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

Posts Tagged ‘Singer-MD


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4648 Post No. : 16312

Every few years or so, we have people proudly posting the photographs of their fingers with indelible ink in it, as proof of having voted in a parliament election or an assembly election. 🙂

These days, we have a non recurring once in a century occurrence taking place, namely Covid 19 vaccination. The process of this covid vaccination in India is very much comparable to the process of parliamentary general election. People are getting themslves vaccinated, and posting photos of their vaccination on their social media accounts. 🙂

India has two kinds of vaccines that are approved for vaccination. One is covishield (manufactured by Serum Institute of India Pune) and another is Covaxin (manufactured by Bharat Biotech, Hyderabad)

Both vaccines got the approval of India’s Central Drugs and Standards Committee (CDSCO) for emergency use on 3 january 2021 after they completed their various phases of trials.

Serum Institute of India has the largest capacity in the entire world for producing vaccines. Its vaccine Covishield was based on the Oxford AstraZeneca vaccine developed in UK whereas Covaxin of Bharat Biotec was an indigenously developed vaccine. The capacity of Serum Institute of India is much higher than that of Bharat Biotech. Covishield vaccine was even offered by Government of India to some friendly countries. As on date, more than 80 countries have received consignments of Covishield vaccine, in a Government of India initiative dubbed as “Vaccine Maitri”. This initiative has won India tremendous goodwill worldwide. Some countries offered profuse thanks to India and Indian government for this gesture.

SII was manufacturing 65-70 million doses in a month but that was not enough to meet the demands of India and other countries. It plans to enhance its capacity to 100 million doses in a month and for that it has sought Government help of Rs 3000 crores($453 millions).

Till today, 90% of all vaccination done in India is of Covishield. Other 10 % is of covaxin. As of now (8 april 2021), 8 crore 29 lakh Covishield vaccine doses and 82 lakh covaxin doses have been administered in India. In addition, 6 crore 45 lakh doses of Covishield have also been supplied to 85 different countries as grant, on commercial basis, and also under CEPI, GAVI, WHO and UNICEFs COVAX programme.

These vaccines have much less stringent low temperature requirement for storage compared to some other vaccines developed abroad. So These vaccines can be transported and stored in India using the existing cold chain logistical infrastructure. That way they are suitable for other less developed countries of the world as well.

Coming to Indian vaccination programme, Just like all adult (18 plus) Indian citizens are eligible to vote, all citizens of certain age group are eligible for free vaccination. Initially people in 60 plus age group were eligible. Certain category of people, like doctors, frontline workers etc, who were in the forefront of fighting this pandemic were also eligible irrespective of their age. Beginning from 1 april 2021, all Indian citizens above the age of 45 are eligible. This will cover about 40 crore Indian citizens (out of 130 crore population).

My wife and daughter belonged to the category of medical personnel and so both of them were eligible for their doses of vaccination. Both of them got their two doses of vaccination before the end of march 2021.

I was not eligible. Some 45 to 59 years age group people who had comorbidities (viz serious health conditions) too were eligible before 1 april 2021 for vaccination on production of doctor’s report and many people of this age group got themselves vaccinated making use of this provision even when some of them had no comorbidities. My wife asked me to get myself vaccinated, as did our daughter, but I insisted that I was not eligible. I rejected my wife’s insinuation that I had hypertension and therefore comorbidity. 🙂

However, from 1 april 2021, I too became eligible for vaccination. My wife and daughter were in any case pestering me for that. The nearest hospital where vaccination was being administered was at NE Railway main hospital located near my workplace. I found out that the vaccination time was from 9:30 to 10 AM or so. I arrived at the place. I was under the impression (based on erroneous media reports) that there would be very small number of people and the medical staff would be sitting idle waiting for people to come. I was mistaken. There was a big crowd of people. So there were so many people interesting in vaccination, unlike what some media houses were trying to portray. I collected the form and filled it up. Though there was a good crowd, it thinned out by the time it was 10:30. I came to know that a limited number of doses are brought from the local state government cold storage that had to be consumed on the same day. There is no method of getting the supply replenished on the same day. 68 number of doses were allotted to the hospital on that day and they got used up within one hour.

I wondered how I was going to be able to get myself vaccinated if this was the state of affairs. The problem was, I was trying to avail the vaccination facility like a common man, standing in a queue, whereas I should have done it like a VIP, which I was for the Railway hospital, seeing that I headed the Railway workshop that employed 60% of all Railway employees based in Gorakhpur. My workplace was easily the biggest industrial workplace in Gorakhpur.

The next day of vaccination in the hospital was 5 april 2021, viz the next monday. This time I took no chances and asked my steno to phone up the doctor incharge of vaccination informing him that I would like to get vaccinated on that day. I went there, through the doctor’s entrance rather than the public entrance, which I was told was jampacked. My workplace has a small health unit headed by a lady doctor and she too was available there to make fuss over me-“hato hato saahab aaye hain”, getting the doctor incharge of vaccination to come and greet me etc. and in general to get my vaccination fast tracked. I had already filled up my form the previous day itself. As ID proof, I had attached my Aadhaar Card. That data gets filled in a computer, which verifies the Aadhaar card from UIDAI site. That done, the lady doctor made sure that I was the first person of the day to get vaccinated. 🙂

The vaccinated people are supposed to stay there for half an hour under observation to see that no adverse effect takes place on them. I did not feel any adverse effect, so I informed the lady doctor and left for the workplace. From there I informed my wife and daughter that I had taken my first dose. My daughter asked me to immediately take one tablet of paracetomol then and another tablet in the evening. But I am not feeling any ill effects, I protested. Still my daughter ordered me to take one tablet immediately which I duly did.

I realised after some time that I did not get the vaccination certificate that my wife and daughter had got. I thought that I would be able to get it using my Aadhaar Card number and registered mobile number. I was not far off in my guess but I also needed another information, viz Beneficiary Reference ID, which gets generated during registration at the vaccination centre. I asked my steno to find out this Beneficiary Reference ID. The steno found it out and even downloaded my Vaccination certificate on a nice photographic paper and presented in to me. So I had my vaccination certificate at hand. Later I downloaded a pdf copy on my mobile too and shared it with my wife and daughter.

This certificate is a miracle of Digital India initiative.It gives everyone a clearcut and foolproof, fully traceable, six sigma quality documentation of the progress of vaccination in the country. The details of all vaccination get updated in real time and they then figure in the live figures of vaccination at the site named cowin.gov.in.

The vaccination certificate has all the relevant details one can think of namely beneficiary details (name, age, gender, ID verification details, residence) and also vaccination details (name of vaccine, date of dose, next due date, vaccinated by, and place of vaccination). The certificate also had a machine readable bar code.

VaccineCertificate

When one looks at the vaccine certificate of USA (left in the picture above), technologically the most advanced nation on earth, one finds that their vaccine certificate is quite amateurish and that can be easily manipulated and forged. Their certificate will not pass muster as a legally valid document as it hardly contains any details, just name, vaccine name and date, and an illegible signature. That is all. There is no unique ID (say Social security number) mentioned in the certificate. Israeli certificate (right on the picture above)on the other hand is professionally made, as is expected of them.

I have mentioned earlier that many media houses, and also political parties are trying disinformation campaigns about the vaccines. There are many less informed people who fall prey to such malicious disinformation campaign. One school friend of my daughter phoned her. Her father had fallen prey to one such youtube video and he was refusing to listen to anyone and he would not get himself vaccinated. Would my daughter try to convince him ? How could I, if you and your mother couldnot, but let me try- my daughter replied. So my daughter was connected on phone to her old friend’s father. He stated that this youtube uploader has given such gory details about the process of vaccine manufacture that no one with a conscious could ever get these vaccines. My daughter asked him to get the credentials of this video uploader verified on wikipedia etc. Was he a qualified medical practitioner or belonged to pharma industry ? If not then his facts were imaginary, she informed him. But the Indian vaccines have been develoed in just two months, so these vaccines are fake as informed by this uploader- he stated. My daughter advised him about the vaccine development stages, that there are five stages, each stage is stringent. Initally tests are conducted on animals, then on humans, then the vaccines get certified by a regulatory agency. All this has taken nearly a year. The covishield vaccine has been certified fit for use in several countries, and not just India. In any case, this vaccine is developed not in India, but in UK, and India is only producing it under license, my daughter informed him.

Two days later, my daughter’s friend phoned again, and thanked my daughter profusely. After my daughter’s talk, her father had checked up on the credentials of the youtube uploader and had realised that he was unqualified to discuss this matter. He also realised that the vaccines had passed all the stages that vaccines are required to pass. So he had gone to the nearest vaccine center and had got himself vaccinated. That way, my daughter may have helped bring peace and harmony to the disturbed household of her old school friend. I felt quite proud of my daughter. It means she has the ability to convince others, which is a good ability to have for anyone.

The fact that India is self reliant in covid vaccines and is even in a position to export it to half the countries of the world is a matter of great pride for all Indians. This has been made possible by those Indians ho have lived in India and have tried to make a difference in the country. For instance, Serum Institute of India and Bharat Biotec are doing cutting edge work in their field. On this occasion of natinal and international emergency they have risen to the challenge and are helping the country fight this pandemic with confidence.

On this occasion, here is a song that catches the same feeling of national pride. This song is from “Swades”(2004). The song is sung and composed by A R Rahman. Javed Akhtar is the lyricist. This song plays in the background, hich the picturisation shows Shahrukh Khan, playing an NRI working in NASA dying to come back to India and give back to the nation. A very moving and inspirational song indeed !


Song-Ye jo des hai tera (Swades)(2004) Singer-A R Rahman, Lyrics-Javed Akhtar, MD-A R Rahman

Lyrics

ye jo des hai tera
swades hai tera
tujhe hai pukaara aa aa aa
ye woh bandhan hai jo kabhi toot nahin sakta aa

mitti ki hai jo khushbu, tu kaise bhulaayega
tu chaahe kahin jaaye
tu laut ke aayega
nayi-nayi raahon mein
dabi-dabi aaho mein
khoye-khoye dil se tere koyi ye kahega
ye jo des hai tera
swades hai tera
tujhe hai pukaara aa aa
ye woh bandhan hai jo kabhi toot nahin sakta

hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm

tujhse zindagi hai ye keh rahi
sab toh paa liya
ab hai kya kami
yoon toh saare sukh hain barse
par door tu hai apne ghar se
aa laut chal tu ab deewaane
jahaan koyi toh tujhe apna maane
awaaz de tujhe bulaane wahi des
ye jo des hai tera
swades hai tera
tujhe hai pukaara aa aa
ye woh bandhan hai jo kabhi toot nahin sakta aa

hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm

ye pal hai wahi
jis mein hai chhupi
poori ek sadi,
saari zindagi
tu na poochh raaste mein kaahe
aaye hai is tarha do raahe
tu hi toh hai raah jo sujhaaye
tu hi toh hai ab jo ye bataaye
chaahe toh kis disha mein jaaye wahi des
ye jo des hai tera
swades hai tera
tujhe hai pukaara aa aa
ye woh bandhan hai jo kabhi toot nahin sakta aa
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4640 Post No. : 16299

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Blog 10-Year Challenge (2011-2021) – Song No. 20
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This day ten years ago (viz on 1 april 2011), five songs from five different movies were covered in the blog. Here are thge details:-

Blog post number Song Movie (Year) Remarks
3717 Pareshaan hoon ki kyun apni pareshaani nahin jaati Parbat Pe Apna Deraa(1944) 5 songs covered out of 9
3718 Yaad aane lagee Daman(1951) 8 songs covered out of 10
3719 Dekho dekho jee gori sasuraal chali Shagoon(1964) Movie YIPPEED by now
3720 Naach re man badkamma Rajkumar(1964) Movie YIPPEED by now
3721 Gori ke haath mein jaise ye chhallaa Mela(1971) Movie YIPPEED by now

One can notice that three movies out of five have since been YIPPEED in the blog.

“Parbat Pe Apna Dera”(1944) is one of the two movies not yet YIPPEED. This movie was directed by V.Shantaram for Rajkamal Kala Mandir Limited, Bombay. The movie had Vanmala, Ulhas,Shantarin, Madan Mohan, Kantakumari, P L Samant, Baby Nalini, Vijaya, Suman, Kamal etc in it.

Five songs from the movie (out of 9) have been covered so far.

As blog ten year challenge today, here is a song from “Parbat Pe Apna Dera”(1944). This song is sung by Vasant Desai and Naseem Akhtar. Dewan Sharar is the lyricist. Music is composed by Vasant Desai. The song is picturised as a romantic song on Madan Mohan (later he would make his mark as a music director) and Shantarin. Ulhas is also seen in the picturisation serving as a peeping Tom.

Lyrics of this song were sent to me by Prakashchandra.

video link:

Song-Aa niklo guinyaan meri gali se (Parbat Pe Apna Dera)(1944) Singers-Vasant Desai, Naseem Akhtar, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra)

aa niklo guinyyaan meri gali se
aa niklo guinyaan meri gali se
raatein guzaari maine
bekali se
raatein nahin ratiyaan
ratiyaan guzaarin maine bekali se
aa niklo guinyaan
aa niklo guinyaan meri gali se

sunn lo jee..eee..eee..ee..eee
sunn lo jee baatein
batiyaan
sunn lo jee batiyaan mori..ee..ee
paas bhi aao gori..eee
aao aa khelo holi
aao aa khelo holi bali se
aa niklo guinyaan meri gali se

baali
baali umariyaa mori..eee..ee
baali umariyaa mori
kheloon main tujhse hori..ee..eee
kheloon main tujhse hori
guzroongi chori chori
guzroongi chori chori
gali se

chori se kyon ?
bijuri ..eee giraati aao aao
bijuri giraati aao
teer chalaati aao
o teer chalaati aao
aankhein
ankhiyaan ladaati aao gali se
aa niklo guinyaan aan aan aan
aa niklo guinyyaan meri gali se

aaoon..oon oon oon oon
aaoon oon
aaoon bahaanaa kar ke ae ae
dil ka nishaanaa karke
dil ka nishaanaa kar ke ae ae
jaaoon
jaaoon thhikaanaa kar ke
jaaoon thhikaanaa kar ke
gali se

hhaa. hhaa…ha..haa..aaa…aaaa
niklo guiyiyyaan meri gali
meri gali se


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

Blog Day :

4639 Post No. : 16298

Hullo Atuldom

“Ek Hi Raasta” (1956) was a movie that was produced and directed by B.R.Chopra with story-screenplay- dialogue written by Pt. Mukhram Sharma. Its songs were penned by Majrooh Sultanpuri and composed by Hemant Kumar who had Ravi as assistant and Yash Chopra was assistant to B R Chopra.

This is a movie which I saw only recently. It is popular as a movie on widow remarriage. But it dealt with a lot more.

It showed the young lady’s problems after her remarriage. It showed that the lady had a problem getting her son to accept the new man in her life as his father in spite of the new father being his own father’s boss and friend as also the little one’s. The movie tried to find the mental challenges a little boy faces when he is not told the whole truth regarding his father’s death. There are more complexities when the lady gives birth to a baby from her second marriage. The little boy leaves his foster father’s home with his infant brother in search of his father and mother. There are some tense moments (I was on the edge of my seat) before the movie comes to a close.

Daisy Irani (credited as Raja alias Roop Kumar in the movie’s titles) was simply brilliant. And who better to play the young mother than Meena Kumari.
Meena Kumari may have been typecast as a tragedy queen but there have been movies where she has shown her comic timing as in “Azaad”; “Mem Sahib”; “Miss Mary” etc. This movie too had comic moments between Sunil Dutt, Daisy Irani and Meena Kumari. There are also scenes that show her dancing capabilities.
This movie had eight songs and the blog has five of them. Two of the songs are in the same video on YouTube maybe because they follow each other in the movie with a very small dialogue in between.

Song Date of posting
Chali gori pee ke milan ko chali 31 January 2009
Saaanwle salone aaye din bahaar ke 21 April 2009
Bade bhaiyya laaye hain London se chhori 11 April 2012
Chamka ban kar aman ka taara 15 august 2012
Bekas ki aabroo ko neelaam kar ke chhoda 27 November 2012

The above are the songs from “Ek Hi Raasta” that are on the blog. The last post was in November of 2012. Don’t know how the movie has missed being YYIIPPEEEED. This post hopes to take it one step closer.

Meena Kumari was barely 38 when she bid goodbye to this world in 1972. Unbelievable that it is 49 years ago. Paying tribute to this uniquely beautiful lady who had a sweet voice too.

Today’s song is in the voice of Lata Mangeshkar, the first part of the song being in Hemant Kumar’s voice. It shows the young mother trying to forget her pain and put her son to sleep and how both of them are missing the father.


Song-So jaa nanhe mere tu to so jaa(Ek Hi Raasta)(1956) Singers-Hemant Kumar, Lata, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar

Lyrics

bhola bachpan
dukhi jawaani
lambi sooni raahon mein
nikle dard liye manzil ka
do khaamosh nigaahon mein
kaun kahe raahi ko
kitni door kahaan tak jaana hai
jeewan ki sunsaan dagar mein
kab tak thokar khaana hai

so jaa nanhe mere
tu toh so ja
tu toh so o o ja
so jaa nanhe mere
tu toh so ja
tu toh so o o ja

jaagne ko pade hai
abhi din tere
tu toh so ja
so jaa nanhe mere
tu toh so ja
tu toh so o o ja

laut kar phir na aayenge
bachpan ke din
laut kar phir na aayenge
bachpan ke din
kho ja sapnon mein
tu mere aansoo na gin
tera nanha sa dil
mera gham kyun kare
tu toh so ja
so ja nanhe mere
tu toh so ja
tu toh so o o ja aa

mera saathi chhoota
meri kismat luti
mera saathi chhoota
meri kismat luti
aansuon ki toh ab hai meri zindagi
jaagna meri taqdeer hai baaware
tu toh so ja
so ja nanhe mere
tu toh so ja
tu toh so o o ja
so ja nanhe mere
tu toh so ja
tu toh so o o ja


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

Blog Day :

4627 Post No. : 16278 Movie Count :

4421

Today’s song is very special. It is from a totally unknown film- Sach hai-1939. Still, it is a special song. I say so because it is the First song sung by Suresh babu mane on this Blog. I know, nay, I am sure that 99 % of our readers may raise their eyebrows with this name, because they will not know who he was.

Suresh Babu Mane was an expert Classical singer in the late 30’s and 40’s decades. He was the first child of Abdul Karim Khan c- founder of the Kirana Gharana. The name of Kirana Gharana came because Abdul Karim Khan was born in village Kirana in Uttar Pradesh.

It is as if Hindustani Classical Music and Hindi Film Music have inimical or hostile relationships. Hindi film music is music for the masses, where as classical music was born in Palaces and Temples and had Royal patronage. It was understood and enjoyed by and meant only for the connoisseurs. For the common public, classical music was anethema and they could never identify themselves with it. As a result, classical music was kept at a distance by common people.

When the Film Music prospered, spread everywhere and became the people’s choice, the classical singers kept a distance with it. Most were averse to singing for films. It was considered below their dignity to sing for films. If you see the Hindi film song list, you will find that songs by the well known classical singers are not even 1 % of the total songs, so far !

I just casually found out the number of songs that some well known classical singers have sung in Hindi films and this is what I found (not an exhaustive list) –

S No Singer Films No. of songs
1. D.V.Paluskar 1 1
2. Bade Ghulam ali khan 2 3
3 Bhimsen Joshi 6 12
4. Ram Marathe 6 11
5. Shobha Gurtu 16 19
6. Manik Verma 13 17
7. Hirabai Badodekar 3 9
8. Saraswati Rane 11 26
Total Songs 98

From Carnatic Musicians, I only know that M.S.Subbu Lakshmi sang 17 songs in her only Hindi film ” Meera”-1947. They were all Meera Bhajans. Singer Ram Marathe’s 11 songs mentione above are only as a Child Artiste. Once he left films and dedicated himself to Classical music, he never sang again in Hindi films, as far as I know. Experts may know better. There may be some more classical singers and songs other than what is shown above as only an example, but the end result would not change in any case !

It was Naushad, who first understood this predicament and strongly advocated mixing classical music (Raagas) and Folk music for film songs. He actually did this in his films, like Baiju Bawra and some others and we can see that he honestly tried successfully too. Shankar-Jaikishen, C. Ramchandra, S.D.Burman and some other composers followed suit and we had some excellent songs based on classical music (Raagas).

No wonder, then, thast Suresh Babu Mane the Classical singer ( elder brother of Hirabai Badodekar and Saraswati Rane), gave music to only 2 Hindi films in the 30′;s period. Let us know more about Suresh Babu Mane.

According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda.

During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by their extended families. However, their fleeing away from their roots did not mean the end of the road to the music career their children had. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters.

Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.

She decided to change their Musilm names. She was the daughter of Sardar Mane of Baroda state. She used Mane and Barodekar as the surnames. Barodekar was derived from her native place whereas Mane was her surname before marrying Khansaheb. Thus Abdul Rahman became Suresh (god of music notes) babu Mane. Out of her 5 children, Champakali became Heerabai Badodekar, Sakina or Chhotu tai became Saraswati Mane and after marriage Sarawati Rane.

The original name of Suresh Babu Mane was Abdul Rahman. He was the eldest son of Ustad Abdul Kareem Khan and Tarabai Mane alias Tahirabibi, born in 1902. His pet name, in house, was ‘Babu’ and later ‘Baburao’ among his friends, and family members. His first teacher was father Kareem Khan and he also learnt music along with the first batch of disciples of the Arya Sangeet Vidyalaya founded by his parents. His voice, swar lagao and style were ditto to his father. He received talim till the age of sixteen years when his parents separated. He had by then become a teacher and concert singer. Like his father, his thumri was a speciality and listeners would name it as a ‘Maharashtri’ thumri. He was not only an expert vocalist but also could play harmonium, tabla, sarangi, tabla tarang, kashtha tarang, jal tarang, shahanai, and piano.

Tarabai opened up new music school ‘Nutan Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students. Sureshbabu also began to teach his sister Heerabai. However, they were all in their teens, and hence Tarabai persuaded and appointed uncle Abdul Wahid Khan as the teacher for children. Later on, with the help of Sawai Gandharva (Rambhau Kundgolkar) she opened up drama wing of Nutan Sangeet Vidyalaya. They staged several old and new drama and all brothers and sisters played roles. Sureshbabu and Heerabai also played roles in Hindi and Marathi films during 1930-40. Sureshbabu also gave music to 2 films, composing 25 songs. (Sant Tulsidas-34 and Sach hai-39). He acted in 2 films – Amrit Manthan-34 and Chandrasena-35 and sang 7 songs in 2 films too – Chandrasena-35 and Sach Hai-39.

In 1926, with the efforts of Bai Sunderabai, HMV recorded two songs sung by Sureshbabu – ‘Balam mora naina tere rasile’ (Khamaj thumri) and Marathi pad ‘Ram Ayodhya nagari’. This record (HMV P 8756) was issued on black label and is very very rare. In 1930, Odeon record company released two songs of Mr. N. S. Phadke from his drama ‘Yugantar’ staged by Nutan Natak Company. In 1940, Columbia company released four songs – ‘Balam nainoka jalim’ (Dadra), ‘Bajuband khul khul ja’ (Bhairvi), ‘Piya tirchee najariya’ (Khamaj thumri), and ‘Dekho Jiya bechain’ (Tilang thumri). He has sung for Marathi film ‘Devayani’ and Hindi film ‘Sach Hai’. His voice from these two films is available on the gramophone records. One record featuring ‘Chandrama ha saticha’ song from Marathi drama ‘Khalvadhu’ written by Barrister Khasgiwale is also available. He used to broadcast from All India Radio frequently. Shuddha Kalyan recording of a radio program is a collector’s item.

Sureshbabu was not successful as a performer and he did not pursue this as a career. However, he was an excellent teacher. Some of his welknown disciples are: Heerabai Barodekar, Saraswati Mane/Rane, Prabha Atre, Vasantrao Deshpande, Menkabai Shirodkar, Vitthalrao Sardeshmukh, Bhimsen Joshi, Arvind Mangrulkar, Dattopant Deshpande, Madhu Kanetkar and Gajananrao Watve. Towards the end of his career he turned to mysticism and alchemy. This had a very bad effect on his health. At the young age of just fifty years, this ‘Cursed Gandharva’ left this world, leaving behind just over one hour’s recordings. He died on 15-2-1953.

Film Sach hai-1939 was made by Saraswati Cinetone of Dadasheb Torne (who had earlier introduced Indurani also). It was directed by a veteran R.S. Chaudhari and the cast was Motilal, Rose, Jagdish Sethi, Usha and others. i do not know what was the film story, but from the advertisement of this film in 1939 issues of Film India, I guess it was a Love story which was unusual and which wins at the end.

With this song, film Sach Hai-39 makes its debut on this Blog. The lyricist makes his debut as well in the blog. Suresh Babu Mane, who had earlier made his debut in the blog as a music director, makes his debut in the blog as a singer with this song.


Song- Bahti ganga Kashi teerath aaya (Sach Hai)(1939) Singer- Suresh babu Mane, Lyricist- Pt. Niranjan Sharma ‘Ajit’, MD- Suresh babu Mane

Lyrics

Bahti Ganga
Kashi teerath aaya
Bahti Ganga
Kashi teerath aaya
Bahti Ganga
Kashi teerath aaya
Bahti Ganga
dho le sadho mann ki maaya
dho le sadho
dho le sadho
dho le sadho
dho le sadho
mann ki maaya
jhoothh hai kanchan kaaya
bahti Ganga
Kashi teerath aaya
Bahti Ganga
dho le sadho
mann ki maaya
dho le sadho
dho le sadho
mann ki maaya
jhoothh hai kanchan kaaya
bahti Ganga
Kashi teerath aaya
bahti Ganga
Kashi teerath aaya
devi thakur poojen saare
devi thakur poojen saare
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
devi thakur poojen saare
man ke andar Ram ko paaya
man ke andar
man ke andar Ram ko paaya
jhoothh hi man bharmaaya
bahti Ganga
Kashi teerath aaya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4573 Post No. : 16176

“Papiha Re”(1948)was produced by Kuldeep Sahgal and directed by Dawood Chand for Kuldeep Pictures, Bombay. The movie had Amarnath, Akhtari, Pran, Asha Posley, Mumtaz Begum, G N Butt etc in it.

The movie had 12 songs in it. One song has been covered in the past.

Here is the econd song from “Papiha Re”(1948) to appear in the blog. This song is sung by Zeenat Begam and Dhaniram. Lyrics are by Mulkraj Bhakri. Music is composed by Dhaniram ho as making his debut as a music director ith this movie.

Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.


Song-Tu chanda main chaandni (Papiha Re)(1948) Singers-Zeenat Begam, Dhaniram, Lyrics-Mulkraj Bhakri, MS-Dhaniram
Both

Lyrics

Tu chanda main chaandni ee
tu chanda main chaandni
ho tera mera
mera tera
janm janm ka saath
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

main baaghon ki morni
main baaghon ki morni
aur tu ghata ghanghor
main sajan teri baawri
aur tu mera chitchor
main pyaasi ik boond hoon saajan
main pyaasi ik boond hoon saajan
tu meri barsaat
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

ho o o
aan basi tu dil mein mere
ho o o
aan basi tu dil mein mere
jaise phool mein baagh
in nainon ko o
en nainon ko
hardam laagi tere daras ki pyaas
tere bina mohe kuchh na bhaaye
tere bina mohe kuchh na bhaaye
bhool gaya har baat

haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

>milke na bichhden do dil saajan
aisa ho jaaye pyar
bhool ke bhi patjhad na aaye
hardam rahe bahaar
hum tum donon jab mil baithen
hum tum dono jab mil baithhen
rahe sada phir saath
haath pakadkar chhod na dena
rahe haath mein haath


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4571 Post No. : 16175

I was not around when India got freedom from British Raj. When I was growing up, we were told that India won her freedom through non violent movement. Some people like Bhagat Singh, Chandrashekhar Azad, Subhash Chandra Bose etc found passing mention who were not part of non violent movement.

I was around when Bangladesh won her freedom from Pakistan in 1971. I was surprised to know what Bangladeshis are taught about their freedom. They are taught that Mukti bahini defeated Pakistani army and secured freedom for Bangladesh from Pakistan ! There is no mention of the fact that there was a full fledged war between India and Pakistan and that Pakistanis army, with 93000 Pakistani soldiers, surrendered before Indian army in Dhaka, leading to the independence of Bangladesh. There is a famous surrender photograph to prove it.

As for Pakistan, they are taught in their text books that Pakistan had defeated India in 1971 war but the scheming Indians in collusion with the entire world got Bangladesh to separate from Pakistan. There is no mention of the fact in Pakistani history textbooks that Pakistani army massacred 3 million East Pakistanis and raped 5 lakh East Pakistani women in what was a human right abuse second only to what was perperated by Nazis on jews during second world war, which ultimately led to the liberation of Bangladesh.

Who knows, we Indians too may have been been disinformed about our freedom struggle the way Bangladeshis are disinformed about their freedom from Pakistan ! Today, in the era of internet we have access to information over and above what we were taught in India in our history textbooks. And the facts that emerge from these independent sources differ from what we have been told in India.

When the second world war ended, Britain had paid a heavy price for their war efforts. Britain, which was the largest economy in the world a few decades ago, found their economy in a bad shape. So much so that they had to take loan from USA (the new superpower) to shore up their economy. Britain had looted the resources of their colonies and they could no longer afford to hold on to their colonies as holding on to them had become prohibitively expensive for them.

Here is the lowdown about British economy in the aftermath of world war 2:-

Labour rejoiced at its political triumph, the first independent parliamentary majority in the party’s history, but it faced grave problems. The war had stripped Britain of virtually all its foreign financial resources, and the country had built up “sterling credits”—debts owed to other countries that would have to be paid in foreign currencies—amounting to several billion pounds. Moreover, the economy was in disarray. Some industries, such as aircraft manufacture, were far larger than was now needed, while others, such as railways and coal mines, were desperately short of new equipment and in bad repair. With nothing to export, Britain had no way to pay for imports or even for food. To make matters worse, within a few weeks of the surrender of Japan, on September 2, 1945, U.S. President Harry S. Truman, as he was required to do by law, ended lend-lease, upon which Britain had depended for its necessities as well as its arms. John Maynard Keynes, as his last service to Great Britain, had to negotiate a $3.75 billion loan from the United States and a smaller one from Canada. In international terms, Britain was bankrupt.

Also this:

Withdrawal from the empire
——————————
Britain, not entirely by coincidence, was also beginning its withdrawal from the empire. Most insistent in its demand for self-government was India. The Indian independence movement had come of age during World War I and had gained momentum with the Massacre of Amritsar of 1919. The All-India Congress Party, headed by Mohandas K. Gandhi, evoked sympathy throughout the world with its policy of nonviolent resistance, forcing Baldwin’s government in the late 1920s to seek compromise. The eventual solution, embodied in the Government of India Act of 1935, provided responsible government for the Indian provinces, the Indianization of the civil service, and an Indian parliament, but it made clear that the Westminster Parliament would continue to legislate for the subcontinent. The act pleased no one, neither the Indians, the Labour Party, which considered it a weak compromise, nor a substantial section of the Conservative Party headed by Churchill, which thought it went too far. Agitation in India continued.

Further British compromise became inevitable when the Japanese in the spring of 1942 swept through Burma to the eastern borders of India while also organizing in Singapore a large Indian National Army and issuing appeals to Asian nationalism. During the war, Churchill reluctantly offered increasing installments of independence amounting to dominion status in return for all-out Indian support for the conflict. These offers were rejected by both the Muslim minority and the Hindu majority.

The election of a Labour government at the end of World War II coincided with the rise of sectarian strife within India. The new administration determined with unduly urgent haste that Britain would have to leave India. This decision was announced on June 3, 1947, and British administration in India ended 10 weeks later, on August 15. Burma (now Myanmar) and Ceylon (now Sri Lanka) received independence by early 1948. Britain, in effect, had no choice but to withdraw from colonial territories it no longer had the military and economic power to control.

The same circumstances that dictated the withdrawal from India required, at almost the same time, the termination of the mandate in Trans-Jordan, the evacuation of all of Egypt except the Suez Canal territory, and in 1948 the withdrawal from Palestine, which coincided with the proclamation of the State of Israel. It has been argued that the orderly and dignified ending of the British Empire, beginning in the 1940s and stretching into the 1960s, was Britain’s greatest international achievement. However, like the notion of national unity during World War II, this interpretation can also be seen largely as a myth produced by politicians and the press at the time and perpetuated since. The ending of empire was calculated upon the basis of Britain’s interests rather than those of its colonies. National interest was framed in terms of the postwar situation—that is, of an economically exhausted, dependent Britain, now increasingly caught up in the international politics of the Cold War. What later became known as “decolonization” was very often shortsighted, self-interested, and not infrequently bloody, as was especially the case in Malaysia (where the politics of anticommunism played a central role) and in Kenya.

So, as can be seen from the accounts of British historians, Britain was in no position to hold on to its colonies and they left these colonies as soon as they could. It is not just India, but also other colonies that got liberated one after other in the wake of world war 2. The circumstances that led to British haste was only partially to do with Mahatma Gandhi led movement. British historians mention Indian National Army also as a reason, something which Indian historians sought to push under the carpet.

The report also mentions rise of sectarian strifes within India. So those indulging in sectarian strifes were certainly not following non violence as preached by Gandhiji, but they too were contributing to British unease. It also shows that British rules found themselved unable to prevent these sectarian violences.

It would appear to me that British rulers did not fear non violent protest as much as they feared violence. It is the violence that began frequent in the second half of 1940s that unnerved the British. British ruled India through a machinery manned by Indians.

The INA trials, the stories of Subhas Chandra Bose (“Netaji”), as well as the stories of INA’s fight during the Siege of Imphal and in Burma were seeping into the glaring public-eye at the time. These, received through the wireless sets and the media, fed discontent and ultimately inspired rebellion in the ranks of navy.

A rebellion of Royal Indian air force, followed by a full fledged mutiny of Royal Indian Navy did take place in 1946. From the initial flashpoint in Bombay on 18 february 1946, the revolt spread and found support throughout British India, from Karachi to Calcutta, and ultimately came to involve over 20,000 sailors in 78 ships and shore establishments.

The mutiny was suppressed by British troops and Royal Navy warships. Total casualties were 8 dead and 33 wounded.

The rebelling Indian Naval personnel began calling themselves the “Indian National Navy” and offered left-handed salutes to British officers. At some places, NCOs in the British Indian Army ignored and defied orders from British superiors. In Madras and Poona (now Pune), the British garrisons had to face some unrest within the ranks of the Indian Army. Widespread rioting took place from Karachi to Calcutta. Notably, the revolting ships hoisted three flags tied together – those of the Congress, Muslim League, and the Red Flag of the Communist Party of India (CPI), signifying the unity and downplaying of communal issues among the mutineers.

The revolt was called off following a meeting between the President of the Naval Central Strike Committee (NCSC), M. S. Khan, and Vallab Bhai Patel of the Congress, who had been sent to Bombay to settle the crisis. Patel issued a statement calling on the strikers to end their action, which was later echoed by a statement issued in Calcutta by Mohammed Ali Jinnah on behalf of the Muslim League. Under these considerable pressures, the strikers gave way. Arrests were then made, followed by courts martial and the dismissal of 476 sailors from the Royal Indian Navy. None of those dismissed were reinstated into either the Indian or Pakistani navies after independence.

As can be guessed, such s revolt by a wing of armed forces is a serious matter and it must have unnerved the British. And just look at the name that these mutineers chose for themselves- India National Navy. Clearly inspired from the name “Indian National Army” that Subhash Chandra Bose had given to his army. So Subhash Chandra Bose was influencing Indian armed forces in a manner that was not to the liking of British government.

The weekly intelligence summary issued on 25 March 1946 admitted that the Indian Army, Navy and Air Force units were no longer trustworthy, and, for the Army, “only day to day estimates of steadiness could be made”. The situation has thus been deemed the “Point of No Return.”

In 1967 during a seminar discussion marking the 20th anniversary of Independence; it was revealed by the British High Commissioner of the time John Freeman (1965-1968), that the mutiny of 1946 had raised the fear of another large scale mutiny along the lines of the Indian Rebellion of 1857, from the 2.5 million Indian soldiers who had participated in the Second World War. The mutiny had accordingly been a large contributing factor to the British deciding to leave India. “The British were petrified of a repeat of the 1857 Mutiny, since this time they feared they would be slaughtered to the last man”.

There it is. The main reason why British left India was not non violent movement of independence, but fear of rebellion like in 1857, and this time fear of rebellion by armed forces, and not just some small time rulers (as in 1857). This fact was admitted by no less than a person than the British High Commissioner to India. And this state of affairs was caused by Subhash Chandra Bose. It was this kind of influence that Subhash Chandra Bose had on collective psyche of British rulers. It is a fact that has been carefully kept hidden by Indian historians. In fact the naval mutiny was not even known to most Indians. It has become known only in later decades when gathering information became easier thanks to internet.

This view that Mahatma Gandhi’s new found weapon of non violence defeated British and that Subhash Chandra Bose was just a misguided partiot who failed to see the merits of non violence was not exactly subscribed to by British rulers. For that matter it was not even subscribed to by large sections of people in India itself, viz those who were demanding separate Pakistan through violent means such as direct action day (16 august 1946) which saw an estimated 4000 people dead in bloody violence in one day. This violence sparked off further religious riots in the surrounding regions of Noakhali, Bihar, United Provinces (modern Uttar Pradesh), Punjab, and the North Western Frontier Province. These events sowed the seeds for the eventual Partition of India.

In summary, Subhash Chandra Bose’s contribution to Indian independence is far greater than what he is given credit for. His contribution has been conveniently pushed under the carpet. Hopefully, in future, his contribution will be realised and appreciated. He was not a misguided patriot, he was a great visionary, who had the drive and energy to implement his vision. He raised Indian National Army. His army got defeated no doubt, but it was defeated by fellow Indians fighting for British army. It was the age old problem of India, where Indians, at the behest of foreign powers, would act against Indian interests. No doubt INA got defeated and a few of their personnel were subjected to trial, but these trials galvanised Indian public, including sections of Indian armed forces. That way, Subhash Chandra Bose (by that time already dead) turned the tables on the British rulers. Even though his army was defeated, his army caught the imagination of Indians and drew widespread public support for themselves during INA trials. British rulers were more afraid of the prospect of armed forces rebellion, which could have happened at any time according to the assessment of British rulers. So that was a major reason why they left India in a hurry.

We have been discussing songs from “Bose-A Forgotten Hero”(2004) on 23 January of various years. So far we have covered three songs from the movie on 23rd January of three different years as shown below:-

Blog post number Song Date posted
7394 Mujhe yaad aati hai 23 January 2013
13964 Jodi tod daak shene keu na aashe…tanha raahi apni raah chalta jaayegaa 23 January 2018
14853 Ham Dilli Dilli jaayenge 23 January 2019

The routine of these posts is always the same, Avinash Scrapala, our inhouse hardcore patriot who keeps track of the anniversaries of various freedom fighters, sends me the lyrics, with request for my writeup. 🙂 He knows that I cannot help but summon up my increasingly dwindling creative juices to come up with some heartfelt tribute on the occasion.

So here it is, yet another song from “Bose The Forgotten Hero”(2004) on the occasion of the 125th birth anniversary (DoB 23 January 1897) of Subhash Chandra Bose.

The song is sung and composed by A R Rahman. Some chorus is also there but their words are not clear. Lyrics are by Jawed Akhtar.

Only the audio of the song seems to be available. I request our readers with keener ears to help fill in the blanks in the lyrics.

Audio

Video (Partial)

Song-Jaage hain ab saare (Bose- The forgotten hero)(2004) Singer-A R Rahman, Lyrics-Jawed Akhtar, MD-A R Rahman
Chorus

Lyrics(Provided by Avinash Scrapala)

???
dushman ko lalkaara
???
???
tiranga pyaara
jai hind ka naara

jaage hain ab saare ae
log tere
log tere ae
dekh watan
goonje hai naaron se
ab ye zameen
aur ye gagan
kal tak main tanhaa thhaa
soone thhe sab raste
kal tak main tanhaa thhaa
par ab hain saath mere
laakhon dilon ki dhadkan
dekh watan

aazaadi ee paayenge ae
aazaadi ee laayenge
aazaadi ee chhaayegi
aazaadi ee aayegi
aayegi

???
dushman ko lalkaara
???
dushman ko lalkaara
???
tiranga pyaara
????

jaage hain ab saare ae
log tere ae
dekh watan
goonje hain naaron se
ab ye zameen
aur ye gagan
kal tak main tanhaa thhaa
soone thhe sab raste
kal tak main tanhaa thhaa
par ab hain saath mere
laakhon dilon ki ee dhadkan
dekh watan

ham chaahen aazaadi
ham maangen ae aazaadi
aazaadi ee chhaayegi
aazaadi ee aayegi
aayegi

jai ???
???
dushman ko lalkaara
jai ???
???
desh ko pyaara
tiranga pyaara
????


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.

Blog Day :

4553 Post No. : 17143 Movie Count :

4399

Today 4th January’2021 is the twenty-seventh Remembrance Anniversary of ‘Pancham Da- The genius’ or Rahul Dev Burman ‘the prince of music’.

He was born on 27th June’1939 and he passed away on 4th January’1994 at the age of fifty-four only.

On his Remembrance Day today as a tribute to him I am presenting a song sung by him from the 1983 movie ‘Romance’. For today’s occasion I was looking for a sad song and that also from a ‘debutant movie’. This song is a nice composition and picturized on Kumar Gaurav who is seen roaming in the fields, riverside, hilly areas and some picturesque locations (I don’t know which are these places).

The song though hummable will be liked by those only (I think so) who have not found ‘any purpose of life’ or ‘is missing someone or something in his life’😊 and that is why being annoyed with life the song goes ‘ye zindagi kuchh bhi sahi, par ye mere kis kaam ki’.

Otherwise, it is a nice song to listen and sung well by R.D. Burman with his special musical touch and style.

‘Romance-1983’ was directed by Ramanand Sagar for his home productions ‘Sagar Art Enterprises, Bombay’. Ramanand Sagar was also the producer of this movie. It had Shammi Kapoor, Kumar Gaurav, Poonam Dhillon, with Saeed Jaffrey, Helena Luke, Sushma Seth, Prema Narayan, and Tom Alter. They were supported by Viju Khote, Jugnu, Manmauji, Samrat Kapoor, Dr. Madan Kataria, Randhawa, Jawahar Bhan, Chandan, Yogee, Jitu Vyas, Moolchand.

This movie introduced Christopher, Lilli Put, Jillian. Raj Babbar, Ranjeeta and Ram Sethi make friendly appearance in this movie.

Story, Screenplay and dialogues for this movie were written by Mirza Brothers. Editing of this movie was done by Subhash Sehgal.

This movie was passed by Censor Board on 12.10.1983.

This movie had five songs written by Anand Bakshi and composed by R.D. Burman. Lata Mangeshkar, Amit Kumar, Mahendra Kapoor and R.D. Burman were the playback singers for this movie.

Today’s song is sung by R.D. Burman and lyrics are by Anand Bakshi. Music is by R.D. Burman himself as mentioned above.

let us now enjoy today’s song …

Audio

Video

Song-Ye zindagi kuchh bhi sahi par ye mere kis kaam ki (Romance)(1983) Singer-R D Burman, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

ho ho ho ho
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki
ye zindagi
kuchh bhi sahi ee
par ye mere ae kis kaam ki
jis ke liye jeete hain log
jis ke liye jeete hain log
bas hai kami us naam ki ee
ye zindagi
ho o o
kuchh bhi sahi ee
par ye mere ae kis kaam ki

ho o
jisko nahin hai armaan koi
kaisi jawaani hai ye ae
jisko nahin hai armaan koi ee
kaisi jawaani hai ye ae
o jiska nahin hai unwaan koi
aisi kahaani hai ye
ho naa hai khabar aaghaaz ki ee
naa hai khabar aaghaaz ki
naa hai khabar anjaam ki ee
ye zindagi
kuchh bhi sahi
par ye mere ae kis kaam ki

pyaasaa rahaa main
meri gali mein saawan barastaa rahaa aa
pyaasaa rahaa main
meri gali mein saawan barastaa rahaa aa
mele mein jaise koyi akelaa
aise tarastaa rahaa
poochho naa ye kaise bhalaa aa
poochho naa ye kaise bhalaa
maine subah se shaam ki ee
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki

o dil behlaane ko
likhte hain dil ke qisse fasaanon mein log
dil behlaane ko
likhte hain dil ke qisse fasaanon mein log
o rakhte hain heere moti sajaa ke
apni dukaanon mein log
baazaar mein qeemat hai kya aa
baazaar mein qeemat hai kya
toote huye ae is jaam ki ee ee
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki
jis ke liye jeete hain log
jis ke liye jeete hain log
bas hai kami us naam ki ee
laa laa laa laa laa
laa laa laa laa laa la la la


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

Blog Day :

4478 Post No. : 15985

Today’s song is from an unique film – Kinara-1949.

I say Unique because it was produced by a person who was also the film’s Hero and the Music Director. He also sang 3 solo songs in the film. The film’s story was written by him. The name of this person was Madhusudan Acharya. He was a trained singer, visited the USA 9 times, visited the UK once and sang on BBC Radio too. Wrote several stage plays and was a force to reckon with on the Gujarati stage !

Bombay is a Maya Nagari. People from all over the country come here to make money and a career. Not everyone succeeds, but that has not dampened the people’s attraction for Bombay till today. In addition, Bombay has a pulsating Cinema Industry. If one succeeds here, he can earn Millions, be famous and popular and get the best in life. This ” if ” is ignored by most people and hordes of them rush to Bombay in search of a successful career – may be in acting, singing, directing composing or whatever.

There are 3 types of results for such people. One- the person gets only one or two chances- does not succeed and quits for ever. Two- gets few chances, succeeds moderately but quits after some time voluntarily. And Three- succeeds and lives here till the end comes to him.

There are examples in every category. In the first category, I remember off hand, at least 2 examples. The first is the only Trio of MDs – Lala, Sattar and Asar, who came together in 1965 to compose songs for 2 films – Sangram and Jahan Sati wahan Bhagwan. They failed and this group broke. Asar left for ever. The second example is the MD pair of Rai-Frank, who gave music to film Gogola-1964. After this film Rai- who was Mukund Rai Trivedi, son of a Mine Owner in M.P. left the film industry to join family business.

In the second group there are more examples. I remember Shashi Kapoor Sr. who acted as a Child Artiste in 21 Hindi films, quit films, continued his studies and became a Maths professor in a University in USA for the rest of his life. The second case is of Arjun Bakshi, who failed as a Hero in film Malhar-51 and 2 other films, left acting, tried writing screenplays etc. and then migrated to Canada, opened a Music shop and lived there for ever. Yet another case is of Ashraf Khan, who after a successful acting and singing career on stage and in films, quit all and became a Sufi Saint !

In the third group, there are several examples which we all know. The point is, Madhusudan Acharya fits into the first category. Lets know more about this person. Information on him was scarcely available.

Hindi films only know him as an actor, singer, composer and producer, but there is much more to him in different fields. Madhusudan was born on 28-11-1911 at Acharyawadi in Ahmedabad city. After completing education upto SSC , he jumped into the agitation called out by Gandhi. There was a Lathi charge on 20-8-1930 and he was arrested and jailed for 2 months.

After release from jail he went back to home, but his mother fired him so much that he left home again. After 8 years, his uncle found him and brought him back to home. Meanwhile, he learnt music from Ustad Abdul Kareem khan and later from his disciple Balkrishna Buwa Kapileshwari from 1931 to 1933, as well as from Roshan Ara Begum.

Due to his good nature and sweet tongue, he was popular. In 1939, he went to Japan, with a team of Ahmedabad Mill owners. In Tokyo, he did a stage show and sang songs. He came to Bombay in n1947 and stayed here for the next 30 years.. He wanted to make a Drama Theatre to be let out at a very nominal rate. He also wanted to make 2-3 films.

He produced the film Kinara-49. He became the Hero. He composed its music giving 12 songs. He sang 3 solo songs himself in this film. He selected Geeta Bali as the heroine, because he was impressed with her acting in the film Suhag Raat-1948. The film took about 15 to 16 months to be ready. It was censored in June and released in Swastik Cinema, Bombay, where it ran for 9 weeks, a reasonable success. 14 prints were made of the film, which were all destroyed in a fire at the Chembur Godown.One print of the film was stolen and it was released in Pakistan. Due to inexperience and wrong decisions, the film gave him a huge loss. However he professed, ” loss is nothing but bother of profit and every setback is the root cause of the Rise.”

C.Ramchandra and Husnalal Bhagatram were his good friends. He praised R C Boral and Khemchand prakash. In actors, he liked P C Barua, Mazhar Khan, Chandramohan and Nawab. Lata Mangeshkar sang only one song for this film, because by 1949, she became a very busy artiste. However he recorded one more song by Lata for his next film- which never materialised.

Acharya wrote many dramas in Gujarati. ” Mangal Murti ” a drama based on the film Kinara became so successful that it did 3500 stage shows. His plays were staged in Bombay and Saurashtra. He had a good income from his estate in Ahmedabad. he wanted to go to the USA and settle there. He went to the USA first time in 1967 and later 8 more times, but could not settle there. In 1976 he went to London. He was invited on BBC where he sang a classical song.

Madhusudan was a very self respected person and truthful too. From 1977, he lived in Surat. He was interviewed by Harish Raghuwanshi ji on 18-4-1984. This interview was published in Listener’s Bulletin No. 59 of November 1984. This article is the rough translation of that interview. I thank Harish ji heartily for this rare information.

Film Kinara-49 was directed by Ambalal Dave, for whom the film was the only one directed by him independently. He had jointly directed another film in the same year-Roop Sundari-49 along with Narayan Patel. For him that was the only film in his life. Looks like this film,Kinara-49, played as a Trial field for the hero, singer, MD, Producer and the Director too ! Incidentally, there are 2 duets in the film, one by Harish and Shanti Sharma and another by Harish and Ram Pyari.

This singer Harish Bhatt was the younger brother of singer Yashwant Bhatt. He was an ardent fan of Saigal. He sang many songs in Gujarati but the film Kinara was the only Hindi film where he sang. Incidentally, this Harish and Yashwant Bhatt are close relatives of our Khyati Ben Bhatt- an active Atulite. Another unique feature of this film was that the famous Shenai player Bismilla Khan acted in this film and played Shehnai too. His name features in the cast credits. For this, he was called specially from Banares twice, adding to the cost of the film. As per my information, this is the only film in which Bismilla Khan acted in his lifetime.

By now, we have seen that there were so many First (and last) timers in this film. Story writer, Director, Producer, Music Director, 2 singers, Hero and an actor/musician. We have no information if there was any first timer amongst the Technicians. That is how this film was an Unique Film !

3 songs from this film are already discussed. This is the fourth song today. The song, singer, tune and music are not bad-if not excellent.


Song-Hum unpar bharosa kiye jaa rahe hain (Kinaara)(1949) Singer- Madhusudan Acharya, Lyricist- Sahir Bhopali, MD- Madhusudan Acharya

Lyrics

Hum unpar bharosa kiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain
muhabbat ke maare jiye jaa rahe hain
muhabbat ke maare jiye jaa rahe hain
wohi hum ko dhokha diye jaa rahe hain
wohi hum ko dhokha diye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain

dil o jaan se sab ko daulat hai pyaari
dil o jaan se sab ko daulat hai pyaari
mubaarak zamaane ko ho duniyadaari
mubaarak zamaane ko ho duniyadaari
jo karna hai humko kiye jaa rahe hain
jo karna hai humko kiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain

zara dekhna haal o maalik hamaara
zara dekhna haal o maalik hamaara
hai manjhdhaar naiyya na koi sahaara
hai manjhdhaar naiyya na koi sahaara
magar jeene waale jiye jaa rahe hain
magar jeene waale jiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain


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

Blog Day :

4448 Post No. : 15901

Today’s song is from film Daku ki Ladki-54. I remember, there was a film in 1933 with the same title, featuring Sulochana, Dinshaw Bilimorea, Ghulam Mohd. Hadi etc. In that film, Ghulam Mohd. had done the role of the Daku, Sulochana was Daku’s Ladki and Dinshaw was the Police Officer.Ghulam Mohd. was known as ” The Prince of Imperial Film Company”, in those days.

Today’s film was made by Harish Productions. Naturally, the director and the Producer was Tara Harish only. Music was by Hemant Kumar. The cast of the film was Geeta Bali, Sheikh Mukhtar, Arjun, Shivraj, Rajan Kapoor, Mukri, Sankatha Prasad, Cuckoo etc etc.

The word “Daku” regularly appeared in the film titles right from the time Talkie films started. There were a total 32 films starting with the word Daku. When the film Daku ki Ladki came in 1933, as if to counter it, a film called Daku ka Ladka came in 1935. Thank God Daku’s family did not expand further ! Interestingly, there were 16 films based on female Dakus and only 7 films on Male Dakus. I wonder, what is the Hindi word for female Daku. A Dakin ? or a Dakuin ? or is it enough just to say He Daku and She Daku ? While female Dakus were honoured by calling them Daku Rani in 5 films and Daku Maharani in 1 film, the poor He Dakus had prosaic titles like Daku Bhupat or Daku Mansoor etc.etc.

When I took up discussing the 50’s film songs, I found that a lot of melodious and good songs to be yet to be discussed. Today’s song is one such song. To listen to Lata and Hemant Kumar is nothing short of a Bliss. Out of 2 such duets from this film one had remained to be discussed. In one of her interviews, Lata had said that she had always enjoyed singing duets with Hemant Kumar. She also said ” I used to feel as if some Sadhu was singing when I heard him singing a song”.

In the Costume drama Daku ki Ladki-54, Ravi Shankar Sharma was Hemant’s assistant in composing music.In few Hemant Kumar films, Ravi has sung songs, including this film. Later on when Ravi himself became a famous and successful composer, he made Hemant Kumar sing in his films. HK was a very respected person in the industry. When he came to Bombay his Hindi was not so good. Like all Bangla people, he had inherent difficulty in pronunciation of certain Hindi words. This was because, in Bangla language, there are no such sounds as plain ” A ” (अ ). So, Arun becomes Orun and Lata becomes Lota. With great practice and hard work, he improved his Hindi. Initially, even Geeta Roy had this problem.

In the cast of the film, you will see a name Shivraj. Not much is known about this good actor. Sometimes I feel some actors have such features that they are fixed for certain roles only and they are misfits in another role. For example, can you ever imagine Rashid Khan or Kanhaiyalal in a role of a sophisticated Millionnnaire ? Or Aruna Irani or Padma Khanna in a Mythological Devi’s role ? They may be good actors, but their physical features and style of acting restricts them to certain roles only. This is true even in case of big stars. Thus, Ashok Kumar became a laughing stock as Abhimanyu or warrier Humayun in full war gear.

The name SHIVRAJ in the cast always created curiosity in my mind. I had seen this actor in several films. I was unable to get any information on him anywhere. His role as the meek husband of Kaushalya (Manorama) in the film Seeta aur Geeta-72 is unforgettable. When I started work on this post, I tried again. This time I found an article – actually an Obituary – on him in The Hindu, dated 4-6-2017. Of course it described in it only about his different roles. From some other source, I got his date of Birth and Death and a little other information.

Shivraj was born on 11-6-1920 in Madhya Pradesh. His full name was Shivraj Pandey. After doing his graduation, he came to Bombay in search of a good job, but joined the film industry. To start with he worked in Minerva as an assistant in administration, He did some film roles too without getting credited. He left Minerva and got a role in the film Sarai ke bahar-47. This was a film made by National studios. His next films were Ziddi, Majboor, Batohi, and Asha all in 1948. Then there was no looking back. Shivraj acted in 212 films. He directed 1 film, Jaani Dushman-57. He retired from work in 2000, but his last released film was Yaar meri zindgi-2008. Shivraj died on 4-6-2017.

There is also a name Arjun in the cast. Now this is a ‘ Same Name Confusion ‘ artiste. Arjun was the Hero in film Malhar-51, opposite actress Shammi (Nargis Rabadi). His name is confused with Music director C.Arjun and many people wrongly presume that C.Arjun acted in the film Malhar. This Arjun is different. His name was Arjun Bakshi Gill. His first film was Naujawan-51, then came Malhar-51.Later he acted in Daku ki Ladki-54 etc. He wrote screenplays and went on doing small roles in films. He migrated to Canada and opened a Music shop. A RMIM member met him there, and recognised Arjun as Malhar Hero. Arjun died in 2001. His daughter Jyoti Bakshi was also an actress, who died in pitiable condition in 2003.

Finally, let us take a look at dancer Cuckoo.

It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.

Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.

Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in hisAnokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.

Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala.Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer.Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from the Film industry attended her cremation. (Thanks for some information from Cineplot and from the book”Tujhe mere geet bulate hain” by Sanjeev Tanwar).

Today’s song is a delightful duet of Lata and Hemant Kumar. Let us now enjoy it….


Song-Nazron se chhup gaya hai taqdeer ka saweraa (Daaku Ki Ladki)(1954) Singer-Lata, Hemant Kumar , Lyrics-Kaif Irfani, MD-Hemant Kumar

Lyrics

nazron se ae
chhup gaya hai ae ae
taqdeer kaa aa savera

nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
ham rah gaye tadap kar
munh zindagi ne phera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

duniya mein ham ye kaisi taqdeer le ke aaye
tukde dil-o-jigar ke
ashkon mein muskuraaye
hansti hai mujhpe kismat
rota hai pyaar meraa

girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

aaja ki dil liye hai maayoosiyaan nazar mein
ek shamma jal rahi hai
teri yaad ki jigar mein
baaki hai har taraf ab chhaaya hua andhera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4429 Post No. : 15855

“Betaab”(1952) was produced and directed by Harbans for Susheel Pictures, Bombay. The movie had Ashok Kumar, Naseem, Motilal, Kamal Kumar, Murad, Mirza Musharraf, Tiwari, Kamal, Nazeer Kashmiri, Agha Mirza, Afghan Sandow, S Kamal, Parvati devi, Meera Aarti etc.

“Betaab”(1952) had thirteen songs in it. Two songs have been covered so far.

Here is the third song from the movie. This song is sung by S D Batish. Bharat Vyas is the lyricist. Music is composed by S D Batish.

Going by the mukhda “binti karat hoon main tori maa” and going by the fact that it is penned by Bharat Vyas, some people may belieb=ve that it is a bhajan. Not al all. This song is a comedy song where a person is requesting his mother to get him married as soon as possible. He has no demands, no bars, no qualifications in mind for the prospective bride. The most openminded bridegroom ever !

The hilarious lyrics contains words that are considered politically incorrect now a adys but they raised no eyebrows those days. In any case it is a comedy song and it should be treated as such.

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


Song-Binti karat hoon main tori maa (Betaab)(1952) Singer-S D Batish, Lyrics-Bharat Vyas, MD-S D Batish

Lyrics

binti suno o o o o
mori
maa
maa
binti karat hoon main tori maa
binti karat hoon
binti karat hoon
binti karat hoon main tori maa
tu shaadi kara de
shaadi kara de
shaadi kara de mori ma

agle phaagan tak jo mujhko
nahin milegi biwi
to saanch kahoon bhagwaan kasam
mujhe ho jaayegi t b
chaahe kaani ho
ya andhi ho
wo looli ho
ya langdi ho
chaahe goongi ho ya bahri ho
chaahe goongi ho ya bahri ho
wo kaali ho ya gori ma
tu shaadi kara de
shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi

jaat paat ki fikar na karna
jo kuchh bhi ho naam
des bides kahin ki bhi ho
humen byaah te kaam
punjaaban ho
bangaalan ho
gujaraatan ho
maarwaadan ho
madraasan ho
maaraathan ho
madraasan ho
maaraathan ho
wo kahin ki bhi ho chhori ma
tu shaadi kara de shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 song posts by now.

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

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1257
Total Number of movies covered =4426

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