Posts Tagged ‘Shyama’
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5387 | Post No. : | 17670 |
“Do Dulhe”(1955) was directed by K J Mahadevan for United Film Arts, Madras in association with Gemini, Madras. The movie had Shyama (As Parvati, Sajjan (as Kanhaiya, Kundan), Vanaja (as Dulari), Agha (as Banke), David as (Devi Dayal), Kanhaiyalal (as Purohit), Lalita pawar ((As Sethani), Achla sachdev (as Kundan`s mother), B.M.Vyas (as Vrijmohan Gupta), Suryakantam (as dumb woman), G.V.Shama (as Rikshaw-Wallah), Venkat (as dance master), Ishwarlal (as Ekadashi Vaidya), H.Krishnamurti (as clerk), L.R.Mudaliar (as Postman), Vijaya Rao (as doctor), Indravadan Mehta (as Kundan`s father), Deshraj (as Soda subedar), Sugeshini (as Beggar girl), Koushal (as beggar), Jaya etc in it.
The movie had 11 songs in it. Six songs have been covered so far.
Here is the seventh song from the movie to appear in the blog. This song is sung by Rafi. Pt Indra Chandra is the lyricist. Music is composed by B S Kalla.
The song is picturised on Shyama playing a dukhiyaaree naaree, as this song gets played in the background.
Lyrics of this song and other details were sent to me by Prakashchandra.
Video
Audio
Song-Tai na kar paaye jise tu kaun si manzil hai wo (Do Dulhe)(1955) Singer-Rafi, Lyrics-Pt Indra Chandra, MD-B S Kalla
Lyrics(Provided by Prakashchandra)
hal na kar paaye ae jisey tu
kaun si mushqil hai woh o o
tai na kar paaye ae jisey tu
kaun si manzil hai woh
ab kaun si manzil hai woh o o
chaah gar hogee to beshque
raah bhi mil jaayegee ee
aarzoo dil kee teri
aahon se hee jal jaayegee ee
aarzoo dil kee teree
aahon se hee jal jaayegee ee
ho naheen saktaa hai achchaa
kaun saa bismil hai woh o
tai na kar paaye ae jisey tu
kaun si manzil hai woh o
ab kaun si manzil hai woh o o
zindagee aur maut
do hain karwatein insaan kee ee ee
tum sadaa rotee eee raho o o
marzee hai ye ae bhagwaan kee ee
ab iraadon mein tumhaarey
josh kuchch baaqee naheen een
jeene waaley marney kaa bhee
hosh kuchch baaqee naheen
hosh kuchch baaqee naheen een een
ye hai chaakoo ye hai chhuri
Posted on: February 12, 2023
This article is written by Avinash Scrapwala, 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.
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5321 | Post No. : | 17449 |
#the Decade of Sixties – 1961 – 1970 #
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Today’s song is from the movie “Saara Jahaan Hamaara-1961”.
Three songs from this movie have been posted on the blog earlier. I do not remember to have heard the song associated with this movie name earlier. I had not read also about this movie earlier till the preparation of this post.
“Saara Jahaan Hamaara-1961” was directed by Prakash Chhabra for ‘India Films’.
It had Premnath, Shyama, Heeralal, Rajeshwari, Azra, Jankidas, Majnu, Ajay Kumar and others.
Here is brief information about this movie provided by Shri Arunkumar ji in his comments on a song from this movie posted on the blog earlier.
SARA JAHAN HAMARA-1961 was a film when Premnath as a hero was becoming a misfit, due to his age. As such he had started accepting some character roles also.
An India Films movie, it was directed by Prakash Chhabda, who had earlier directed one flop film Shahzada in 1955.The music was by Babul(of the Bipin-Babul jodi) and the lyrics were by Anjum Jaipuri and Kaamil Chandpuri.Mangal (Premnath) is a deadly criminal. When he comes, even the police are afraid. An orphan, Vagabond and gunda mangal is a Terror. But this same Mangal is very kind to the poor, helpless and orphans. He gives free foods and medicines to the needy. He is treated like God by the downtrodden people.
he accidentally comes to know about a sex racket, in which the main criminal head of the Racket’Seth ji'(Heeralal) trades poor good-looking girls who are helpless.A chance meeting with Rama(Shyama),and he comes to know of a plan to deport few girls to dubai for immoral purpose. Seth ji also tries his hand at one of the girls when mangal appears there and kills him, setting the girls free. Chhabili, Katari and other girls call him their brother. But the ruthless police arrest him, make a case and send him to 7 yrs’ jail.
When he comes out he is welcomed with flowers and Rama is still waiting for him.
Premnath preferred roles which were like Robin Hood. He enjoyed such roles.
“Saara Jahaan Hamaara-1961” has seven songs. Four of them were written by Anjum Jaipuri and one by Kaamil Chaandpuri. Lyricist name for one song is not mentioned in HFGK Vol-IV (1961-1970).
Going through the song-titles doesn’t ring any bell for me. I only find one song a little familiar one which is ‘ye phoolon ka gajraa, ye mera singaar’. However it seems that all the other songs of this movie are ‘new’ to me.
Here is the list of songs of this movie:-
| SNo | Song Title | Lyricist | Singer/s | Posted On |
|---|---|---|---|---|
| 01 | Haaye main mar gayin | Khawar Zamaan | Sudha Malhotra | |
| 02 | Yahaan jo jhhoothh bolega wahi noton se khelega | Not mentioned | Asha Bhonsle, Mohd Rafi | |
| 03 | Dil bechten hain, jigar bechten hain | Anjum Jaipuri | Shamshad Begam, Mahendra Kapoor, chorus | |
| 04 | Bhare hain aankh mein aansoo | Anjum Jaipuri | Asha Bhonsle, Mukesh | 29.02.2012 |
| 05 | Ye hain chaaku ye hai chhoori, ye hain kainchi | … Anjum Jaipuri | Asha Bhonsle | |
| 06 | Ye phoolon ka gajraa, ye mera singaar | Anjum Jaipuri | Suman Kalyanpur | 25.07.2013 |
| 07 | Hai ye zameen hamaari wo aasmaan hamaaara | Kaamil Chaandpuri | Mukesh | 22.07.2020 |
As mentioned above three songs from this movie have been posted on the blog earlier.This song is the fourth song from this movie to be posted on the blog.
This song is sung by Asha Bhonsle. The song is picturised on Shyama (I guess). This song seems to be picturised near ‘Bombay Chowpati’. I cannot say if I can call it as ‘sales-pitch’ song or not. (?)
Lyrics are by Anjum Jaipuri.
Music is composed by Babul.
Below is brief information about music director Babul shared by our respected Shri Arunkumar ji, in his comments on the same song mentioned earlier above.
Syed Maqbul Babul was an assistant to Madan Mohan for a long time. His speciality was making melodious tunes.
Independently, he gave music to 5 films-
Chalis din-59
Mujrim kaun khooni kaun-65
Reshmi Rumal-61
Nakli Nawab-62 and
Sara jahan hamara-61Many of his songs became famous,e.g. ‘ main deewaana mastana-Mukesh,40 din, Gardish mein ho taare-mukesh, reshmi Rumaal and ‘sarpe chunariya kaali motiyan wali’ etc.also ‘chheda jo dil ka tarana-rafi, Nakli Naqab.
He also acted as a Choreographer in the film ‘Ek baar muskura do’-1972.
After this he migrated to Pakistan and died there penniless in 1995.
He did a better and more fulfilling work as a jodi of Bipin-Babul.
Let us now listen to this song which is sung by Asha Bhonsle and is picturised on Shyama.
Lyrics for this song were sent by Prakashchandra.
Audio
Partial video
Song-Ye hai chaakoo ye hai chhuri (Saara Jahaan Hamaara)(1961) Singer-Asha Bhonsle, Lyrics-Anjum Jaipuri, MD-Babul
Lyrics (Provided by Prakashchandra)
Hey hey
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo oo
aur main hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo oo
aur main hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
moonchhon waale kainchi lekar
moonchhein seedhi kar lo o ho o
dil thhaame ae aa jaayegaa woh
jis par nazrein daalo o o
apnaa muqaddar aazmaa le
o dil waale ae
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo..oo
aur main hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
tirchhi topi waale chhailaa
le lo khanjar meraa aa aa
roz haseenon ki galiyon kaa
karnaa heraa pheraa aa
ye dil ke armaan tujhpe qurbaan
ae meri jaan
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo oo
aur main hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
meraa chehraa dekhnaa baaboo
haathh mein mere chhuriyaan
aan aan
nahin chalegi ham par teri
jaadu ki ye pudiyaan haan
khaali hi jaaye ye nishaane
ho o deewaane
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo oo
aur main hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
aur main hoon kataari baaboo oo
aur main aen hoon kataari laala aa
ye hai chaaku ye hai chhuri
ye hai kainchi ye hai khanjar
Ye Zaalim Nigaahon Ki Ghaat
Posted on: November 14, 2021
- In: "Advice" song | Asha Bhonsle solo | Asha Bhonsle songs | Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 1 Comment
This article is written by Sadanand Kamath, 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.
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4867 | Post No. : | 16659 |
Today, November 14, 2021 is the 4th Remembrance Day of Shyama (real name – Khurshid Akhtar) who enthralled the Hindi film buffs with her blinks and smiles in her Hindi films of 1950s. There was a spontaneity and energy in her performances reflecting, what I guess, her joie de vivre nature.
My earliest memory of watching Shyama was in ‘Aar Paar’ (1954) on its repeat release sometime in 1974 as a part of Guru Dutt’s Film Perspectives. I became familiar with her face when some of the songs picturised on her from the films like my all-time favourite, ‘Aar Paar’ (1954), ‘Bhai Bhai’ (1956), ‘Bhaabhi’ (1957), ‘Sharda’ (1957), ‘Mr Qartoon MA’ (1959), ‘Barsaat Ki Raat’ (1960) and many more, used to be telecast on Mumbai Doordarshan’s ‘Chhaaya Geet’ programme. Some of her songs have remained in the limelight even today. I can never get tired of watching those songs pictuirsed on Shyama.
Shyama (07 Jun, 1935 – 14 Nov, 2017) was born in Lahore but her family had shifted to Mumbai in early 1940s. She did her schooling in Anjuman-E-Islam High School in South Mumbai. Shyama’s foray into her first Hindi film, ‘Zeenat’ (1945) was an accidental one. When she was on a visit to watch the film’s shooting along with her school friends, the film’s director, Shaukat Hussain Rizvi invited her to be the part of the chorus singers for the picturization of the qawwali song, “Aahen Na Bhari Shiqwe Na Kiye”. At that time, she was 9. Thereafter, she did small roles as a child actor and side roles as a teenager in around 35 films. At a young age, she had become the bread-earner for her large family. Her screen name, Shyama was given by Prakash Pictures’ Vijay Bhatt when working in his film, ‘Nai Maa’ (1946) as a child artist.
Everything was not roses on the way to reach the stardom for Shyama. She had to struggle very hard to get roles during the early stage of her life when she was growing from her childhood to a teenager. Her struggling days got over when she bagged her first lead role in Filmistan’s ‘Shrimati ji’ (1952) with Nasir Khan. Thereafter, there was no dearth of work for her in the films.
During her filmy career of over 4 decades, Shyama worked in around 175 films. Some of her notable films are ‘Hum Log’ (1951), ‘Sazaa’ (1951), ‘Dil-E-Naadan’ (1953), ‘Shart’ (1954), ‘Aar Paar’ (1954), ‘Musaafirkhaana’ (1955), ‘Chhoo Mantar’ (1956), ‘Bhai Bhai’ (1956), ‘Shaarda’ (1957), ‘Bhaabhi’ (1957), ‘Johnny Walker’ (1957), ‘Mr. Qartoon MA’ (1958), ‘Laala Rukh’ (1958), ‘Chhoti Bahen’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Zabak’ (1961), ‘Bahurani’ (1963). From 1960’s onwards, Shayma switched over to character roles. She was active till the end of 1970s. However, after the death of her husband in 1979, she virtually took retirement from the films. Shyama faced the camera for the last time in ‘Hathyaar’ (1989).
I was going through her filmography from 1952 when she started getting lead actor’s roles to 1960 when her career was in the waning stage as a lead actor. It is amazing to note that during 1952-60, she worked in as many as 84 films making an average of nearly 10 films per year. I do not recall any other actress of her time achieved this distinction. The main reason for her large number films was that she accepted both the lead as well as supporting actor’s roles. Her films covered a variety of genres with a large assortments of lead actors like Motilal, Ashok Kumar, Premnath, Shammi Kapoor, Bharat Bhushan, Karan Diwan, Guru Dutt, Balraj Sahni, Sunil Dutt, Kishore Kumar, Johnny Walker, Ranjan, Mahipal, Talat Mehmood etc.
Shyama faced her worst financial and emotional turmoil in 1953 when she decided to marry director and cinematographer Fali Mistry. They fell in love on the sets of ‘Sazaa’ (1951). The marriage was opposed by her father and her brothers. She had revealed her agony in her article in the Urdu film magazine ‘Shama’, published in November 1954, the English translation of which is available in Yasir Abbasi’s book ‘Yeh Un Dinon Ki Baat Hai’ (2018).
According to Shyama, apparently the problem for her large family was that having got used to living lavishly on her earnings, they feared that her marriage with Fali Mistry would strip them off comforts and luxuries. When she decided to go ahead with the marriage, she was forced to leave her own house without her money and jewelry as her father and brothers confiscated all her assets including the bank balances. She and her supporting mother had to stay with the family of producer-director M Sadiq for a month before she could buy her own house by arranging money. It took another six months for Shyama and Fali Mistry to get married. But the marriage was not revealed in public for a long time for fear of film producers avoiding her to sign the new films.
Shyama spent her financially secured retired life, socializing with her close friends like Nanda, Shakeela, Waheeda Rehman, Jabeen Jaleel etc. Just about 5 years before her death, she got a paralysis attack making her movements restricted. However, she majorly recovered from the paralysis. She breathed her last on November 14, 2017 due to lung infections, leaving behind her two sons and a daughter. Her elder son, Faroukh Mistry is a Cinematographer in Hindi feature films and has directed many documentary and advertising films. The second son, Rohinton Mistry is settled in London as a businessman. Both her elder son and her daughter, Shirin were with her while she breathed her last.
As a tribute to Shyama on the occasion of her 4th Remembrance Day, I have chosen a song pictuirsed on her in the film ‘Khota Paisa’ (1958). This film was among four films in which Shyama acted opposite Johnny Walker in lead role. The other three films in this combination were ‘Chhoo Mantar’ (1956), ‘Johnny Walker’ (1957) and ‘Mr Qartoon MA (1958). Incidentally, all these three films had OP Nayyar as the music director.
‘Khota Paisa’ (1958) had 7 songs of which 5 songs have been covered on the Blog. All the songs were written by Rajinder Krishan which were set to music by Madan Mohan. I am presenting the 6th song, “Ye Zaalim Nighaaon Ki Ghaat” which is sung by Asha Bhosle. It is a club song during which NA Ansari, the menacing pipe smoking villain, is present along with his henchmen.
It is interesting to note that in the record version there is some changes in wordings of the song as under:
| Film Sound Track Version | Record Version |
| Mukhda ye zaalim NIGHAAON ki GHAAT badi tikhi badi NATKHATI |
Mukhda ye zaalim MOHABBAT ki CHAAT badi tikhi badi CHATPATI |
| Antara-2 GAA le ZARA jahaan mein NAGMA to aashiqi kaajo NAYE pyaar ki RAT RATI |
Antara-2 LE le MAZA jahaan mein DAM BHAR LO aashiqi kaajo NA THHI pyaar ki PHATPATI |
| Antara-3 KATNE bhi de khushi se ye BAHAAR ke zamaane |
Antara-3 LOOTNE bhi de khushi se ye PYAAR ke zamaane |
Other features of this song is that Asha Bhosle seems to imitate the style of Geeta Dutt and Madan Mohan’s musical composition of the song closely resembles that of OP Nayyar.
Video
Audio
Song – Ye Zaalim Nigaahon Ki Ghaat (Khota Paisa) (1958) Singer – Asha Bhosle, Lyrics – Rajinder Krishan, MD – Madan Mohan
Lyrics
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo nazar na milaayi
na jigar pe chot khaayi
us dil kaa faayda kya
jo kisi pe aa na jaaye
hai wo zindagi bhi koi zindagi
jo mohobbat kiye bin kati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo huwa na kisi ka
dushman hai zindagi ka
gaa le zara jahaan mein
nagma to aashiqi ka
tu jiya bhi to kya
do ghadi ke liye
jo na ye pyaar ki rat rati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
ye dil kaun jaane
lut jaaye kis bahaane
katne bhi de khushi se
hain bahaar ke zamaane
lut gaye dil kai
mit gaye dil kai
par mohobbat kabhi na ghati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
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Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो नज़र ना मिलाई
ना जिगर पे चोट खाई
उस दिल का फायदा क्या
जो किसी पे आ ना जाए
है वो ज़िंदगी भी कोई ज़िंदगी
जो मोहब्बत किए बिन कटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो हुआ ना किसी का
दुश्मन है ज़िंदगी का
गा ले ज़रा जहां में
नग़मा तो आशिक़ी का
तू जिआ भी तो क्या दो घड़ी के लिए
जो ना ये प्यार की रट रटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
ये दिल कौन जाने
लुट जाये किस बहाने
कटने भी दे खुशी से
हैं बहार के जमाने
लुट गए दिल कई
मिट गए दिल कई
पर मोहब्बत कभी ना घटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
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.
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Blog Day : |
4377 | Post No. : | 15720 |
“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”
The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.
In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.
Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/1909 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.
Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.
Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.
The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.
Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.
Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.
The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.
The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.
The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.
The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.
In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.
Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).
‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.
One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.
Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.
Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.
During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.
Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.
Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.
At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).
One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.
On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.
With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.
Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:
1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.
2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).
3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.
4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.
Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.
Video Clip:
Audio Clip:
Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal
Lyrics
main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj
kya raaz hai
hai to bataao
saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj
achcha
hum bhi nahin sunte
o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
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| Blog Day : | 3533 | Post No. : | 14188 |
“Inquilaab”(1956) was produced by Kailash Kapoor and J P Sahgal and directed by Kedar Kapoor for W S Films, Bombay. This movie had Ranjan, Shyama, Kuldeep Kaur, Tiwari, Ramesh Sinha, S K Prem, Indu Paul, Praveen, Khairati, Pt Iqbal, Pal Sharma, Khursheed, Bihari, Bakshi, Sando, Bachcha, Sundar etc in it with guest appearances by Helen, Sapru, Bhagwan and Johny Walker.
“Inquilaab”(1956) had eight songs in it. Four songs from the movie have been covered in the past.
Here is the fifth song from “Inquilaab”(1956) to appear in the blog. The song is sung by Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Hansraj Bahl.
Though the song is sung by one singer, it is lip synced by two ladies. I can identify Shyama but I am unable to identify the other lady. I request our knowledgeable readers to help identify her.
Song-Dilbar se pyaar chhupane mein bada maza hai (Inquilaab)(1956) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Hansraj Bahl
Lyrics
dilbar se pyaar chupaane mein bada maza hai
dilbar se pyaar chupaane mein bada maza hai
kuchh din ye takraar chalegi
shama aur parwaane mein
bada maza hai
dilbar se pyaar chhupaane mein bada maza hai
ummeedon ka gulshan mahke
dil mein shokh tamanna chahke
ae meri manzil saamne aaja
aaj kadam mere bahke bahke
husn ki duniya jhoom rahi hai
laga hai teer nishaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai
wo paas aayen main ghabraaun
sahmoon simtoon aur sharmaaun
kisko diya hai pyaar bhara dil
poochhe bhi to main na bataaun
hoti hai taskeen mohabbat
ban ban ke sharmaane mein
bada maza hai
dilbar se pyaar chupaane mein bada maza hai
dil mera jhoome shaam suhaane
bal khaaye lahraaye jawaani
aaja o tadpaane waale
meri umangen hain deewaani
chhalak rahe hain jaam nazar ke
aankhon ke maykhaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai
kuchh din ye takraar chalegi
shama aur parwaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Free Spirit Song | fun timepass song | Group Dance | Guest posts | joie de vivre | Light hearted song | Lyrics contributed by readers | One singer singing for several actors | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1963 | Suman Kalyanpur songs | Usha Mangeshkar songs | Usha Mangeshkar Suman Kalyanpur duet | Yearwise breakup of songs
- 15 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰
Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.
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Saawan ka mausam hai saanwraa
Posted on: July 9, 2017
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.
“Khaandaan”(1955) was produced by Akhtar Hussain and directed by M L Anand for Anand Pictures, Bombay. The movie had Shyama, Anwar, Lalita Pawar, Badri Prasad, Sundar, Manmohan Krishna, Neelam, Amir Bano, Murad, Rani, Ambar, Indira, Prakash, Ramavtar Zakhmi, Master Nisar, Ravikant, Munna, Tumtun, Maruti etc in it, with guest appearances by Pappu, Baby Saroj and Prabhu Arora.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Chaar Paise” (1955) was produced and directed by N K Ziri. The movie had Kishore Kumar, Shyama, Johnny Walker, Agha, Kammo, Nishi, Nazir Kashmiri etc etc. in it.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Kaala Aadmi”(1960) was produced and directed by Ved-Madan for Natraj Productions, Bombay. The movie had Ashok Kumar, Shyama, Mehmood, Johny Walker, Sheila Vaz, Minu Mumtaz, Raj Mehra, Amar, Baij Sharma, Neelofar, Brahm Dutt, Rammohan etc in it.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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