Posts Tagged ‘Singer-MD’
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 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.
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Blog Day : |
3776 | Post No. : | 14754 | Movie Count : |
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Muzzafar Ali, the producer-director of some of the parallel films has been very proud of the Awadhi culture. His father was the raja of Kotwara which is located in Lakhimpur Kheri district, a part of Awadh region. Moreover, he had completed his schooling in Lucknow, the centre of Awadhi culture. His sensibility towards Awadhi culture can be judged from his films, Gaman’ (1978), ‘Umrao Jaan’ (1981), Aagaman’ (1984), ‘Anjuman’ (1986) and the last one, “Jaanisaar’ (2015) with Awadh as background. “More than a ‘royal’, I am ‘loyal’ to my root – Awadh” says Muzzafar Ali.
In ‘Gaman’ (1978), the young Ghulam Hasan goes to Mumbai from Lucknow in search of employment opportunity and ultimately become a taxi driver living in a slum. His wife and the ailing mother live in Lucknow eagerly waiting for his return. But he has no saving after working as a taxi driver for months to visit his native place. True to his love for Awadh, Muzzafar Ali chose the location in Kotwara for shooting a part of the film covering the scenes of Ghulam Hasan’s wife and his ailing mother. The dialogues during the scenes in the film in the native village between Ghulam Hasan, his wife and mother were in Awadhi.
Muzzafar Ali was so much into Awadh that for ‘Gaman’ (1978), he had first approached Amitabh Bachchan who is also from the Awadh region, for the role of Ghulam Hasan (The reason could be that there were many dialogues in the film in Awadhi). Amitabh Bachchan had first agreed to do the role in principle. However, later he felt that his ‘angry young man’ image would be affected by doing the role in the film. So he declined the offer. The role went to Farooque Shaikh. (This was revealed by Mazzafar Ali in a documentary video film).
In ‘Umrao Jaan’ (1981), Muzaffar Ali takes us to the heartland of Awadhi culture – Lucknow-Faizabad belt in the film. The film depicts the nawabi Lucknow with its all grandeur – the language, the costumes, the sets etc. Probably, after his first experience of film production with ‘Gaman’ (1978), Muzzafar Ali became wiser. So he built into this film, some elements of commercial films like selecting Rekha for the role of Umrao Jaan. On a second thought, Asha Bhonsle was selected to sing songs for Rekha. He also selected the well-known theatre actors like Naseeruddin Shah, Shaukat Azmi, Deena Pathak, Gajanan Jagirdar to give the film a strong acting prowess in subsidiary roles. The mixing this ‘parallel’ film with commercial elements paid a rich dividend to Muzzafar Ali in that even after 37 years, this film has remained in the bloodstream of cinema fans.
‘Aagaman’ (1984) was Muzaffar Ali’s 3rd film, making it a part of the trilogy of films with the commonality of Awadhi culture. The film was produced by Uttar Pradesh Sugarcane Seed and Development Corporation under the banner of Integrated Films and was directed by Muzzafar Ali. The star cast included Suresh Oberoi, Bharat Bhushan, Saeed Jaffrey, Anupam Kher (his debut film), Dilip Dhawan, Deepa (her debut film), Sudhir Pandey, Yunus Parvez, Raj Bisaria, Javed Khan, Anjaan Srivastav etc.
It was the idea of Muzzaffar Ali to Vishwanath Pratap Singh, the then Chief Minister of Uttar Pradesh to commission a feature film highlighting the plights of sugarcane growers in Lakhimpur Kheri, which is called the ‘sugar bowl of Uttar Pradesh’. Most of the shooting of the film had taken place in Kotwar and around.
It is surprising that ‘Aagaman’ (1984) is not available for watching online. It appears that the DVD of the film is also not available for sale. I remember that in one of the programmes on Doordarhsan, Muzzafar Ali had mentioned that the sound negatives of both ‘Aagaman’ (1984) and ‘Anjuman’ (1986) were lost/destroyed. That means that the only chance to see the film is from the private collectors. I find that video clips of most of the songs of ‘Aagaman’ (1984) are available online.
Anyway, the broad story line of the film as I understand from some online sources is that a sugar mill owner of a village has been exploiting the sugarcane growers by not paying them remunerative prices. As a result, sugarcane growers remained poor and debtors. A young man from the village after completion of his education from Lucknow takes up the issue of sugarcane growers with the sugar mill owner. But his efforts do not bear fruit as there are vested interests in the village. Ultimately, with great persuasion, he makes reasons to sugarcane growers to set up a cooperative sugar mill. Now they not only get the fair price for the sugarcane but being the members of the cooperative sugar mill, they also share the profits from the mill.
The film has 8 songs out of which as many as 7 songs were composed on the published nazms of Faiz Ahmed Faiz. The remaining one song was written by Hasrat Jaipuri. All the songs were set to music by Padma Vibhushan Ustad Ghulam Mustafa Khan. It was his first film as a music director.
I am presenting the first song ‘nisaar mein teri galiyon ke ae watan ke jahaan’ from the film which is a nazm written by Faiz Ahmed Faiz. He wrote this nazm in the backdrop of the establishment of Pakistan’s first military government in 1958 when many repressive measures were taken. Dissents were not tolerated. There was censorship on the newspapers. Political leaders and intellectuals were arrested and imprisoned. The song is rendered by Ustad Ghulam Mustafa Khan.
Ustad Ghulam Mustafa Khan (born 03/03/1931) is the doyen of Rampur-Sahaswan Gharana and is highly respected among the new generation of Hindustani classical singers. He has a large number of his disciples/trainees which include Asha Bhonsle, Geeta Dutt, Manna Dey, Kamal Barot, Suresh Wadkar, Hariharan, A R Rahman, Alisha Chinoy, Sonu Nigam, Shaan etc. I propose to write a detailed article on him sometime later.
The song in the video clip is somewhat shorter than the record version of the song due to a few lines repeated in the latter version. Furthermore, the order in which antara parts of the song is recorded in record version is different than the order in the sound track.
With this song, ‘Aagaman’ (1983) makes its debut in the Blog. The singer-composer also makes his debut in the blog.
Video Clip:
Audio Clip:
Song-Nisaar main teri galiyon pe ae watan (Aagaman)(1983) Singer-Ustad Ghulam Mustafa Khan, Lyrics-Faiz Ahmad Faiz, MD-Ustad Ghulam Mustafa Khan
Lyrics (based on video clip)
nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasm ke koi na sar uthha ke chale ae
nisaar main teri galiyon pe ae watan ke jahaan
jo koi chaahne waala tawaaf ko nikle
nazar churaa ke chale jism-o-jaan bachaa ke chale
nisaar main teri galiyon pe ae watan ke jahaan
bahut hain zulm ke dast-e-bahaana joo ke liye
jo chand ahl-e-junoon tere naam leva hain
bane hain ahl-e-hawas muddai bhi munsif bhi
kise vakil karen kis se munsafi chaahen
magar guzaarne waalon ke din guzarte hain
tere firaaq mein hi subah-o-shaam karten hain
nisaar main teri galiyon pe ae watan ke jahaan
yoon hi hamesha ulajhti rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi hamesha khilaayen hain hamne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahin karte
tere firaaq mein hum dil bura nahin karte
nisaar main teri galiyon pe ae watan ke jahaan
gar aaj tujhse juda hain to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hain taala-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustawaar rakhte hain
ilaaj-e-gardish-e-lail-o-nihaar rakhte hain
nisaar main teri galiyon pe ae watan ke jahaan
bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthhe hain salaasal to hamne jaana
ke ab sahar tere rukh par bhi kar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saaya-e-deewaar-o-dar mein jeete hain
nisaar main teri galiyon pe ae watan ke jahaan
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Translation (Provided by Sadanand Kamath)
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nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasam ke koi na sar utha ke chale
jo koi chaahne waala tawaaf ko nikle
nazar churaaake chale jism-o-jaan bachaake chale
O my country! I bow to your streets.
They have decreed a custom that none shall walk holding his head high.
If any one wishes to take a round of walk,
walk sneakily, walk with a bend body (to avoid detection).
bahut hai zulm ke dast-e-bahaana-joo ke liye
jo chand ahl–e-junoon tera naam leva hain
bane hain ahl-e-hawas mudaai bhi munsif bhi
kise vakil kare kis se munsafi chaahen
magar gujaarne waalon ke din gujarten hain
tere firaaq mein hi subah-o-shaam karten hain
There are many excuses to continue the oppression
for some crazy people in the guise of your name.
With power of lust, they are both the plaintiff and the judge,
Whom to appoint lawyer and from whom does get justice?
But one has to persist with these hard times for days.
In separation from you, they spend time from dawn to dusk.
yoon hi hamesha uljhati rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi humesha khilaayen hain humne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahi karte
tere firaaq mein hum dil bura nahi karte
As always, we reel under oppression.
Neither their rituals nor our traditions is new
As always we have made flowers to bloom in fire
Neither their defeat, nor our victory is new
We do not blame the sky
Nor we feel bad in our hearts for separation from you.
gar aaj tujhse juda hai to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hai taale-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustuvaar rakhte hain
ilaaj-e-gardish-e-lail-o-nahaar rakhte hain
Though separated today, tomorrow we shall be re-united.
Separation is only for the night it does not matter.
If today our rivals are at the peak of powers, so what?
These four days of divinity do not matter.
Those who love you keep a firm belief in you.
We keep the remedy of revolution day and night.
bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthi hai salasil to hamne jaana hai
ke ab sahar tere rukh par bhikar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saya-o-deewaar-o-dar mein jeete hain
When lights in the prison dim, my heart has felt
that your forehead has been lighted with stars.
When my chains have sparkled, I have known
that the dawn must have straggled upon your face.
We live by imagining the dawn and dusk
We live in the shadows of the high prison walls
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 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 : | 3713 | Post No. : | 14640 |
# Superstar Child Artist – Jr. Mehmood # 4
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(Rafi Sings for Jr. Mehmood # 3)
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Greetings to all for the ongoing ‘Ganesh Festival’…!!!
I have many fond memories of ‘Ganpati Utsav’ being held in our colony premises and the ‘various cultural programs’ held during the ‘ten-day’ festival.
For us children then, the main attractions were ‘Orchestras’, ‘Dramas’ and a ‘movie’ if at all it could be arranged and screened in open ground and where we used to watch it from either side of the screen.:)
Among the other programs like ‘orchestra’ and ‘drama’ which would be performed by artists coming from different locations there was also a ‘drama’ and ‘cultural program’ by artists from our colony and students from schools. I was always a part of the ‘drama’ team of juniors as a ‘performer’ and also was a part of the ‘seniors’ for ‘prompting’ behind the stage if some artist forgot the ‘dialogues’. My voice was suitable for that purpose at that time. 🙂
That reminds me of one of my friends who used to do mimicry of Mehmood and Junior Mehmood on stage during such programs. And that also reminds me of ‘the musical nights being held that time with some special star also performing therein’. But, since such programs would be held at the city about 25/30 kms from the place we were staying then, it was not possible for us children to attend such programs.
Junior Mehmood was among the ‘star performer’ in those years and that reminder bring us to this fourth article in the series of articles covering songs performed by or picturized on Junior Mehmood and lip synced by him on screen in Hindi Movies.
Initially I started this series discussing the songs sung by Rafi Saab for Junior Mehmood and the following two songs sung by Rafi Saab for Junior Mehmood have been discussed earlier;
1) Lagey koi lottery koi jackpot lagey (Rivaaz)(1972)
2) Na Koi Paisa Na Ilm Banaao Bambai Mein Film (Bansi Birju) (1972)
Thereafter we extended this series to cover the songs sung by other singers (mainly female singers, I think so 🙂 ) for Junior Mehmood. And those songs which are yet to be discussed on the blog.
Thus, we have the following song as the third post in this series which was posted on 15th November, 2017;
Today’s song is from the movie ‘Tanhaai-1972’.
‘Tanhaai-1972’ was ‘S.B. Films’ presentation, directed by Jagdish Nirula for ‘Chitrashala, Bombay’. This film was produced by S.I. Shivadasani.
It had Rehana Sultan, Anil Dhawan, Shatrughan Sinha, Jagdev, Lakshmi Chhaya, Iftekhar, Poornima, Dulia, Randhir, Baby Chintu, Lalita Kumari, Jankidas, Moolchand, Arpana, Master Shahid, Jagdish Raj, Kirti, Madhu, Jery, Bhola
And Mehmood Junior.
The movie introduced Ashok Khanna.
Story & Screenplay of this film was by Sadhram Sapru. Its dialogues were written by Qamar Jalalabadi. Editing for this movie was done by Govind Dalwadi.
Its music was composed by Usha Khanna and the four songs of this film were penned by Asad Bhopali – three songs and Amanullah Khan Aman – one song.
The film had three solo songs- two by Asha Bhonsle, one by Kishore Kumar which has already been discussed here, and one song sung by Mohd Rafi, Usha Khanna (and Junior Mehmood (as per HFGK), however the titles of this movie did not mention the name of Junior Mehmood under ‘Playback’.
The film was passed by Censor Board on 23rd October’1972.
As per the filmography of Jr. Mehmood available on various sources on the internet he acted in many movies since his first release to this movie “Tanhaai-1972”.
However, these sources where his filmography has been mentioned does not mention the name of this movie ‘Tanhaai-1972’ in their list. (So, the complete list of his movies/filmography needs to checked and authenticated to have accurate number of movies if we need to discuss them year wise.)
Also, till the release of this movie “Tanhaai-1972” Junior Mehmood was a part of many movies which were successful at the box office and he was seen in many Rajesh Khanna movies like ‘Do Raaste-1969’, ‘Aan Milo Sajna-1970’, ‘Kati Patang-1970’, ‘Haathi Mere Saathi-1971’, ‘Chhoti Bahu-1971’, ‘Dil Daulat Duniya-1972’ and other movies.
I had mentioned in my earlier post and many of us are aware of that Junior Mehmood shot to fame from the ‘1968 movie – Brahmachari’ where he performed on Mehmood’s famous ‘ham kaale hain to kya huaa dilwaale hain’ from ‘Gumnaam-1965’’.
He repeats once again performing on Mehmood’s famous ‘mehbooba mehbooba bana leo mujhe dulha’ from ‘Saadhu Aur Shaitaan-1968’ in the movie ‘Johar Mehmood in Hong Kong-1971’ where on screen he performs in the presence of his guru Mehmood and I.S.Johar. (Peevesie’s Mom ji have recently discussed this song from ‘Saadhu Aur Shaitaan-1968’ on the blog).
Mehmood Fans and moviegoers are well aware of Mehmood’s – ‘Kapoor’s three generation act- Prithviraj, Raj and Randhir, in the song ‘Ye kaisa aayaa zamaanaa…’, in the movie ‘Hamjoli-1970’.
Surprisingly this song is yet to be posted on the blog. (may be Mehmood fans in the group are aware and want to give us a surprise 🙂 )
Junior Mehmood tried to repeat a similar act in the song ‘birhaa ki rain’ which is being presented here today.
Taking inspiration from the above song from ‘Hamjoli-1970’ and continuing his ‘genius’ further, and in fact going a step further of his Guru Mehmood, Junior Mehmood did this ‘four roles’ (additionally enacting a female artist, Aruna Irani, I guess…) act in today’s song.
Initially I had planned this song post to be shared in Oct’15 and it was then that the first draft of this article was prepared, however later it got delayed and the song from the movie ‘Baalak-1969’ was posted.
I have not watched this movie ‘Tanhaai-1972’, however our beloved Raja Saab had mentioned of watching this movie in his post presenting the first song from this movie – ‘saawan mein kahin aag na lag jaaye chaman ko’ on the blog.
Let us now enjoy today’s song …
Video
Audio
Song-Birha ki rain sooni sooni sejariya (Tanhaai)(1972) Singers-Rafi, Usha Khanna, Jr Mehmood, Lyrics-Asad Bhopali, MD-Usha Khanna
Rafi + Usha Khanna
Chorus
Lyrics
Aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa aa aa
Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain
Raama ghazab dhaaye
Mori baali umariya aa aa
Birhaa ki rain
Sooni sooni sejariya aa aa
Birhaa ki rain
Pa ma ga ma paa paa paa
Pa ma ga ma paa paa paa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Birhaa ki rain
Birhaa ki rain
Birhaa ki rain
O my god
Grandfather
Tum gaata hai ke rota hai
Idhar ko headache hota hai
Sister, come on!!
One two three four
Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
La laa
la la la laa
La la la la la laa
La la la la la laa
Tum hai seedha saadaa
Tum kya jaano new age ki bhaasha aa
Tum hai seedha saadaa
Tum kya jaano new age ki bhasha
Aaj kal ke
Gora gori
Gora gori
Chori chori
Kyun gaate hain gaana aa
Laa laa aa
Laa laa aa
Laa laa
la la la laa aa
la la la laa aa
Arey muniya
Arey Munna
Chup karo re
Chup karo
Chup
Sharm tum ko na aataai
Hungaamaa kyon machaatai
Dilaa kaaikon jalaatai
Bazurgaa ko sataatai
Sharm tum ko na aatai
Hungaamaa kyon machaatai
Dilaa haiku jalaatai
Bazurgaa ko sataatai
Nako buri baataan
Nako buri baata
Nako buri baata
nako o
Gaao na baba
Phir se gaao na
gaao na
O sister
Ye grandfather todta hai music ka taang
Ham log gaayenga beautiful song
Tum par ab aaj
Aaj hai apna raaj
Tum par ab aaj
Aaj hai apna raaj
Chhodo kal ka raag puraana
Father ye hai nayaa zamaana
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Arre muniya
chup kar ja
Munne
chup kar ja
Arrey
Arrey
Achchha achchha
Gaa lo
Pet bhar ke gaa lo
Main jaata hoon
Jaata hoon
Jaata hoon
————————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————————–
आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ आ आ
बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन
रामा गज़ब ढाए
मोरी बाली उमरिया आ आ
बिरहा की रैन
सूनी सूनी सेजरिया आ आ
बिरहा की रैन
प् म ग म पा पा पा
प् म ग म पा पा पा
आ आ आ आ आ आ आ
आ आ आ आ आ
बिरहा की रैन
बिरहा की रैन
बिरहा की रैन
ओ माय गॉड
ग्रैंडफादर
तुम गाता है के रोता है
इधर को हेड़ेक होता है
सिस्टर, कम ऑन
वन टू थ्री फोर
पा पा
दु दादा दु
दादा
दु दादा दु
पा पा
दु दादा दु
दादा
दु दादा दु
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला
तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ
तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ
आज कल के
गोरा गोरी
गोरा गोरी
चोरी चोरी
क्यूँ गाते है गाना आ
ला ला आ
ला ला आ
ला ला
ल ल ल ला आ
ल ल ल ला आ
अरे मुनिया
अरे मुन्ना
चुप करो रे
चुप करो
चुप
शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई
शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई
नको बुरी बाता
नको बुरी बाता
नको बुरी बाता नको ओ
गाओ न बाबा
फिर से गाओ न
गाओ न
ओ सिस्टर
ये ग्रैंडफादर तोड़ता है म्यूजिक का टांग
हम लोग गायेगा ब्यूटीफुल सॉंग
तुम पर अब आज
आज है अपना राज
तुम पर अब आज
आज है अपना राज
छोडो कल का राग पुराना
फादर ये है नया ज़माना
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो
अरे मुनिया
चुप कर जा
मुन्ने
चुप कर जा
अरे
अरे
अच्छा अच्छा
गा लो
पेट भर के गा लो
मैं जाता हूँ
जाता हूँ
जाता हूँ
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.
| Blog Day : | 3711 | Post No. : | 14638 |
Today’s song is from a film Manorama-1944. HFGK does not mention singers’ names, but the voices are that of Chitalkar and Hamida Banu with chorus. The film Lyricist was Anjum Pilibhiti and the MD was C Ramchandra.
Last week we had discussed a New pair of names fitting under ” The Same Name Confusion” series, which came first time, only on this Blog. The names were similar sounding Ramola and Romilla. Our Sadanand ji had also added some new information about Romilla, in his comments. This is how informations get updated. Thank you, Sadanand ji.
Today we have yet another New pair-again first time on this Blog- which are not similar sounding names, but have exactly the same spellings. The name is Naseem, who was a part of the film’s cast along with Leela Chitnis, Ishwarlal, N M Charlie, Kantilal, Mubarak, Alaknanda and others.
NASEEM is the name which caused confusion in the 40s, because two actresses with the same name were working in the films at the same time. Generally, the younger one was mentioned as (Junior), but in some films she is just mentioned as Naseem. These are the films which are coolly added to the Senior Naseem’s Filmography, because she was more famous. This is exactly what happens in such cases of SNC. One has to take extra efforts to credit the right films to the right artiste. Most of the times, this is a very tedious job and may take months to get the right answer which can be defended with corroborative evidence. All these old artistes are no more and not every artiste’s information is available. particularly those artists who created confusion and either left the films or the country or the world, are the toughest cases as no information is available on them in India and Pak sites do not give full information on pre-independence films or artists.
Interestingly, the problem of Same Name Confusion is non existent in Hollywood. Not because there are no such names, but because they are very alert and take preventive measures. No one can act in films or on TV, unless he is registered with the ‘ Screen Actors Guild ‘ (estd 1933). They have a strict rule that no two actors will have same names. If a New actor comes with a same name that is already existing on the rolls, he is required to change his name before registration, or add a prefix or a suffix. That is why this problem is not there in Hollywood, in spite of more than 130,000 active members.
Though in India, no such system operates, this problem has almost become extinct in recent times, because of a variety of names ( unlike the western world) available now. Now, let us see more about these two Naseems. First, the senior one.
Born on 2-9-1920,at Delhi -ROSHAN ARA aka Naseem Bano was the daughter of a famous classical singer Shamshad Begum. She too was very good looking . She was called ” Chhamiya” due to her adakari while singing. Naseem was so beautiful that even is school days her beauty was discussed by people. When sh was in school,once she came to Bombay and happened to see the shooting of ” Silver King-35″. She was so impressed with it that she decided to become an actress.
When Sohrab modi proposed to cast her as a Heroin in his “Hamlet”,her family flatly refused but gave in after Naseem sat on a Hunger Strike !. For her second film,’ Khan Bahadur’ she was advertised as a ‘ Beauty Queen’. (Later her daughter Saira bano also got this title). After some films like Divorce,Meetha Zahar and Vasanti,the most important film of her life and also for Minerva Movietone, PUKAR-39 was launched. In this film she enacted the role of Empress Noorjahan,opposite equally handsome actor Chandramohan as Jehangir. She looked cute and beautiful as Queen in the get up. She became an All India star overnight and got the Title ” Pari-Chehra ” from the critics. Her song ‘ Zindagi ka saaz” became so famous that thousands of records were sold in no time.
She married producer Director Mohammed Ehsaan, in 1942. They started their own company- Tajmahal Films and produced Ujala, Begum, Mulaqat and Ajeeb Ladki. The couple had two children- Sultan Ahmed and Saira Banu. After 1947,she stopped singing and did only acting.
Naseem acted in limited films,like Hamlet, Divorce, khan bahadur, Vasanti, Meetha Zahar, Pukar, Ujala, Chal chal re Naujawan, Chandni Raat, Main Haari, begum, Mulakat, Sheesh mahal, Anokhi Ada, Baghi, Shabistan, Sindbad the Sailor, Betaab, Ajeeb Ladki, and Nausherwan E Adil. She did only 20 films. She sang 42 songs in 14 films.
When her mother Shamshad Begum “Chhamiya” died in 1983,many newspapers,magazines and Internet sites published erroneous news that the famous singer Shamshad Begum had died.
In 1953, her husband deserted her and went to Pakistan with the negatives of her films. He made money and Naseem became famous and Popular in Pakistan, without going there. She took her children and went to England for few years, but came back to India to make her daughter an actress.
Naseem Bano died on 20-6-2002.
Naseem bano was never a singer, but she sincerely tried to improve her singing. Her voice was thin and there was a tremor in it,so it sounded sweet( just like Talat).
Naseem Jr. or Miss Naseem Jr. was younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in film Salma-43.
Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.
She had a hot temperament and could not get along with co stars and the Directors. Soon the offers diminished. She got married and returned to her hometown-Lahore along with her husband. She did only few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.
You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindinfilms-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Only their father did not join films !!!
Alaknanda was born in or around 1910 in a Banares situated Mishra family. her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.
When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 38 films till late 40s. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age.( Famous dancer Gopi krishna was her son) Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.
The Hero of the film was Ishwarlal, who was a fixture in Ranjit for 13 years. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.
He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.
After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.
He got a job in Ranjit Studios. He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.Meanwhile,with Jwalamukhi-36,he became Hero.He sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recorded for commercial purpose.
In Billi-38,he sang a duet with Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan.In Pyaas-41,he sang with S.Pradhan.
He got to sing a solo song for the first time in 1942 in Fariyaad. In Jabaan, under C.Ramchandra,he sang 7 songs.
Some of his films were-
Diwali, Dheeraj, Chandni, Bhola shikar, Nadira, Sitamgar, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo, Dil ka daku, Jwalamukhi, Sajni, Dil farosh, Adhuri kahani, Thokar, Holi, Pyar, Bansari Lalkar, Chirag, Us paar etc.
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.
In 1945,he was the hero of Noorjehan in Badi Maa,but he had no songs, in fact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.
Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.
He acted in 86 films. He also directed 11 films. He sang36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.
With today’s song, film Manorama-44 makes its Debut on this Blog.
(Credits- Vithal Pandya’s books, Film Directory, Beetehuedin blog, Harish Raghuwanshi ji, HFGK and my notes )
Song-Taaron ki chhainyyaan mein jamuna kinaare(Manorama)(1944) Singers-C Ramchandra, Hamida Bano, Unknown male voice, Lyrics-Anjum Pilibhiti, MD-C Ramchandra
Chorus
C Ramchandra + Chorus
Lyrics
Taaron ki chhainyyaan mein jamuna kinaare
Taaron ki chhainyyaan mein jamuna kinaare
gaawe khushi ke geet gin gin
gaawe khushi ke geet
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
ho o o
dhobiyaa ko chahai
haan
dui dui mehariya
haan
dhobiyaa ko chaihai
dui dui mehariya
ek ghar aur ek ghaat
ek se mangaawen chiilam tambaaku
ek se mangaawen chilam tambaaku
ek se karihen preet
hilmil
gaawen khusi ke geet
ho
ho jiyo raam jiyo
dhobi ke laal jiyo
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
bainyya pakad mohe chhatiyaa lagaike
bainyya pakad mohe chhatiyaa lagaike
jobna liyo hai jeet
hamra jobna liyo hai jeet
ho jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
haan
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
hamri ?? bitiya re tori
hamri ?? bitiya re tori
?? ne li hai jeet
haay raam
?? ne li hai jeet
ho
jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
na main maangoon kotha atariya
na kuchh maangoon aur
na main maangoon kotha atariya
na kuchh maangoon aur
godi mein dhobiya ke hamre gosainyya
godi mein dhobiya ke hamre gosainyya
jaaye umariya beet
hamri jaaye umariya beet
ho
jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
Chali apne ghar ko Shakuntala
Posted on: August 31, 2018
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.
| Blog Day : | 3696 | Post No. : | 14613 |
Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.
The year 1942 was an eventful and Milestone year for Hindi film industry.
It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.
Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.
Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.
Begum Akhtar made her rare appearance in film Roti-42.
Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.
Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.
Madhubala debuted as Baby Mumtaz in Basant-42.
This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.
film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.
Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.
Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.
Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.
Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.
This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.
After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.
In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”
The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !
Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.
Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.
( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )
Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai
Lyrics
is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho
hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala
??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do
madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge
gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye
kya
aap sab yahin se laut jaayenge
main tum sabko phir kab dekhoongi
baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba
jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali
beti
samay ho gaya
chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali
Achcha hai mauqa kisne hai roka
Posted on: August 21, 2018
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 : | 3686 | Post No. : | 14592 |
“Shaarda”(1957) was produced and directed by L V Prasad for Prasad Productions. It was a Hindi remake of Tamil original original Tamil film ‘Edhir Paradhathu’ (1955). The movie had Meena Kumari, Raj Kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc.in it.
The movie had nine songs in it. Seven songs from the movie have been covered so far.
Here is the eighth song from “Shaarda”(1957) to appear in the blog. This song is sung by C Ramchandra and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
Like most C Ramchandra duets, this song is picturised as a romantic comic side plot song. The song is picturised on Agha and a lady whom I am unable to identify. I request our knowledgeable readers to help identify her.
Song-Achcha hai mauqa kisne hai roka (Shaarda)(1957) Singers-C Ramchandra, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both
Lyrics
achha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
achcha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
dil ka ye bangla
rakha hai khaali
kab se tumhaare liye ae
hum jaante hain
karte ho kya kya
tum bhi hamaare liye ae
dil ka ye bangla
rakha hai khaali
kab se tumhaare liye ae
hum jaante hain
karte ho kya kya
tum bhi hamaare liye
pyaar hai jaaga
jab se hai laaga
nainon ka paad(?) zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
duniya hai dariya
tum ek lehar ho
main hoon tumhaara kinaara
humne bhi tumko samjha hua hai
jaan se dil se hamaara
jitna tumhe hai
utna humen hai
dil ka bukhaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
pyaar ki baaten
dekho ji ??
kal hi register kar doonga shaadi
duniya jale to jale
??
kal hi register kar doonga shaadi
duniya jale to jale
hai aitbaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
achcha hai mauqa
kisne hai roka
ho jaaye pyaar zara zara
dekho ji dekho
dena na dhokha
hai aitbaar zara zara
Ye dil hai tumhen pukaare
Posted on: August 2, 2018
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 : | 3667 | Post No. : | 14540 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Two of these songs have een covered in the past.
Here is the third song from “Ban Phool”(1945) to appear in the blog.
HFGK mentions this song as sung by Kanan Devi and chorus. But listening to this song, it becomes clear that the song is a duet sung by a male voice and Kanan Devi, with the male voice in fact singing bulk of the song. Uploader of the song mentions this sopng as sung by Dhirendra Chandra Mittar and Kanan Devi, where the male voice is the same as the music director. I have gone with that name for the male voice. I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the male voice.
Pt Madhur is the lyricist. Music is composed by Dhiren Mittar himself.
I have not been able to note down the lyrics to my entire satisfaction and there are words that I feel need correction. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.
Song-Ye dil hai tumhen pukaare (Banphool)(1945) Singers-Dhirendra Chandra Mittar, Kanan Devi, Lyrics-Pt Madhur, MD-Dhirendra Chandra Mittar
Both
Lyrics
Ye dil hai tumhen aen aen aen aen pukaare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
jis din tumse milna hoga
haan chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
aandhi aur toofaan mein
shaayad ham tum honge saath
phoolon ki sundar duniya mein
ham tum karenge baat
phoolon ki sundar duniya mein
ham tum karenge baat
ham tum karenge baat
tumko roz bulaane jaate
tumko roz
tumko roz bulaane jaate ae ae
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
yahaan nahin to
wahaan milenge
milna hamen zaroor
milna hamen zaroor
nahar kinaare khojoon main ke
paar ho ya door
nahar kinaare khojoon main ke
paas ho ya door
paas ho ya door
jeet hamaari aakhir hogi
jeet hamaari aakhir hogi
chaahe duniya haare
chaahe duniya haare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
Aao more pyaare saanwariya
Posted on: August 1, 2018
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 : | 3666 | Post No. : | 14538 |
“Bahaadur”(1944) was directed by Bhagwan for Jagriti Pictures, Bombay. This stunt movie had Baburao Pahalwan, Bhagwan, Samson, Bhagwandas, Dharpure, Yashwant, Shanta Patel, Bibi, Surekha, Nirasha etc in it.
The movie had eight songs in it.
Here is the first from “Bahaadur”(1944) to appear in the blog. HFGK is silent about the singers of this movie. The uploader (our own Mr Sadanand Kamath) identifies the singers as Hamida Bano and C Ramchandra.
Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. Assuming that Bhhagwan and Shanta Patel were the lead pair in the movie, it would appear that the song was picturised on them. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
With this rare song, “Bahaadur”(1944) makes its debut in the blog.
Song-Aao more pyaare saanwariya(Bahaadur)(1944) Singers-Hamida Bano, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both
Lyrics
Aao more pyaare saanwariya
aao more pyaare saanwariya
man ki
man ki sooni nagariya
man ki
man ki sooni nagariya aa aa aa
pihu pihu bole papeeha
pihu pihu bole papeeha
chhaayi hai
chhaayi hai kaali badariya
chhaayi hai
chhaayi hai kaari badariya aa aa
aao more pyaare saanwariya
aayi mere man ko sajan yaad tihaari
aayi mere man ko sajan yaad tihaari
laagi mere man mein ye aankhon ki kataari
laagi mere man mein ye aankhon ki kataari
bane kyun un un
bane kyun prem pujaari
bane kyun un un
bane kyun prem pujaari
baanki hai tori najariya
un hoon
tori najariya
aao more pyaare saanwariya
maine wahaan tumko nazar kah ke pukaara
maine wahaan tumko nazar kah ke pukaara
kiski nigaahon ne kiya phir ye ishaara
kiski nigaahon ne kiya phir ye ishaara
maine aen aen
maine papeeha ko pukaara
maine
maine papeeha ko pukaara aa aa aa
aaya main teri atariya aa aa aa
aaya main teri atariya
man ki
man ki sooni nagariya
man ki
man ki sooni nagariya aa aa aa
aao more pyaare saanwariya
Kisi ki yaad kisi ko aayi
Posted on: July 29, 2018
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 : | 3663 | Post No. : | 14532 |
“Naghma e Sahra”(1945) aka Song of desert was directed by Bhagwan for Jagriti Pictures, Bombay. This Constume drama movie had Master Vitthal, Khursheed Junior, Bhagwan, amarnath, Bhagwandas, Kavita devi, Shanta Patel, Vasant, Nawaz etc in it.
The movie had seven songs in it. One song has been covered in the past.
Here is the second song from “Naghma e Sahra”(1945) to appear in the blog. HFGK is silent about the lyricist. The uploader (our own Mr Sadanand Kamath) identifies the singers as Hamida Bano and C Ramchandra, and I agree with this identification.
Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. assuming that Bhhagwan and Shanta Patel were the lead pair in the movie, it would appear that the song was picturised on them. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Kisi ki yaad kisi ko aayi (Naghma e Sahra)(1945) Singers-Hamida Bano, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both
Lyrics
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi
mujhko to maaloom nahin
ye ulfat ke afsaane
yaad kisi ki chhalkaaye kyun
aankhon ke paimaane
ye kaisi baat sunaayi ee ee
ye kaisi baat sunaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi
kyun dil ka raaj chhupati ho
hmm hmm hmm
jab dil ka chor pakadta hai
duniya to ab jaan gayi
jo do dil ka afsaana hai
teri yaad yahaan tak laayi ee ee
teri yaad yahaan tak laayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi
jo munh se baat nikalti hai ae ae
wo afsaana ban jaati hai ae
mast nazar chup rah kar bhi ee
apna bhed bataati hai
hai ulfat mein ruswaayi ee ee
hmm hmm
hai ulfat mein ruswaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi
Le lo le lo gubbaare
Posted on: June 9, 2018
This article is written by Peevesie’s mom, 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.
| Blog Day : | 3613 | Post No. : | 14406 |
“Amardeep” was a movie that was made by Shivaji Productions and directed by T. Prakash Rao in 1958. It was a remake of the Tamil “Amara Deepam” (1956) which also directed by T. Prakash Rao; which itself was a remake of the 1942 English film “Random Harvest” which was based on the novel of the same name by James Hilton. There was also a Bengali movie in 1957 “Harano Sur” on the same story. (all this information is thanks to Wikipedia) So that means there were audiences for this kind of sentimental stories.
The Tamil and Hindi versions had Padmini playing the character of Roopa who takes care of the hero- Dev Anand in Hindi and Shivaji Ganesan in Tamil- after he meets with an accident and forgets his past with Vyjayantimala (in Hindi) and Savitri (in Tamil). I had heard from my dad that he had seen the movie at the time of its release -first day first show and when the Tamil version released in a morning show (that was the name for the 9 or 10 A.M. show) he saw that too. I don’t remember what his review of the movie was but he had told me that the Hindi movie had 12 songs in it; the most popular one being “dekh humein awaaz na dena o bedard zamaane” having two versions.
Before I wrote this post, I sat through the movie. A decent movie, not exactly a tear-jerker but full of emotions on the part of the central characters. Plus, we have Pran putting in an act of possessive and hot- tempered “mangetar” (fiancé) of Vyjayantimala. So, there is scope for little fisticuffs at the climax. Then we also are surprised by the fact that the heroines are sisters who are separated in their childhood as the father gives away the younger daughter for cash to a wealthy man so that he can treat his sick elder daughter. And when the sisters, who are in love with the same man realise this, the elder one sacrifices her love and conveniently comes in the way when Pran fires at Dev Anand. There is a strained comedy track involving Johnny Walker and Mukri (which we could have done without). I hope this gives a brief idea about what the movie was all about. ??
There was one more reason for me to sit through this movie. I was trying to locate a song and its relevance in the movie. The song if it had ever been shot should have appeared here at 43:35 or thereabouts of the movie as we can see Dev and Vyjayantimala roaming around a mela and she has got some balloons in her hand. I was also trying to get the balloons (gubbaare) as it is the birthday of a keen follower of the blog. We also call him our in-house encyclopedia. Our dear Shri. Arunkumar Deshmukh turns a year younger today(9 june 2018).
Wishing him a musical journey with us forever with this song by a singer- music composer about whom he has provided us vast information. Rajinder Kishan is the lyricist. It has an “Eena meena deka” feel to it. Specially the opening and interlude music piece. I would love to know if it was ever picturised, if so on whom and if not why such a lively song was left out of the movie, it would have lightened the proceedings.
Song-Le lo le lo gubbaare (Amardeep)(1958) Singer-C Ramchandra, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
le
lo
arre le lo le lo
lelo lelo gubbaare
le lo le lo
lelo gubbaare lelo
rang birange pyaare saare
rangbirange pyaare saare
le lo le lo lelo lelo gubbaare
sukde ko patle
arre phoole ko mote
darshan bhaari naam hai chhote
kaliyon se halke lelo
phoolon se pyaare lelo
rang birange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo
le lo
lelo lelo gubbaare
neele
are peele
hai neele peele hare gulaabi
jhoome hawa mein jaise sharaabi
dole talab mein dole
saaqi ke dwaare dole
rangbirange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo le lo
lelo lelo gubbaare
baba bhi khele
aur baby bhi khele
jodi salaamat o baabu lele
chamke tumhaari waah waah
ulfat ke taare wah wah
rangbirange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo le lo
lelo lelo gubbaare aeeeee
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