaare (1949) Rajinder Krishan
10 Armaan bhara dil toot gaya Wafa (1950) Lata Hasrat Jaipuri
11 Aansoo bhaavo tum udhar Pyaar Ki Baaten (1951) Geeta Roy Majrooh Sultanpuri
12 Mast chaandni jhoom rahi Pyaar Ki Baaten (1951) Geeta Roy M L Khanna
13 Ae Momino Suno Ye Kahani Abdullah (1960) Shewan Rizvi
14 Ham bhi kho gaye hain Madam Zorro (1962) Kamal Barot Shewan Rizvi
15 Main hoon deewaanaa Haqdaar (1964) Prem Warbartani

The above table provides the complete table of songs composed by Bulo C Rani and sung by Mukesh. It appears, Mukesh was the favorite singer of the composer especially in the late forties and early fifties. Why the composer used Mukesh sparingly in the sixties is not clearly known.

Some beautiful ghazals and delightful duets were the hallmark of the combo. The melodious songs are well known to avid music lovers and I am avoiding describing them again.

As usual, Shri Harish ji has confirmed, correctness of the above table and added useful information that Mukesh sang for the composer, two more duets with Asha Hargunani for a Sindhi film Naqli Shaan (1972) with lyrics by Krishna Rahi.

  1. Ankh Phadke Dil Dhadke
  2. Haseen Raat Aa Mast Aa Fizaa

Out of the 15 songs enlisted above only one from the film ‘Abdullah’ (1960) remains to be covered on the blog and is presented in this post.

 

Song – Ae Momino Suno Ye Kahaani Namaaz Ki  (Abdullah) (1960) Singer – Mukesh, Lyrics – Shewan Rizwi, MD – Bulo C Rani

Lyrics (Provided by Sudhir)

ae momino suno ye kahani namaz ki
hai hum pe farz bandagi banda nawaaz ki
ae momino suno ye kahani namaz ki

mulk e arab me ek haseena thi nek naam
karti thi apne rabb ki ibadadat wo subh o sham
usko namaaz padne ka bachpan se shauk tha
ik waqt ki namaaz bhi karti na thi kaza
nanha sa ek laal tha us paak baaz ka
gurbat me shukr karti thi wo beniyaaz ka
masoom bachcha bhookh se rota jo beqarar
pani pila pila ke thapakti thi bar bar
guzre isi tarah jo museebat me teen saal
shauhar ke dil me uspe safar ka hua khayal
shauhar ki bat sun ke wo majboor ho gayi
do dil ki ye judaai thi manjur ho gayi

biwi ko rota chhod ke jab ghar se wo chala
masoom bachcha baap se apne lipat gaya
samjha ke maa ne god me bachche ko le liya
wo chup rahi to ashqon ne haafiz khuda kaha
nikla ghareeb ghar se ghareeb ul watan hua
jungle ki tez dhoop me aur bhookh me chala
nagaah ek daku ki us par padi nazar
zalim ne mara zulm se ek teer taak kar
lagte hi teer dil pe wo chakra ke gir pada
waake mein teen waqt the duniya se chal basa
daaku karib aaya use dekhne laga
bhai ko murda dekh ke wo tharthara gaya
roya lipat lipat ke biraadar ki lash se
sar phodta tha apni hi bhai ko mar ke

kehta tha ro ke haaye ye kya maine kar diya
bhai ka khoon apne hi daman me bhar diya
munh peet’ta hua wo sehar ki taraf chala
bhabhi ko apne kehne ko pur dard maajra
ae momino suno ye kahani namaz ki

masroof har namaaz mein wo ek zaat thi
go din ki bhookh mein bhi thi mashgool e bandagi
daaku ne raah zal mein yaa shauhar ke bhai ne
tab aa ke tod daale ummeedon ke aaine
kehne laga suhaag tera maine le liya
apne hi haathon qatl biraadar ko kar diya
daaku gunehgaar ko rehban ko dekh le
khoon se bhara hua mere daaman ko dekh le
ye sun ke cheekhi aur wo behosh ho gayi
duniya se bekhabar wo gaflat mein so gayi
roi tadap ke khwaab mein shauhar ko dekh kar
dil tukde tukde ho gaya dilbar ko dekh kar
nanhe ka baazu thaam liya dil ko thaam kar
kehne lagi ke le chalo shauhar ki laash par
al qissa roti peet’ti pahunchi wo laash par
kadmon pe sar ko rakh diya shauhar ko dekh kar
fariyaad rabb se karne lagi ho ke beqaraar
utri falak beewi koi sun ke ye pukaar
haathon mein ek jaam tha munh par naqaab thi
rehmat baras rahi thi charaafa hijaab ki
wo beewi boli is pe chhidak de ye jaam tu
aur padh ke is se pooch le allah ka naam tu
paani chhidak ke naam e khuda us pe dam diya
kudrat khuda ki dekhiye wo murda jee utha. . .

ye dekh kar lipat gayi shauhar se wo ghareeb
kehne lagi ke mil gaya mujh ko mera habeeb
daaman pakad ke beewi ka phir poochhne lagi
tum kaun ho khudaara bata do ye raaz bhi
wo beewi boli main hi khuda ki namaaz hoon
maalik ki bandgi hoon barkat ka raaz hoon
apne namaazion ki main bigdi banaati hoon
apne namaazion pe main rehmat lutaati hoon
gaayab hua ye keh ke farishta namaaz ka
padh kar namaaz dekho karishma namaaz ka

padh kar namaaz dekho karishma namaaz ka. . .


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 :

4700 Post No. : 16395

“Pyaar Ki Manzil”(1950) was directed by Keki Mistry for Superteam Federal Productions, Bombay. The movie had Munawwar Sultana, Rehman, Gope, Kamal, Pratima devi, Ramesh Sinha, Seeta Bose, Niranjan Sharma, Jankidas, Roohi, Devaskar, Fazloo, Bheemji, Maqbool, Hari Bhai, Altaf etc in it.

The movie had ten songs in it. Six songs have been covered in the past.

Here is the seventh song from “Pyaar Ki Manzil”(1950) to appear in the blog. The song is sung by S D Batish. Shewan Rizvi is the lyricist. Music is composed by Husnlal Bhagatram.

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

Lyrics of this song were sent to me by Prakashchandra.

Audio link:

Song-Kehti hain tere pyaaar ki mujhse kahaaniyaan (Pyaar Ki Manzil) (1950) Singer-S D Batish, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram

Lyrics(Provided by Prakashchandra)

kehti hain tere pyaar ki
mujhse kahaaniyaan
kehti hain tere pyaar ki
mujhse kahaaniyaan aan
teri nishaaniyaan aan
teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
barbaad hoke reh gayeen
donon jawaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan

daaman bahaar kaa mere haathon se chhut gayaa aaa
chaman mera lut gayaa aa aa
mera lut gayaa
daaman bahaar kaa mere haathon se chhut gayaa aaa
chaman mera lut gayaa aa aa
mera lutt gayaa
dil se lagaaye baithhaa hoon teri nishaaniyaan
dil se lagaaye baithhaa hoon teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan

taarey wohi hain chaand wohi wohi raat hai
magar gham ki baat hai ae
gham ki baat hai
taarey wohi hain chaand wohi wohi raat hai
magar gham ki baat hai ae
gham ki baat hai
ek tu naheen jo tujhse kahoon ye kahaaniyaan
ek tu naheen jo tujhse kahoon ye kahaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan

guzrey huye dinon ko main aawaaz doon kahaan
miltaa nahin nishaan aan
milta nahin nishaan
guzrey huye dinon ko main aawaaz doon kahaan
miltaa nahin nishaan aan
milta nahin nishaan
aa jaa ke keh rahaa hoon main
teri kahaaniyaan
aa jaa ke keh rahaa hoon main
teri kahaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan


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 :

4586 Post No. : 16205 Movie Count :

4409

Today’s song is from an obscure and unknown film of the early 40s, which is making its debut on this Blog. The film is Rahgeer-43. Rahgeer means Pathik or a Traveller. No information is available about this film anywhere, except what is provided in HFGK.

1943 was an year in which the IInd world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, so did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar). C. Ramchandra had his first musical hit with film Bhakta Raj, made by Jayant Desai productions. Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes. Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer. Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets. Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies. Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions. Yet one more musical from Naushad- film Namaste. At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film.. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi. Ghulam Haider makes merry again with Shamshad hit songs in film Poonji from pancholi, Lahore. Minerva Movietone blockbuster prithvi Vallabh had 5 songs from menakabai Shirodkar.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also. Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine. Vasant Desai gave excellent songs in hit film Shakuntala by V.Shantaram.

In presence of so many hit and musical films an ordinary film Rahgeer was nowhere to be counted. The film was directed by A.Rashid, for whom this was his first film as a Director. Later on he directed 3 more films- Airmail-46, Daulat ke liye-47 and Bulbul-51, for which he wrote some lyrics also. Hafiz Khan Mastan gave music and also acted in it. His case is a ” Rags to Riches to Rags” story.

Hafiz Khan was born in 1917 in Agra. His father Ustad Wahid Khan, from Etawah Gharana, was a famous musician. He sent his two sons, Hafiz and Aziz, to his elder brother Ustad Inayat Khan at Calcutta to learn Sitar. However, both brothers were more interested in film music than learning Sitar.

Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now.

Hafiz came to Bombay in the mid 30s and sang a song in the film Bahadur Kisan-1938, music by Meer Saheb. Meer Saheb took him to Minerva and he was employed as a singer. He sang in films like Talaq-38, Jailor-38, Main haari-40 and Sikandar-41. Looking at his jolly nature, Meer Saheb gave him the name Mastana and he became Khan Mastana. Later in his professional life, he wrote Khan Mastana as a singer and Hafiz Khan as a MD.

As a Composer he started with Wasiyat-40, then came Virginia-40, Akela-41, Muqabla, 42, Raahgir-43, Neelam-45 etc. In all, he gave music to 29 films, composing 215 songs. As a singer, he sang 152 songs in 83 films. He also acted in 9 films and directed 1 film- Paramount-41. As a singer he last sang in the film Nek Khatoon-1959 and as a composer his last film was Gunehgaar-53. As an actor his last film was Shikarpuri-47.

Khan Mastana became quite rich. He had 5 flats in Bombay. He had a professional competition with singer G.M.Durrani. It is alleged that once Khan Mastana tried to make Durrani eat a ” Pan ” laced with Sindoor(mercury), so that he can never ever sing again. However, Durrani suspected and vomited immediately. Later, when its analysis was done, the fact came out. Anyway, thanks to Durrani, he did not make it a public issue. Only 17 years after Khan Mastana’s death, Durrani spilled the beans, but did not take Khan Mastana’s name, even then. Only his close friends knew this.

When Mastana was at the height of fame and work, he was invited by the Prince of Hyderabad State to teach music to his Begum. Due to some reason, the Prince became angry with Mastana and he was kept captive for a long time in Hyderabad.

By the time he returned to Bombay. The film industry had changed a lot. Many new singers had appeared. The music pattern had also changed. Khan found it difficult to get singing assignments. However, he continued to compose music. When the bad times continued, he had to sell all his flats, cars etc. He became so poor, that he had to beg near the Mahim Masjid. He also started drinking and taking drugs. Once Naushad saw him there. He tried to help him but drinking had spoiled him completely. Finally he died on 6-3-1972. One of his sons was still begging near the Masjid.

There was a time when in the film Laila Majnu-45, he was the main singer and Rafi was in Chorus. When the bad days came , in the film Laila Majnu (incomplete), Rafi was the main singer and Mastana was in the Chorus ! That is Destiny !!

Today’s song is by Amirbai Karnataki. The song and the tune is quite good. With this song, film Rahgeer-43 makes its Debut on this Blog.


Song-Apni to zamaane se har baat niraali hai (Raahgeer)(1943) Singer- Amirbai Karnataki, Lyricist- Shevan Rizvi, MD-Hafiz Khan Mastana

Lyrics

Apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

aankhon mein abhi se kyun
aansoo ye chale aaye
aankhon mein abhi se kyun
aansoo ye chale aaye
hamne to abhi dil se
hamne to abhi dil se
ik faans nikaali hai
hamne to abhi dil se
ik faans nikaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

gurbat ke zamaane ki
purdard kahaani ye
gurbat ke zamaane ki
purdard kahaani ye
sah daali magar phir bhi
sah daali magar phir bhi
ik baat chhupaani hai
sah daali magar phir bhi
ik baat chhupaani hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

rote hain zamaane ke
hansne ke liye ??
rote hain zamaane ke
hansne ke liye ??
soorat bhi kabhi roki
ab hamne zamaane se
soorat bhi kabhi roki
ab hamne zamaane se
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai


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 :

4570 Post No. : 16174 Movie Count :

4405

Today’s song is a rare song from a C grade Stunt film-Khooni Laash-43. This film was made by Amrit pictures. The name of Producer or the Director of this film is not mentioned in HFGK. This is one of the several problems of the C grade Stunt/ Action films, made on shoestring budgets. Most times the film booklet was not issued and in maximum cases the song records were also not issued commercially. In some films, selected songs are available on records. In the cast also only 4 names are given. The music director was K.Narayan Rao.

K. Narayan Rao is known to be a composer of C grade action/stunt films. No book or Encyclopedia gives information about his Bio data. All the information is available only via the HFGK only.

The first film of K Narayan Rao seems to be Madari Mohan-40, where he joined hands with another composer Prof. B R Deodhar. In 1943 he gave music to Pistolwali,Khazanchi Ka beta,Khooni Laash and Duniya Deewani.In 44,it was Lehri Cameraman and Qatil. In 46,he gave music to Royal mail, Khooni, Reporter, Maaf Kijiyega and Dhokebaaz. In 47-Extra Girl, Chabuk sawar and Sher E Bangal. In 48-Bahadur Naresh, Jungle Goddess, and white Face. 1949-Jagriti, Nakli Baap, Chunnu Munnu and Billi. 1950- Meri Asha and Meherbani. Then in 1959 came his last film with Lacchhiram- Hazar Pariyan. Thus he gave music to 25 films, but not even one film was a Hit, nor was any of his songs famous.

People like Narayan Rao reflect the kind of artistes that were used in C grade films. The audience of such films was typical. They were not worried about the film story or the songs. All that they looked for was sensational dangerous stunts, fighting, a little raw comedy and a reasonably good looking Heroine. With these basic requirements, stunt films did not need well known actors, MDs, Directors or story writers. These films touched the baser emotions of the audience which was generally the lower strata of the society, daily earners and uneducated lot.

Most of us like to see films, be it on a TV, in a cinema hall, or through DVD. Some like old films, some like new films.

Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein,or Jadui putli ?

I bet none of these movie names have been even heard by you ever. These were all STUNT FILMS or in other words ‘C’ grade films.

In India I really wonder how the classification or Grading of films was done, or who was the person or the body authorised to do it. Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on 2 counts- One, The cost of production or Budget and the class of stars in it and Two, The class of people for whom the film is made or directed, like the Rich, middle and the Poor class. Whatever the basis, there is a very thin line between A and B grade films, while between these two and the C grade films, the line is very Bold and thick indeed !

Stunt films, Costume films, fantasy films and purely Religious films were normally treated as C grade films. These film did not carry any prestige, the actors working in them were exclusive to C grade films, the production values and the budget was quite low and most important, they were ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.

A person seeing/loving or craving for such films was generally considered a ‘Low’ creature and a person with ‘child brain’.

In India ,this was the fate of C grade films. Actually these films had everything that A and B grade films had, like, story, songs, dances, fights etc, but still, the treatment given to handling of the story etc in the films was very poor or lacking in expertise.

Stunts have improved, Technology has evolved but the participation of Zippy the Monkey, Tiger the Horse, Moti the Dog, parrots, snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied, but then she had the backing of companies like Wadia Movietone, Basant Pictures, Ranjit, Sagar, National etc. When you read the stories of these films please don’t employ Logic or common sense to it.
This was a different world altogether. The set of actors was fixed, many times the composers were unheard of or they were known composers now in bad shape, the Directors were typical and the production houses were exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan.Can you believe that this roly-poly Bhagwan dada was a great body-builder when he started in stunt films in the late 20s and 30s ? Lalita Pawar(Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi, and Sulochana (Ruby Myers) are some female examples who graduated to Social films via Stunt films.

C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed storyline resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, Tribal people, King-Queen-wicked Vazir and similar stories.

C grade films were always quickies, made on shoe-string budgets. During the late 30s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only- including studio rent, sets, artistes’ fees and other expenses. C grade films had a captive audience comprising factory workers, daily wagers, Low grade earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses specialised and thriving on such films, like Paramount films, Jagriti films, Mohan pictures, Wadia Movietone etc etc. The actors and actresses of such films were fixed. Since the studio system was in vogue, the film studios usually had their actors and directors fixed. Music directors were of no consequence, so anybody would do. Well known composers like C.Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers falling on bad days also gave music to such films. C grade films rarely made Commercial records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani, Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cavas, Lalita Pawar, Navin chandra…and many such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained unknown. No one knows anything about them.Actors like Baburao pehelwan, Marutirao Pehelwan ( He was the Hero in the First Gujarati Talkie film ‘ Narsi Mehta ‘), Chandra Rao, Sayani etc were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended with only mere names !

Sometimes Gems were found in these C grade films. Remember the famous qawali- Hamen to loot liya mil ke husn walon ne- which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film- AL HILAL-58

In my young age I was fond of stunt films and used to travel to theatres in Old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah khan and Director, comedian, Anchor Sajid Khan), Naazi, Bhagwan and many such actors.” Adventures of captain marvel and Trip to the Moon” were my favourites from Hollywood’s Republic Serial productions.

In the 50s and 60s,some respectability to these stunt films was brought by actors like Mahipal, Ranjan, Dara Singh, Azad, Hemant Birje etc. The set of Heroines was also set to Mumtaz, Tabassum,Vijaya Chaudhary, Indira, Nishi etc. Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz, Insaniyat and Azaad etc were made respectable by the stars acting in them.Interestingly, some famous actresses like Meena Kumari, Shobhana Samarth,Nirupa Roy, etc had acted in stunt C grade films initially.

Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes, thanks to SFX, of course !

I am not aware about the film’s story or other details. The cast shown in HFGK is Baburao (Pehalwan), Shanta Rin, E.Bilimoria and Ali. Obviously Eddie Bilimoria was the hero and Shanta Rin must have been the Heroine. Dinshaw and Eddie Billimoria were the brothers who were active from silent films upto films of 50’s decade through the Talkie era, but they always featured in C grade films and hence even their long careers did not make them big stars.

Today’s song from this film is sung by Naseem Akhtar. In fact this was her first hindi film in Bombay for which she sang songs. Naseem Akhtar ‘s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style,composer pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich people’s functions and mehfils etc. after Nishani,she came to Bombay to sing for Khooni Laash-43.She never acted in any films.She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Wamiq Azra, Tadbir, Shahjehan, Nek Parveen, Safar, Keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyamsunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra.

She sang 72 songs in 40 films in India. She left for Pakistan after Partition and sang in a few films, but was not successful. She got married and settled as a housewife. It seems she died in Lahore on 11-5-2007 at the age of 87 years.

With this song, film Khooni Laash-1943 makes its Debut on this Blog.


Song- Loot liya loot liya nainan ne haay ree (Khooni Laash)(1943) Singer- Naseem Akhtar, Lyricist- Shevan Rizvi, MD- K Narayan Rao

Lyrics

Loot liya
Loot liya nainan ne
haaye ree
haaye ree
Loot liya
Loot liya nainan ne
haaye ree
haaye ree

nazar uthhaana halke se
haay
nazar uthhaana halke see
kaale gusuon ki ye zulfen
haaye
kaale gusuon ki ye zulfen
das liyo das liyo naagan ne
haay
das liyo das liyo naagan ne
haay naagan ne
haay
Loot liya
Loot liya nainan ne
haaye ree
haay ree
Loot liya
Loot liya nainan ne
haaye ree
haay ree

kahaan hai ??? raha aa aa aa
milte hi ??
?? nazar ka
aayi aawaaz lehron se
chalaa aaye ??
maar diya
maar diya
chitwan ne
haay
maar diya
maar diya
chitwan ne
haay chitwan ne
haaye
Loot liya
Loot liya nainan ne
nainan ne
haay ree


This article is written by nahm, 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 :

4496 Post No. : 16028

Munawwar Sultana – 96th Birth Anniversary on 08/11/2020

The name Munawwar means, shining brightly or aglow. Combined with Sultana, it becomes “an empress who shone with a bright light”. Munawwar Sultana was born on 8th November, 1924 at Lahore, she had a compact but meaningful career from 1941 to 1956 of working in 28 films. After this she settled down to married life and devoted her-self to raising her family. She expired at the age of 82 on 15th September 2007.

I have not seen any of the films she acted in but some of the songs picturised on her are my personal favorites. The song Afsaana likh rahi hoon de=il e bekaraar ka is one of those songs which will be remembered till hindi film songs are remembered. From what I have read about her career, she was very much part of the A list actors and film makers of the era, and she quit while still in demand. She might even have cut down on films because she wanted to quit. She never made a comeback despite living in Mumbai all her life and in the thick of things at Pali Hill. The busiest and eventful time of her career is from 1947 to 1952.

Another important film of Munawwar Sultana is Babul 1950, which has her lip syncing this famous unforgettable duet Milte hi aankhen dil huaa deewaana kisi ka .

I was looking for a song picturised on her and found this film “Pyar Ki Manzil” 1950, with music by Husnlal Bhagartam. It is my experience that whenever I have stumbled upon their songs, I have not moved on to look for a better choice. So here is the melodious, female duet by Lata Mangeshkar and Shamshad Begum.

Here is the list of this films songs already posted in the blog;

Song Date of posting
Aankhon mein aankhen daal ke 16 May 2011
Bichhde huye saajan ki 20 June 2011
Ae chaand zaraa sun le 28 September 2011
Padosan ke ladke ne dil mera chheena 2 February 2015
Bheega hua daaman hai to aankhon mein hai paani 17 December 2017

Though the film “Pyar Ki Manzil” is available on youtube, only audio of songs are there. In the absence of video, I have no way of knowing which song is pictured on Munawwar Sultana, among the remaining 5 songs of the film, not yet posted. So it is doubly prudent that I chose this song, a female duet, the chances of it featuring Munnawar Sultana doubles. Actually Rehman is the hero, and two singers are talking about him in the song.

Shewan Rizvi is the lyricist, of this wonderfully tuned song. It should have been a popular song, even in 1950 crowded as it was with all the great songs of the era.

This is the present tally of Huslal-Bhagatram and Shewan Rizvi in the blog:

Artist Songs in the blog Career tally of songs
Husnlal Bhagatram 289 451 (50 movies)
Shewan Rizvi 118 381

100th song of Shewan Rizvi was some years ago, which raises the thought that it is time to improve this poets tally in the blog. Some of the 28 movies starring Munawwar Sultana, not yet yippeed or represented in the blog, may have a few more songs filmed on her, and who knows what all pearls are lying in wait to be discovered.


Song-Ham se dil ki lagi na chhupaana (Pyaar Ki Manzil)(1950) Singers-Lata Mangeshkar, Shamshad Begum, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram

Lyrics

Ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

thhandi hawaaon ka kar ke bahaana
kar ke bahaana
kahaani hamaari
hamin se chhupaana
hamin se chhupaana
bhole balmaa ne yeh nahin jaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

na be-chainiyan dil ki na tum se chhupengi
na tum se chhupengi
zubaan chup rahi to
nagaahen kahengi
nagaahen kahengi
lagi dil ki hai mushkil chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

wo ruk ruk ke kehnaa
mazaa de rahaa thha
mazaa de rahaa thha
ke nazaron ka jhuknaa
pataa de rahaa thha
pataa de rahaa thha
lagaa dil pe nazar ka nishaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

yahi dekhnaa hai
na kab tak kahoge
na kab tak kahoge
kahaan tak muhobbat mein
chup chup rahoge ae
chup chup rahoge
piya kab tak karoge bahaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa


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 :

4442 Post No. : 15888

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 79
———————————————————————————–

15 september 2010, the day exactly ten years ago, saw the blog add its seven songs from seven movies. Here are the details:-

Song Movie title-Year Remarks
Muhabbat badhaa kar judaa ho gaye Daastaan-1950 All Songs covered
Daaman naa chhudaa yoon door na kar Lakeeren-1954 05 songs posted
Sare mehfil jo jalaa parwaanaa Shamaa Parwaanaa-1954 All Songs covered
Aa gaya mazaa pyaar ka nashaa Sarhad-1960 All Songs covered
Teri taqdeer ka sitaaraa kamaal hai Zabak-1961 All Songs covered
Aap yahaan aaye kis liye Kal Aaj Aur Kal-1972 3 songs posted
Ik raastaa hai zindagi Kaalaa Patthar-1979 All Songs covered

Five of these movies have been YIPPEED by now. That leaves us with “Lakeeren”(1954) and “Kal Aaj Aur Kal”(1972) as the two unYIPPEED movies whose songs are eligible for discussion today (15 september 2020) in our Blog Ten Year Challenge.

“Lakeeren”(1954) had made its debut in the blog ten years ago on this date. Simce then, five of its songs have been covered in the blog. Here are the details:-

Daaman naa chhudaa yoon door na kar15.09.2010Mohabbat ki duniyaa mein barbaad rehna07.02.2012Dil ki dhadkan pe gaa umr bhar muskuraa04.10.2012Nimbuwaa pe papeeha bola03.05.2014Duniya se jaa raha hoon duniya ke ham uthhaa ke06.11.2017

Song Posted On

As part of the Blog Ten year challenge, here is the sixth song from “Lakeeren”(1954) to appear in the blog. The song is sung by Geeta Dutt. Shewan Rizvi is the lyricist. Music is composed by Hafeez Khan.

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

Lyrics of the song and other BTYC details were sent to me by Avinash Scrapwala.


Song-Tujhse shiqwa kiya nahin jaataa (Lakeeren)(1954) Singer-Geeta Dutt, Lyrics-Shewan Rizvi, MD-Hafeez Khan

Lyrics(Provided by Avinash Scrapwala)

tujhse shikwaa kiyaa nahin jaataa aa
tujhse shikwaa kiyaa nahin jaataa aa aa
maut de de
jiyaa nahin jaataa aa aa
maut de de
jiyaa nahin jaataa aa
maut de de ae

ashq hi jab nahin
to royen kyaa aa aa aa aa aa aa
ashq hi ee jab nahin
to royen kyaa aa aa aa aa aa aa aa
khoon paani
khoon paani kiyaa nahin jaataa aa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de

begunaahon ke kitney dil tode
begunaahon ke kitney dil tode
ae ae ae ae ae
naam teraa
naam teraa liyaa nahin jaataa aa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de

doob jaane de
meri kashti ee ee ko o o o o o o o o
doob jaane de
meri ee kashti ee ko o o o o o o o o o o
ab sahaaraa
ab sahaaraa liyaa nahin jaataa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de
maut de de
maut de de ae

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
तुझसे शिकवा किया नहीं जाता आ
तुझसे शिकवा किया नहीं जाता आ आ
मौत दे दे ए
मौत दे दे
जिया नहीं जाता आ आ
मौत दे दे
जिया नहीं जाता आ आ
मौत दे दे ए
अश्क ही जब नहीं
तो रोयें क्या आ आ आ आ आ आ °°°
अश्क ही ई जब नहीं
तो रोयें क्या आ आ आ आ आ आ °°°
खून पानी
खून पानी किया नहीं जाता आ
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे

बेगुनाहों के कितने दिल तोड़े
बेगुनाहों के कितने दिल तोड़े
ए ए ए ए ए
नाम तेरा
नाम तेरा लिया नहीं जाता
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे

डूब जाने दे
मेरी कश्ती ई ई को ओ ओ ओ
ओ ओ ओ ओ°°°
डूब जाने दे
मेरी ई कश्ती ई को ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ°°°
अब सहारा
अब सहारा लिया नहीं जाता
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे
मौत दे दे
मौत दे दे ए


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 : 4210 Post No. : 15406

Today’s song is from film Indrasabha-56.

From the title of the film, one can conclude easily that this was based on a Mythological story. However, it was not so. It was a remake of the film Indrasabha-1932, made by Madan Theatres, Calcutta. That film had Master Nissar and Jahanara Kajjan in the lead. That film had a world record of having the maximum songs-69 songs- details of which are given in the HFGK Volume-I. (It was suggested in the HFGK that there were 2 more songs also in the film, thus making a total of 71 songs).

The film was based on an Urdu play “Inder sabha, written by Syed Agfha Hasan “Amanat Lakhnavi” ( 1815-1859). This was probably the second play on imaginary story involving Mythological characters. The first one was Vishakha Datt’s play ” Mudra Rakshas “, written somewhere in the 9th century. Amanat’s play was written in 1853 and was first performed on stage in Lucknow in 1854. The original play had 46 songs, consisting of 8 geets of folk genres, 8 thumaries and 30 Gazals. When I was searching for information on the story or review of this film. I came across an article in http://www.bihartimes.com, from which I quote the relevant portion…

” “Indar Sabha” draws from both the rich tapestry of Persian dastans/masnavis and folklore as well as Hindu mythology. But it goes much further – amalgamating the strands of Urdu literary tradition, North Indian nautanki (folk theatre), Hindu devotional theatre/dance (Ram Lila, Ras Lila), classical Sanskrit drama and Wajid Ali Shah’s court pageants, contends Afroz Taj, professor of South Asian Languages, Literatures and Cultures at the University of North Carolina at Chapel Hill.

In fact, Prof Taj has translated and extensively analysed the work in “The Court of Indar and the Rebirth of North Indian Drama” (Anjuman Taraqqi Urdu (Hind), 2007).

The story is that Indar (Hindu celestial king Indra) organises a concert for his court. His court dancers, the Pukhraj (Yellow/Topaz), Nilam (Blue/Sapphire), and Lal (Red/Ruby) Paris (fairies) dance and sing for him in a variety of styles. Amanat showcases his craft here with their songs corresponding to their colour motif – the Pukhraj Pari presents basant songs, Nilam mentions blue flowers and jewels, and Lal Pari incorporates the red of the twilight, gems and blood in her lyrics.

When it is the Sabz (Green) Pari’s turn, Indar falls asleep. She storms out and meets an old friend, the Kala Dev (dev here not the gods of the Indian mythology, but demons of Persian folklore) and confides she saw a sleeping human prince on her way and fell in love with him. She orders him to bring him before her and he complies.

Awoken to see a beautiful woman confessing she is in love with him, Prince Gulfam of Akhtarnagar (an obvious reference to Lucknow of Wajid Ali Shah “Akhtar”) is confused and then angry at being abducted. Learning he is at Indar’s fabled court, he is now most keen to see its legendary dancers. The Sabz Pari warns him of the peril but he is adamant and threatens to commit suicide. She gives in and smuggles him in before resuming her performance. Unfortunately, Gulfam is discovered and a furious Indar orders he be imprisoned in a deep well in the Koh-i-Kaf (Caucasus).

The Sabz Pari, herself humiliated and cast out of the court, wanders through fairyland in the guise of a “jogan (female hermit)” in search of the prince. Reports of a new singing talent reaches Indar, who summons her for a performance. He is moved so much that he offers to give her her heart’s desire – and it is hard not to guess what she wants – and gets.

Encapsulating the refined aestheticism of Wajid Ali Shah’s reign, the play, surviving British annexation of Nawabi Awadh and the horrors of 1857-59, got a new lease of life as it was taken up and performed by theatre companies, mostly Parsi troupes, all over British India. It was first performed in Bombay in 1864, hit Lahore and Calcutta in 1875, and overseas – Singapore (1913) and Rangoon (1927). And it was these Parsi troupes that eventually formed the nucleus of the Hindustani film industry.

Amanat’s play is significant in other respects too. Not only is it a linguistic kaleidoscope with ghazals in polished Urdu and folk songs in Awadhi/Braj, but it also reflects the composite multicultural ethos – by conscious mixing of Hindu and Muslim cultural traditions or featuring Persian/Urdu words in a Braj lyric and vice versa.”

Film ‘Indrasabha’-56 was directed by a veteran of such films – Nanubhai Vakil. He was one of the highly educated persons of those times (B.A.LL.B), who joined films in the silent era and successfully continued into the Talkie era till the 70’s decade. The film was made under the banner of Shah Pictures, and the producer was its owner Ramniklal Shah (husband of actress Indurani- a heroine in the 30’s decade) The MD was A R Qureshi aka Tabla Maestro Alla Rakha. His assistant for this film was Damodar Sharma – himself a Music Director of the early Talkie films. The cast of the film was, Chitra, Daljit, Heeralal, Ameeta, W M Khan, Al Nasir (husband of actress Veena), Sadiq, Rajan Haksar, Ranjana Shukla and many others.

How many names a person can have ? 2 – 3 – 4 ? Film actress Ameeta had 5 names. She was born Qamar Sultana. Her mother called her Indira, friends called her Indu, In film Thokar-53, she appeared as Jai jaiwanti and finally she was named Ameeta by Vijay Bhatt. Total 5 names. Ameeta was born on 11-4-1940 to Riaz Ahmed and Shakuntala Devi , in Calcutta. After her father’s death, they shifted to Bombay.

She started acting in Kaafila-52, Anmol Sahara-52 and Thokar-53. In 1953, she became Heroine of film ” Shri Chaitanya Mahaprabhu”, for which she got the name Ameeta. The film was a flop. After roles in popular films like Munimji-55 and Hum sab chor hain-56 she was selected as a lead actress, opposite Shammi Kapoor in film “Tumsa nahin dekha”-57. The film was a great Hit and she became a Star !

Though she acted in some good films like Dekh kabeera Roya-57 and Goonj uthi Shehnai-59 etc, she remained all the time a B grade Heroine. Till her last film Kisan aur Bhagwan-74, she acted in 47 films and then she left films. Her mother died soon after. Her daughter Sabeeha acted in few films, but shifted to a more successful business of Jewellery designing. (adapted,with thanks, from the book ” Beete hue din” by Shishir Krishna Sharma ji).

One more interesting name in the cast is Ranjana Shukla. Once upon a time, she was the Heroine of Dilip Kumar in film ” Milan”-46, made by Bombay Talkies, now relegated to ordinary roles in films.

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 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

Today’s song is sung by Asha, Geeta and chorus. The lyrics are by Shevan Rizvi. This is the 3rd song from this film to appear here.


Song-Laala laala Gulle laala pyaar kare hai kismetwaala (Indrasabha)(1956) Singers- Asha Bhonsle, Geeta Dutt, Lyricist- Shevan Rizvi, MD- A R Qureshi
Asha Bhonsle + Geeta Dutt + Chorus

Lyrics

Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
jisne kiya na pyaar
ho jisne kiya na pyaar
uska jeena hai bekaar
uska jeena hai bekaar
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

agar koi haseen qaatil
jo kabhi maange tumse dil
ajab se kehna lotar(?) ka
ajab se kehna lotar (?) ka
shaida tum par har dil waala
lalar lala lallar lalla
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ye mausam aaye na har baar
ye mausam aaye na har baar
rang hai sab ka udne waala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

haseenon ke ishaaron par
lutaa do din jhukaa do sar
haseenon ke ishaaron par
lutaa do din jhukaa do sar
warna jeena hi bekaar
warna jeena hi bekaar
pyaar ki duniya Gulle laala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laaala Laaala


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

Blog Day : 4167 Post No. : 15341

Today’s song is from film Golden Eyes alias Secret Agent 077 – 1968. The film was made by Madan Chitra. Its director was Kamal Sharma and the music was by B N Bali aka Baldev Nath Bali. The songs were written by Shevan Rizvi. The cast included Shailesh kumar, Mumtaz, Asit Sen, Ulhas,Rajan Haksar Shaikh, Jeevan kala, Helen and a host of other actors.

This was a film which was supposed to be a detective story, with a secret agent having an ID number 077 – a la James Bond ! This film came in the wake of the wave created by one of India’s most successful Secret Agent films in Hindi, featuring the Jumping jack-Jeetendra ( with Trade mark White shoes), which was film Farz-1967. But the comparison , rather similarity ends here only, as far as film Golden Eyes is concerned.

Perhaps, our readers may be wondering as to why have I suddenly changed the track and jumped to talk about an obscure film like Golden Eyes-68 ! About a week ago, I received an E mail query from one of my old friends, inquiring if there were 2-3 artistes with the name of Sailesh, who was a singer, actor and MD ? I routinely get many such queries and I try to answer all of them promptly. In this case, I knew what the problem was. “Sailesh” was a case of ‘Same name Confusion’. I was quite amused, because in my immediate last post, I had discussed a case of SNC and now this case has come up.

I sent my detailed reply to the friend, but thought of writing a post here, so that one more SNC name will be cleared. That is the reason, I selected today’s film song, because in this film the Hero was Shailesh kumar. Yes, there were 2 artistes in Hindi films with the similar name Sailesh. One was Sailesh Mukherjee, who was an actor, singer and a MD and the other was Shailesh Kumar who was only an actor.

In case of artistes before 50’s, getting information was sometimes very difficult. At times, we had to wait for months and years till we hit upon some information source. getting in touch with a close relative of that artiste also solved the problem. But not always. I came across few cases, where even the son or the daughter of the artistes did not know much about the Film career of their father. For example, with great difficulty, I located the address of the daughter of comedian Mirza Musharraf in Mumbai. When I actually visited her, with prior appointment, for an interview, i found that she did not know much about Mirza’s film activity and that she was of no use to me. On the contrary, the daughter of actor singer Parshuram, had all the information, photos, paper cuttings etc. about her father.

In this case, I had a contact with Sailesh Mukherjee’s daughter in law, who gave me all information about what he did after leaving films and the family details. So, first here is information on Sailesh Mukherjee, which is updated with new additions on his post- film life.

Born on 3rd June 1926 in Calcutta, Sailesh Mukherjee completed his Matriculation and came to Bombay in 1946 to become a Music Director. He met Anil Biswas-also from Bengal- and got an opportunity to sing in film Milan-1946. That is how his singing started and he sang in films like Andhon ki Duniya-47 and Vanvasi-48,Aaag-48 (2 songs),Anmol Moti-49 with Shamshad,The last Message-49 with Uma Devi,
Deepak-51 with Uma Devi,Suhag Sindoor-53,Samaj-54 with Asha.
In Andolan-51 he sang ‘Vande Matharam’ with Manna Dey,Parul Ghosh and Sudha malhotra.
He last sang in Naya qadam-58.

His dream of becoming a MD was still not coming through,Finally he became a Music Director ,a joint one with Suresh kumar-in film Suhag Sindoor-1953. Even in this film,his partner made him sing 2 songs,under his baton !

Anyway, later Shailesh gave music to Parichay-54 and Savera, in 1958. While recording songs for Parichay,Shailesh played Tabla himself in all songs. In film Savera his songs became very popular. Songs like “Chhuppa chhuppi Aagad Baagad jaayi re” by Lata and Manna Dey, ” Nadiya ka pani” by Lata and “Jane na,Jane na” by Geeta were specially became hits.

Inexplicably,despite good and hit songs,he stopped getting any more films,either as a Music Director or as a singer. So Shailesh changed his gear once again and he became an Actor. First he acted in film Bandish-55 in the name of ‘Sailesh’. Then he became Hero in ” Miya bibi raazi”-1960, ” Pyar ki Pyas”-1961 and ” Monica”-1962 (UR). As a Hero he had taken a new name SHRIKANT GAURAV. The films did not click.

Music was his passion. He was a multi talented man. Later on he became an Interior Designer and prospered. In addition, he used to compere a programme in Calcutta wherein he would interview all the leading top artist of Calcutta e.g Uttam Kumar etc which was sponsored by Horlicks. He had designed Mala sinha’s bungalow too. The first recording studio at Natraj for Shakti Samanta was designed by him. He used to fly to Calcutta to interview Bengali film stars. Since he had a very good voice and a great command and knowledge about Bangla literature he would lend his voice for documentaries too. He was very passionate about nature and gardening hence he had bought 11 acres of land in Karjat. He used to have regular sessions of his songs at his farmhouse. He used to sing Madhushala with lots of passion. Rabindra Sangeet was his favorite.

Sailesh Mukherjee died somewhere in 1998.

Now let us know about the Same name Shailesh Kumar. His real name was Shambhunath Purohit. He was born on 21-3-1939 at Jodhpur, in a rich family with lot of property. He was handsome and six feet tall. Once he came to Bombay and went to see the shooting of a film. The producer director Ratibhai Punatar offered him a role in the film, but he declined. Later on he completed a course of acting in Filmalaya Acting School.

In 1960, he came to Bombay with just Rs. 75 with him. He used to sleep in the office of a Jodhpur businessman and took rounds of studios for work. Same time Dharmendra was also looking for work. They became friends. However it was Shailesh, who got the first break when he worked in film Nai Maa-1960. Then he was selected for a major role by producer director Sadashiv Row kavi, for his film ‘Bhabhi ki Chudiyan’-1961.( This was a remake of the hit Marathi film “Vahininchya bangdya” ( ?????????? ???????? )-53. A Telugu remake also was made as “Vadina Gari gajulu”-55). This film became popular in Hindi. Row kavi had made a 3 film cotract with Shailesh. The second film was Begana in 1963.

Shailesh did many films from good banners, as Hero and side Hero. he worked in 25 films, but somehow, in spite of acting in good films, with good directors and banners, his luck waned and the flow of films weakened. He managed to do some B and C grade films. His friend Dharmendra also got a break same time, but he rose very high in the industry.

After 1977, Shailesh suffered from a serious ailment of Thyroid gland and he had to take treatment in Tata Hospital. A rumour spread that he had Cancer and films stopped completely. In 1978, he returned to Jodhpur, never to return again to Bombay. He died on 21-4-2017, at the age of 78 years. He left behind him wife Pushpa and a son and a daughter. His last film was Ooperwala jaane-1977. He did 25 films+ 5 UR films.

During his career, Shailesh kumar acted along with Top class actors like Manoj kumar, Sanjiv kumar, Ashok kumar, Randhir kapoor, Balraj Sahani, Dharmendra,Sohrab Modi, Raaj kumar etc, big Heroines like Mumtaj, Rekha, Tanuja, Meena kumari etc, big directors and big banners. However all this did not help him and he remained a side actor only. His health also restricted his career. This is Luck !

Today’s song is sung by Usha Balsavar and Mahendra kapoor with chorus. The music for this film was given by composer B.N.Bali. He was one of those small time composers, who got only the B and C grade films. First of all,let us know who this B N Bali is. There was yet another composer Bali,in the early era of Hindi films. H.C.Bali or Harishchandra Bali(20-3-1906 to 24-6-1976),the expert classical singer who changed into a successful composer is credited with discovering K L Saigal in the early 30s.

B N Bali or Baldev Nath Bali too was a good singer and was a composer restricted to mostly religious or low budget films.He gave music from Bedard-1949 up to Do Dilwale-1973, a total of 24 films,including one unreleased film-Bahut Door (40s). He also gave music to a Haryanvi film in 1973.Though he composed music with a variety,somehow he lacked what it takes to make it to the Big league. On the contrary,B N Bali is known for copying the popular tunes of other composers blatantly.

‘Jab un ka khayal aata hai’-sung by Rafi in Pahla pehla pyar was a copy of Rafi’s ‘Jin raaton me neend ud jaati hai’ by Hansraj behl.
‘Sapne me saiyan tu aaya na karo’-Asha/manna Dey song was a true copy of O P Nayyar’s ‘ Ek pardesi mera dil le gaya’
‘Tu us ka kar bhala’ Rafi in Raja Vikram sang the same “Bhagwaan’ tune as in ” O duniya ke rakhwaale’ etc. etc.

With today’s song, singer Usha Balsavar makes her Debut on the Blog.

( some Information used herein is from Dainik Bhaskar dt.9th May 2017 and Times of India of 20-5-2017, with thanks.)


Song-Husn ki zulfen kaali pad gayin aahon se dil waalon ki (Golden Eyes)(1968) Singers-Usha Balsavar, Mahendra Kapoor, Lyrics-Shewan Rizvi, MD-B N Bali
Female chorus
Male chorus
Mahendra Kapoor + Male chorus
Usha Balsawar + Female chorus

Lyrics

husn ki zulfen kaali pad gayin
o o o
aa aa aa aa
husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

o o o o
o o o o

aahon ne taqdeer bana di
kaale kaale baalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalo ki

ishq ne tumko o o
aahen di hain
aah mein dil ka saaz diya hai
ishq ne tumko aahen di hain
aah mein dil ka saaz diya hai
ishq ne tumko aahen di hain
aah mein dil ka saaz diya hai

ho hamko banaane waale ne dekho
naaz diya andaaz diya hai
hamko banaane waale ne dekho
naaz diya andaaz diya hai

hamko banaane waale ne dekho
naaz diya andaaz diya hai
ho o o
andaaz diya hai
haan aan aan andaz diya hai

thokar mein hum rakhte hain
thokar mine hum rakhte hain
taqdeer zamaane waalon ki
thokar mein hum rakhte hain
taqdeer zamaane waalon ki

thokar mein hum rakhte hain
taqdeer zamaane waalon ki
thokar mein hum rakhte hain
taqdeer zamaane waalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

tera sa andaaz na dekha
husn na dekha
naaz na dekha
tera sa andaz na dekha
husn na dekha naaz na dekha

tera sa andaz na dekha
husn na dekha naaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

husn ko tere dua lagi hai
aji husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

aji husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfe kaali pad gayin
aahon se dil waalon ki

hosh se hum madhosh huye hain
arre marne pe taiyyaar huye hain
hosh se hum madhosh huye hain
marne pe taiyyaar huye hai

hosh se hum madhosh huye hain
are marne pe taiyyar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

ho o o
kurban gaye hain
haan aan
kurban gaye hain

khoon bahaa ke keemat di hai
arre khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

arre khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

khoon bahaa ke keemat di hai
laal gulabi gaalo ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki


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 : 4126 Post No. : 15282

“Watan” (1954) was directed by N Bhatt for Falcon Pictures. This movie had Trilok Kapoor, Nirupa Roy, Munawwar Sultana, Jayant, Gope, Madan Puri, Cuckoo, Surya Kumar etc in it.

There were six songs in this movie. Two songs from the movie has been covered in the past.

Here is the third song from “Watan” (1954) to appear in the blog. This rare song is sung by Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Hafiz Khan.

Only the audio of this song is available. Assuming that Nirupa Roy was the leading lady of the movie, my guess is that this song (and other songs sung by Asha Bhonsle in th movie) were lip synced by Nirupa Roy. Nevertheless, I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Taqdeer ka kehna hai ki.. roti hai to roya karey barbaad mohabbat (Watan)(1954) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Hafiz Khan

Lyrics

Taqdeer ka kehna hai ki ??
ghar hi jalaa doongi ee ee
rehta hai jahaan pyaar
wahaan aag laga doongi

roti hai to roya kare barbaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

pehle to muqaddar ne tujhe mera banaaya
phir mere hi haathon se tujhe qaid karaaya
dil rota hai ae ae ae ae
dil rota hai
aur karti hai fariyaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

barbaad ye dil thhaame jigar dekh rahi hoon
dekha nahin jaata hai magar dekh rahi hoon
Allah kar r r r r
Allah kar is gham se tu aazaad muhabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat a a a


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3947 Post No. : 15022

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 14
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

A dream within a dream. . .

In the growing up years, there is a whole generation I am sure, or actually, multiple generations, that have grown up learning about the American society and the lifestyle from the books of the author Harold Robbins. I remember, in my school years, his books were a taboo, generally carried around and exchanged, their cover pages obscured by plain paper or even newspaper wrappers. And yet, very avidly devoured by the young minds oh so keen to learn about the American way of life. But of course, the clandestine attraction was the common perception that his novels contained explicitly “hot” passages. And hence all the hush-hush and the covert operations to read his novels surreptitiously on the bus, while traveling back from school in the afternoons (of course, the morning trip traveling TO the school, one was always busy preparing for this test or that, or even completing homework assignments 😀 😀 ), or very late in the night, using various mechanisms to illuminate the pages in an otherwise darkened room. 🙂

The reason I bring up this author here – is that he wrote a trilogy on Hollywood and the American film industry – the three books spread over a period of 20 years (publication dates – 1949, 1961 and 1969), with the events covered spanning almost a century, or maybe about eight decades to be precise. The first novel tells about the rise of the cinema based powerful entertainment industry, from its initial baby steps, through the age of silent films, ending at the advent of the talkie era when sound entered the heretofore silent imagery. The second novel in this series tells the stories of the heydays of studio system in Hollywood, the big stars, the big directors and the mega budget productions – and the decadence that permeates the glitz of the tinsel town. The third part of this trilogy covers the period in Hollywood history that saw the decline of the studio system and the arrival of television as the more powerful younger sibling of the entertainment industry.

The first book in this trilogy – oh so appropriately titled – ‘The Dream Merchants’.
[The second book is titled ‘The Carpetbaggers’ and the third is ‘The Inheritors’.]

And life – what about life? What is it? Thinkers and philosophers over the ages, have contemplated on this existence – from the mundane tasks of bread and survival to the exotic astronomy of stars and black holes. And have pondered over this question.

One of the answers that has echoed through the centuries – life too, is a dream, a dream too. . . a concept that has been an important ingredient of the philosophies that have tried to explain life, over centuries and ages, in all the civilizations around this planet. Start with the ancient traditions of our land, and then examine the length and breadth of this planet, including the historical depth of time, we encounter this concept in the far eastern beliefs, the Persian mystique, the abounding Greek wisdom, and in the troika of traditions centered in the lands around the southern and eastern shores of the Mediterranean Sea, extending to the Arabian Peninsula – the Judaic traditions, the Christian philosophies, and the Islamic cultures.

Parvati is the Hindu goddess of dreams, and also of births and everything related to the creation, suggesting that the Hindu tradition gives to dreams a creative ability and the power to produce something that did not previously exist in the material world. There are passages in our scriptures that describe this universe, this creation, as a dream dreamt by the Supreme Himself.

Our other philosophies also conjecture – that there is an alternate existence for each one of us in an alternate universe. At a certain juncture in that existence, we fall asleep, and are simultaneously born into this world – to exist as a dream of that primordial self in sleep. The dream continues, and at another juncture it comes to a close. And we are erased from existence in this world. What we term as death in this world, is actually awakening and end of a dream in that parallel existence.

One of the most important works of Persian and Arabic culture is ‘A Thousand and One Nights’, in many of whose stories comes the subject of dreams – mirrors reflecting reality around us, and preventing us from seeing it. The clearest example is the tale ‘The Sleeper and the Waker’, in which a king and a beggar swap roles and the latter ends up believing everything has been a dream.
[Ah, so that is the origin of the storyline for books and films like ‘The Prince And The Pauper’, ‘Raja Aur Runk’, and . . . goodness, I just googled ‘films on role switching’ – the list is too long to be added here. 🙂 ]

The Greek philosopher Plato, in his work titled ‘The Allegory of The Cave’, explains his theory of the existence of two worlds — Sense and Ideas — and metaphorically describes the situation in which the human is related by them: life goes into a kind of reverie, ignorant and ruled by the senses, of which you can wake up only through the reason, to attain true knowledge.

The Spanish writer Calderon de la Barca, in his work ‘Life is a Dream’, poses a dichotomy between earthly life and the heavenly life in which the first is similar to a dream that will finish only at death. Therefore, the real is death and life is associated with the unreality of the dream, so that the terms of our everyday perception are reversed: life is death and death is life.

The old bard has written about this in more than one ways. In ‘The Tempest’, his words say –
“We are such stuff as dreams are made of and our little life is rounded with a sleep’.

In ‘Hamlet’, he says,
“To die, to sleep;
To sleep, perchance to dream — ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil. . .”

And our own poet protagonists put it so simply. As songwriter Yogesh has said – “Jeevan Hai Ik Sapna, Madhur Suhaana Sapna”, the Asha-Kishore duet in the 1973 film ‘Honeymoon’.

In all the perspectives to life that have been conjectured, one is that it is a dream. And inside this dream, we have another level of existence, which is once again a dream – a dream that is manufactured by some, for the consumption of another some, to help forget, albeit temporarily, the vagaries of the so called reality, which in itself is conjectured to be a dream – of alternate self in an alternate existence.

Harold Robbins called these ‘manufacturers’ as ‘The Dream Merchants’ – the creators of these dreams, and who trade these dreams for a consideration.

It is this dream world, the dream factory that fascinates us all. And by ‘us’ I mean this bandwagon, all the regular riders, and all the other lovers of Hindi films and Hindi film music who are all connected by the singular passion for this art form. We all love this musical dreamboat. The ‘dream merchants’ keep dishing out new concoctions, spinning and re-spinning the tales that have been told often and again. They keep creating and re-inventing the jewel embellishments to adorn these tales, and to keep us all hooked – ah yes, hooked – so bad that we do not have any other place to go in this life. 🙂

Fifteen thousand songs – each post being an original work. As I am writing this piece, my mind made an attempt to estimate the amount of human effort that has gone into the building of this (now) legendary edifice. But my mind boggled at the endeavor. There may be some rough estimations we can draw upon for the amount spent in adding to and maintaining the data on this blog. But there is very little hope we can estimate the time spent on creating the original songs that are the basis on which this blog is built.

We could separate out these two calculations and make an attempt. In my mind, I would put an average of between 5 to 6 hours spent on each post. [I request Atul ji to please comment on this basic estimate.] I include the time spent by the author of the post to search and select the song, the time to note down and verify the lyrics, the time to write the article to go along with the song, the time spent to edit the entire post including lyrics review and color coding etc., the time for admin tasks related to finalizing and publishing the post, ah yes, must also include time to upload the song if not available, and then the follow up admin work to maintain and update the data pages and our own data files to keep them up to date.

Let me take the median number as 5.5 hours per post. Having come to the 15K milestone, by this estimate, the team has spent ~ 82,500 person hours on posting and publication on this blog.

Let me now put in perspective this rough estimate. A standard person working day is defined to be eight hours. Give or take some, a person works for an average of 22 days per month. That is 176 person hours per month. A simple calculation tells us that we are at a collective total of 469 person months invested in all activities of this blog. Translating this to years, we get a number ~ 39 years.

Imagine. The amount of effort that has been spent on this enterprise is equivalent almost to an entire working career of a person, who, mind you, has not taken any vacation or other time off, other than the 8 or 9 non working days per month.

Mind boggling, isn’t it. Every which way that we try to understand what this blog is, it turns out to be mind boggling. I wouldn’t even try to go to the next step of apportioning the percentage of this number to our fearless leader. I am sure you all are all too familiar with that by now.

What a fantastic enterprise this is turning out to be. The English phrase that appropriately applies to such an endeavor is – “dream run”. Be that an effort in athletics or sports, be that a string of successes in any particular field, be that the tenure of a successful enterprise, be that the number of weeks / months of a film showing at a single theatre – the word used is “dream run”.

And the expression brings us back to the theme I am attempting to connect with – a dream within a dream. I am reminded of a song that completes 40 years this year. A quick search tells me that the film ‘Golmaal’ was certified on 6th April 1979. Today we are a little over 40 years and one month since this song was released – “Sapne Mein Dekha Sapna”. So much food for thought it generates. Are we living? Are we inside a dream? Where do we go when we go to sleep? Is sleep another parallel existence? Sometimes we bring back snatches of memories of visions seen during our sleep tenure. What are these visions? What are these memories? Are these real experiences in another dimension? Would it be possible to experience sleep within a dream? And then, consequently, would it be possible to have memories of dream that was dreamt inside a dream? Yes, so much wholesome and appetizing food for thought.

But then yes, if we step back and ruminate over the philosophical conjectures, is this existence itself a dream. And the dreams we remember from our sleeping hours in here – is that a dream inside a dream? Interesting, very interesting discussions.

Let me introduce the song for today, for this post. A very interesting take on what this world of cinema is, in the words of the people who compose the work force of this industry – and the verdict is –

jaali, jaali, jaali
(its all unreal, unreal, unreal)

Yes, that is what the words in this song convey. The film is ‘Haar Jeet’ from 1954. The film is produced by GA Thakur under the banner of Film Kraft and is directed by Jaggi Thakur. The star cast of the film is listed as Shyama, Suresh, Manorama, Sundar, Heera Lal, Madan Puri, Shyam Lal, Amar, Baij Sharma, Ramesh Thakur, Ratan Sharma, and Peggy. I have not seen the film. As I tried to search for more information, I am able to locate a review of the film posted on the Cineplot blog. The review also summarizes the story of the film.

FilmCraft’s “Haar Jeet”, produced by G.A. Thakur and directed by Jaggi Rampal, which was premiered in Bombay at the Swastik and other cinemas on June 11th, 1954, had a good theme, with potential enough to make an absorbing picture. But poor characterization, naive and amateurish direction and artificial treatment have combined to defeat the proper development of that theme. The result is that “Haar Jeet” is more “Haar” (loss) than “Jeet” (gain) and that goes as much for the audience as it does for the production itself.

The atmosphere is never established, not in the degree it should be to make the characters. their actions and behavior understandable in a drama so dependent as this is upon the psychology of three of its principal characters, one of whom, Dr. Behari, is a physician and a hypnotist.

He lives in the house of his millionaire brother and is driven by an overpowering lust for wealth to thoughts of murder because of a growing pile of debts. One is never told how he comes to incur the debts.

The doctor is the central character round which the picture and story revolve. He is shown making use of his hypnotic power to get his brother’s daughter Nalini under his control so that he can get her married to a rascally confederate of his, whom he introduces into the family as Prince Balraj.

Under his spell Nalini actually goes through the betrothal ceremony with a show of pleasure, sharing in the gaiety of the occasion. On the other hand, she is also shown growing suspicious of her uncle in scenes that follow. She refuses to marry the phoney Prince, and when her father insists, she runs away to Bombay, where she finds shelter with a young woman friend.

Nalini accidentally encounters a young man named Rajan and his friend Balam. Rajan falls in love with her. There are glimpses of a phoney Academy for Acting, where the lovers meet. But how that academy comes into existence, how it is managed and how the hero gets into it as a teacher of dramatic art one doesn’t quite know. In some comically unreal scenes she is selected to play the heroine in a film and Rajan is cast opposite her as the hero, presumably to enable the romance to develop.

The romance is interrupted, however, by the wicked uncle who turns up at this point with his bogus Prince Balraj, in search of Nalini, hypnotizes her and takes her back home.

In the final sequence, the doctor, desperate to get his hands on the money and pressed by his confederate, takes to violence and almost succeeds in getting what he desires, when Rajan and Balam burst in with the police to defeat him. He meets a condign end by falling off the roof and is killed. The film ends there.

Poor motivation, perfunctory treatment and utterly naive direction rob the narrative of all conviction despite some good acting by the cast. Hiralal puts over quite a convincing portrayal of the villainous Dr. Behari. Shyamlal is good as the millionaire brother, and so is Madanpuri, despite occasional touches of artificiality, as the polished rogue Balraj. Sunder manages to have a few bright moments.

Manorama, who is quite a good actress, is wasted in another very poorly written and badly directed role. Suresh is disappointingly dull and tame in the romantic role of Rajan. Shyama, who looks quite attractive, does her best.

The sets are realistic. The photography is mediocre and seems to have suffered a lot from indifferent laboratory work. The editor has not been able to give the film the requisite consistency in narration.

The music is depressingly drab and the unpoetic lyrics set to dull melodies are poorly sung.

The film has seven songs, written by four songwriters – Saraswati Kumar Deepak, Shewan Rizvi, Kaif Irfani and Aziz Kashmiri. This song is penned by Shewan Rizvi. Music is by SD Batish. The main singing voice is SD Batish himself. There is another primary voice which is an unidentified female voice. Some lines in the song are sung solo by this voice. I request other knowledgeable readers and friends to help identify this voice.

The Cineplot review above censures the poetry and the music in the songs of this film. As I review the songs of this film already posted, I am not able to reconcile that observation. Anyway, the opinions and judgments are personal and subjective, and that is fine. The songs already posted from this film are

The readers are encouraged to listen to these earlier songs and make their own judgment.

Today’s song is simply a fun song. One image that I could locate (also on Cineplot) seems as if it is from this song only. The ambiance created in the audio is that of a dance performance, quite possibly a stage dance performance, and the visual that I have inserted with the upload, seems quite likely to be for this song. The song tells about the unreality of the reel world. A make believe construct manned by actors who are just role playing – they are not what they are. 🙂

There are interesting references in the verses of the song. There are names of actors and actresses in the song. There also are names of films – ‘Passing Show’, and ‘Hunterwaali’. As I check the Geet Kosh listings, I find films titled ‘Passing Show’ in the years 1936 and 1956. Since this song dates from 1954, the poet here is referring to the 1936 film. And the hero of that film is Jayant. And the film ‘Hunterwali’ being referred to is also from 1935. Of course the heroine of that film is Nadia. 🙂 [Actually, there is a film titled ‘Hunterwali Ki Beti’ from 1943 also; and in that film, the lead role is played by Nadia again.]

A fun song, and also, in a subtle manner, a song that projects reality. That the world of cinema is

jaali, jaali, jaali
(its all unreal, unreal, unreal)

And yet, it enthralls us, fascinates us, grips and enchants us no end. So much so that we spend an entire working career on building this wonderful blog – one song at a time. 😀 😀

Fifteen thousand songs – whew. . . wow. . . and CONGRATULATIONS. 🙂


Song – Filmi Duniya, Duniya Waalo (Haar Jeet) (1954) Singer – SD Batish, Unidentified Female Voice, Lyrics – Shewan Rizvi, MD – SD Batish
SD Batish + Chorus
Chorus

Lyrics

filmi duniya
duniya waalo
dekho dekho
filmi duniya

ye hai nargis
ye hai nimmi
ye hai geeta baali
ye hai geeta baali
main hoon hero
passing show ka
ye hai hunterwaali

hey..ey..ey

asli hum mein
koi nahin hai
sab ke sab hain jaali

asli
asli
asli
jaali
jaali
jaali

filmi duniya
duniya waalo
dekho dekho
filmi duniya

aaj nahin to
kal ya parson
aaj nahin to
kal ya parson
dee dee lallaa
kal ya parson
honge hum mash’hoor
mash’hoor
mash’hoor
bante bante
ban jaaunga
main bhi..ee..ee..ee
raaj kapoor..rr..rr
chalengi apni filmen
dilli aur kolkotta

opni baari jaabe
roshogolla khaabe

aur coimbatore
yendaaa
yendaaa
yendaaa da da da da daaaa
coimbatore
coimbatore
coimba..atore

filmi duniya
duniya waalo
dekho dekho
filmi duniya

hello

hello

hello madam paaro
hello madam paaro
seenon se
dil baahar niklen
jebon se
kuchh noten niklen
seenon se
dil baahar niklen
jebon se
kuchh noten niklen
aisa koi jhatka
arey jhatka
arey jhatka maaro
taali maaro
taali maaro..o..o..o
filmi duniya
duniya waalo
dekho dekho
filmi duniya

———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

ये है नर्गिस
ये है निम्मी
ये है गीता बाली
ये है गीता बाली
मैं हूँ हीरो
पासिंग शो का
ये है हंटरवाली

हे॰॰ए॰॰ए

असली हम में
कोई नहीं है
सबके सब हैं जाली

असली
असली
असली
जाली
जाली
जाली

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

आज नहीं तो
कल या परसों
आज नहीं तो
कल या परसों
डी डी लल्ला
कल या परसों
होंगे हम मशहूर
मशहूर
मशहूर
बनते बनते
बन जाऊंगा
मैं भी॰॰ई॰॰ई
राज कपूर॰॰र्र॰॰र्र
चलेंगी अपनी फिल्में
दिल्ली और कोलकोत्ता

औपनि बाड़ी जाबे
रोशोगोल्ला खाबे

और कोयम्बटूर
येण्डा॰॰
येण्डा॰॰
येण्डा॰॰ डा डा डा डा डा॰॰आ
कोयम्बटूर
कोयम्बटूर
कोयम्ब॰॰टूर

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

हैलो

हैलो

हैलो मैडम पारो
सीनों से
दिल बाहर निकलें
जेबों से
कुछ नोटें निकलें
सीनों से
दिल बाहर निकलें
जेबों से
कुछ नोटें निकलें
ऐसा कोई झटका
अरे झटका
अरे झटका मारो
ताली मारो’
ताली मारो॰॰ओ॰॰ओ॰॰ओ

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16400 song posts by now.

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

Important Announcement

(© 2008 - 2021) 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

16500

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered =4483

Total visits so far

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Active for more than 4000 days.

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