Posts Tagged ‘Singer-MD’
Chhalke ras ki gagariya bhaari
Posted on: June 7, 2017
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 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.
In my last two articles, I had discussed about the films of Mehboob Khan (as a producer as well as director) in combination with music director Anil Biswas. In the process of collecting information about the works of Mehboob Khan-Anil Biswas combination, I came across another unique association of Mehboob Khan with cinematographer, Faredoon A Irani. The uniqueness of this association is that all the films which were directed by Mehboob Khan (23 films during 1935-62) had Faredoon Irani as cinematographer.
Faredoon A Irani started his career with the Imperial Films of Ardeshir Irani as an apprentice. After the formation of Sagar Films (later renamed as Sagar Movietone) in 1929 as a subsidiary of Imperial Films, Faredoon Irani along with Mehboob Khan joined the Sagar Films. After the advent of talkies, Faredoon Irani got a chance to work independently as a cinematographer in Hindi film, ‘Bulbul-E-Bagdad’ (1932). The film was appreciated for its photography. At that time. Mehboob Khan was assisting in script writing for some of the initial talkies of Sagar Films besides doing small roles in the films.
Mehboob Khan got his first chance to direct ‘Al Hilal/Judgement of Allah (1935). For his directorial debut film, he chose Faredoon Irani as cinematographer. The association continued uninterrupted until Mehboob Khan’s last film ‘Son of India’ (1962). Faredoon Irani got the first opportunity as cinematographer of India’s first Technicolor film, Aan’ (1952) produced and directed by Mehboob Khan. He got his first Filmfare Award for the Best Cinematography for Mehboob’s ‘Mother India’ (1957).
EK HI RAASTA/THE ONLY WAY (1939) was one of the films from the stable of Sagar Movietone in which the troika of Mehboob Khan-Faredoon Irani-Anil Biswas were associated. The star cast included Sheikh Mukhtar, Arun Ahuja, Anuradha, Harish, Kanhaiyalal, Banbasi, Jyoti, Mohan, Jagdish Rai, Wasker, Ghani etc. It was a debut films for Sheikh Mukhtar, Arun Ahuja and Anuradha (real name, Khursheed). The short synopsis of the story of the film available on Wikipedia and Imdb is as under:
Raja (Arun Ahuja) an orphan, Mangoo (Sheikh Mukhtar), a pickpocket and Vithal (Harish), a taxi driver are friends in a city. Mala (Anuradha) and her father (Ghani) arrive from their village to the same city and stay in the area where three friends stay.
One day, Mala is kidnapped by Banke (Kanhaiyalal) and is sold to a wealthy man. Mala’s father accuses Mangoo of theft and in a fit of anger Mangoo kills him. In the meanwhile, Mala manages to escape from the clutches of wealthy man and take refuge in Raja’s house. Over a period of time, both fall in love. Mala’s step mother does not like Mala staying with Raja. She arranges of marriage Mala her villainous cousin which is rejected by Mala. She continues to stay with Raja.
World War II has started. All the three friends enlist as soldiers. After sometime, all the three friends return from the war. During this period, one of the friends kills a rapist. He is tried in the court and is convicted for the murder.
From the short snippet of the story, two observations may be made. First, probably, this may be the first film which has brought out the concept of live-in relationship. Mala has a step mother. But she prefers to stay with Raja even though they are not husband and wife. Second, the story writer has brought out the differential standard of law for treatment of killing an enemy on the war front vis-à-vis killing an enemy of the society, that is the rapist for which one of the friends get convicted.
The film had 12 songs, none of which has been presented in the Blog. I am presenting the first song ‘chhalke ras ki gagariya bhaari main matwaari panihaari’ sung by Wahidan Bai and Anil Biswas. The song is written by Pandit Indra. I am not sure whether Wahidan Bai had sung the song on herself or gave the playback. I do not find her name in the actor’s list for the film.
One of the features of the song is that Anil Biswas has introduced some innovative orchestration. During the antara part of the song between the verses ‘kyun jhooti baat banaaye’ and ‘ab kaun tumhen samjhaaye’ there is some novelty in the short musical interlude.
With this song, EK HI RAASTA/THE ONLY WAY (1939) makes its debut in the Blog.
Song-Chhalke ras ki gagariya bhaari (Ek Hi Raastaa)(1939) Singers-Wahidan Bai, Anil Biswas, Lyrics-Pt Indra Chandra, MD-Anil Biswas
Lyrics
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main
hai bhara huwa dil sajni
hai bhara huwa dil sajani
kyun jhoothhi baat banaaye
kyun jhoothhi baat banaaye
ab kaun tumhen samjhaaye
ab kaun tumhen samjhaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye
baalam tori nazar na lag jaaye ae
baalam tori nazar na lag jaaye
bholi
ras gholi pyaari
bholi
ras gholi
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
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 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.
In my recent article, I had listed the films from 1936 to 1942 in which Anil Biswas was associated with producer-director, Mehboob Khan under the banners of Sagar Movietone and later National Studios. Their association came to an end with the release of ‘Roti’ (1942). A news clipping in October 1942 issue of ‘Filmindia’ magazine revealed that on the eve of the release of ‘Roti’ (1942), National Studios was sold to K M Modi (I believe, he was the younger brother of Sohrab Modi) who was a film exhibitor.
At the time of the sale of National Studios, there were 3 films on the floor – ‘Apna Paraaya’ (1942), ‘Jawaani’ (1942) and ‘Lala ji’ (1942). These films were completed and released under the banner of National Studios with Mehboob Khan as producer. Incidentally, one song each from these films have been covered in the Blog which means that these films have already made their debuts in the Blog.
APNA PARAAYA (1942) was directed by Ramchandra Thakur. The star cast included Shahu Modak, Hansa Wadkar, Urmila, Sankatha Prasad, Qaiyam Ali, Agha, Jyoti, Dulari, Gulzar, Pesi Patel, Raj Rani, Wasekar etc. The condensed version of the story of the film, based mainly on a review of the film in ‘Filmindia’ magazine is set out below:
Vasant (Shahu Modak) returns to India from England after a long stay and finds everything not to his taste in India. Prior to his departure to England, he was married to Veena (Hansa Wadkar). Both have not seen each other as grown up persons for a long time. In England, Vasant has fallen in love with a sophisticated Laxmi (Urmila) who also returns to India with him. His father Jeewan Seth(Sankatha Prasad) wants him to stay with Veena which he refuses as he thinks that she is not suitable for him. This angers Jeewan Seth and in the ensuing quarrel, Vasant decides to leave the house of his parents.
Vasant wanders all over the places, looking for job but he gets none.(I wonder as to how England-return Vasant cannot get a job!). His love interest, the sophisticated Laxmi, deserts him. Ultimately, he gets a job in a village where his wife Veena stays with her poor uncle (co-incidence). She is waiting for her husband (Vasant) to take her to his place. She is heart broken when he does not turn up. Ultimately, her other rich uncle takes her with him in his place. Now Vasant gets a job as a teacher for Veena at her rich uncle’s place (another co-incidence).
While travelling in a train to reach his new place of employment, Vasant loses his bag to a thief who while on a run is crushed under the train. Vasant reaches Veena’s place and starts teaching Veena without knowing that they are actually husband and wife. Both Veena and Vasant are fond of each other but having already married, Veena does not outwardly show her feeling towards Vasant.
In the meanwhile, the thief who had been run over by the train is unidentified because of severity of the accident. At last, from the tag of the bag, dead body is identified as that of Vasant. Now Veena considers herself to be widow. However, seeing the condition of Veena, he narrates the true incidence in the train thereby disclosing himself to be Vasant. However, with this revelation, Vasant finds himself in difficulties. Due to some misunderstanding, police keeps him in lock-up for some time until the confusion gets cleared from both the families and Vasnat and Veena are united.
The film did not fare well at the box office. The film was not much advertised probably due to the change of hands at National Studios. I guess, the story of the film was not of much interest to the front benchers in theatres and for other cinegoers, the story of the film was too pedestrian to be interesting.
As of now, I could locate online only two songs (out of 11) from the film of which one has already been covered in the Blog. Here is the second song ‘gori kaahe khadi anganaa atariyaa mein aao’ to appear in the Blog. The song is sung by Anil Biswas and Maya on the words of Pandit Indra.
I am aware of the names of two female actor-singers of the 1940s – Maya Bannerji and Maya Devi. None of them seems to have acted in ‘Apna Paraaya’ (1942). To the best of my knowledge, none of them have done playback singing. Probably, Maya in this song may be a different person.
The composition and rendering by Anil Biswas show his mastery over folk music. Note the flute prelude, probably by Pandit Pannalal Ghosh. From the singing style and wordings, the song may have been picturised on some side actors performing in a nautanki (folk theatre).
Song-Gori kaahe khadi angna (Apna Paraaya)(1942) Singers-Anil Biswas, Maaya, Lyrics-Pt Indra Chandra, MD-Anil Biswas
Lyrics
gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao
o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
atariya mein naahin
nazariyaa mein aao
atariya mein naahin
nazariyaa mein aao
aayi aayi balmaa
nazar na lagaao
aayi aayi balmaa
nazar na lagaao
nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
karejwaa mein aao
jigarwaa mein aao
karejwaa mein aao
jigarwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
gori aisi aao
jaise baaghon mein phool
jaise joban mein dhool(??)
jaise baaghon mein phool
jaise joban mein dhool(??)
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao
o gori kaahe khadi anganaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao
o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa aa aa
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.
“Sangeeta” (1950) was directed by Ramanlal Desai for Sudha Pictures Production. The movie had Shyam, Nigar Sultana, Suraiya Choudhary, Ramsingh, Radha Krishnan, Pran, Mumtaz Ali etc in it.
As many as si songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This light hearted song is sung by Lata and C Ramchandra. P L Santoshi is the lyricist. Music is composed by C Ramchandra.
Only the audio of this song is available. My guess is that this song is picturised on Nigar Sultana and Shyam, though I could be wrong. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Girgit ki tarah hain rang badalte fashion waale baabu (Sangeeta)(1950) Singers-Lata, C Ramchandra, Lyrics-P L Santoshi, MD-C Ramchandra
Both
Lyrics
girgit ki tarah hain rang badalte fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
munh pe choone ki safedi
tan pe kaalaa suit hai
tie aayi hai kahin se
to kisi kaa boot hai
jeb mein damdi nahin aur baate karte laakh ki
muft ki cigarette bhi peete
shaan hai ye aap ki
aur matak matak kar chalte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
achchhi soorat koi dekhi
chat se aashiq ho gaye
kah diyaa bas tum hamaare
ham tumhaare ho gaye
inki baaton kaa nahin saahib mujhko koi aitbaar
inki baaton kaa nahin saahib mujhko koi aitbaar
ye kapdo ki tarah badalte maashooq bhi din mein teen baar
ye kapado ki tarah badalte maashooq bhi din mein teen baar
har nayi shakl par machalte hain ye fashion waale baabu
har nayi shakl par machalte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
bholi bhaali soorat waale
hote hain sab bewafaa
inse jo ulfat kare
ho jaaye duniyaa se safaa
aison hi se karke ulfat
baad mein pachhtaate hain
rang gulaabi dekh ke sehre ka ye mar jaate hain
rah rah ke haath phir malate hai ye fashion waale baabu
rah rah ke haath phir malte hain ye fashion waale baabu
girgit ki tarah hain rang badalte fashion waale baabu
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.
In children’s stories, comics etc, people would eat/ drink some stuff that would give them great strength/ supernatural powers. Who can forget the escapades of Asterix and co, who would drink magic potion prepared by druit Getafix that would give them supernatural powers which they would use to thrash Roman legionnaires.
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Mere peechhe peechhe aa ke
Posted on: March 16, 2017
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
While discussing interesting songs from the decade of the 50s, one can not keep away from C Ramchandra’s films. In the early 1950s, Chitalkar was in great demand and his films were becoming popular because of his songs. Of course, there were films like Jhanjhar-53 and Ghungroo-52, which did not become hits in spite of good songs.
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Tum saath raho jeewan bhar to
Posted on: March 5, 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.
“Leela” (1947) was directed by Dattaram N Pai for Filmistan. The movie had Shobha, Kanu Roy, Veera, V H Desai, Agha, Leela Mishra, Krishnan Kutty, B M Dixit, Satyanarayan, Sunalini Devi etc in it.
Read more on this topic…
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Paighaam”(1959) was produced and directed by S S Vasan for GeminiPictures, Madras. The movie had Dilip Kumar, Vyjyanti Mala, Raj Kumar, Pandhari Bai, Motilal, B Saroja Devi, Johny Walker, Minu Mumtaz, Vasundhara Devi, Protim Devi, Bannerji, Mukherji, Shivraj, Sitalaxmi, Ishwarlal, Pushpmala, Master Gopi, Karupayya, Radjha, Madhavan, Amar, Kamal Krishn etc in it.
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Dharti aazaad hai aasmaan aazaad
Posted on: January 21, 2017
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 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.
Today’s song for discussion is from the film Sindbad the sailor-52 ( also called Sindbad Jahaazi ).
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