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

Posts Tagged ‘Singer-MD


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 :

5181 Post No. : 17158

Today’s song is from the film Aap ki Marzi-1939. This film was made by Sudama productions, Bombay, founded by Dr. Ambadas patel, after Sagar Movietone merged with National Studios. This comedy social film was directed by Sarvottam Badami and the music was given by Gyan Dutt. The cast of the film was Sabita Devi, Motilala, Vasanti , mazhar, Khursheed, Sunalini devi, K.N.Singh, jagdish Sethi and others. Lyricists were P.L.Santoshi and S.P.Kalla Film Aap ki Marzi aka As you please-1939 was based on the hit Hollywood film” Paradise for 3 “-1938.

” FATE ” is a phenomenon which no one has understood so far and no one will ever know how it works.It makes the Rich a poor one and a Pauper may become a millionaire. Fate takes you through unknown destinations and you can niot guess where it will take you. There is no better example of this FATE, other than the life story of this film’s director.

The changes in the career of Sarvottam Badami took place are simply unimaginable. His life started as an ordinary Motor Garage mechanic.Fate made him a Film projectionist, an Automobile Engineer, a Sound Recording Engineer, a Film director of Tamil, Telugu and Hindi films, Film Division producer, An industrialist and finally a management Consultant ! Can you beat it ?

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner, forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi, had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh Bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

Film industry is one place where the most unimaginable things happen. Here are some examples – A young man working as a laboratory Technician overnight becomes, albeit reluctantly, an actor and later on a famous Hero in Hindi films (Ashok Kumar), A Choreographer becomes a very famous and successful Director and actor (Guru Dutt), A Clerk in Government Rationing office touches the sky and becomes a heart throb Cinema Hero (Dev Anand), A Bus Conductor is turned into a famous cult Hero of South (Rajnikant), A simple young man goes to meet his actor brother in a studio and is mistaken for his brother and made a hero in 40 Hindi films(D.Billimoria), a clueless scholarly young man standing in a bus queue in Madras is picked up as a hero and works in about 55 hindi films (Ranjan). These are some examples of how, when Lady Luck smiles on a person, his life changes !

Here is one case. The case of the suave, handsome actor MOTILAL who had absolutely no dream of becoming a film hero ! Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.

After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay.

Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later in Sudhama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.

Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.

Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.

Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.

He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.

Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !

Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly forein Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”

Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.

He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)


Song- Gauven charaa ke Baanke Bihaari apne ghar nahin aate thhe (Aap Ki Marzi)(1939) Singers- Khursheed Bano, Gyan Dutt, Lyricist- P L Santoshi, MD- Gyan Dutt
Both

Lyrics

gauven charaa ke
baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe
phir jaa ke kahaan kho jaate thhe
phir jaa ke kahaan ko jaate thhe ae

gauven charaa ke baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe

saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe

bansi baja ke Raadha ko wo
chupke chupke bulaate thhe
haan
bansi baja ke Raadha ko wo
chupke chupke bulaate thhe

sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
donon raas rachaate thhe
kuchh hanste thhe kuchh gaate thhe
donon raas rachaate thhe
kuch hanste thhe kuchh gaate thhe
wo apna jee bahlaate thhe
wo apna jee bahlaate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe


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 :

5052 Post No. : 16965

Today’s song is from the movie ‘Amar Kirtan-1954’.

The song is ‘Hari Om Tatsat’ sung by Geeta Dutt. I had come across this song in 2014 and had noted it then. However so far it remained to be posted on the blog.

When I had shared this song (lyrics only) earlier in ‘2014’ I was not equipped with HFGK Vol-III (1951-1960). Now, when I was preparing this write-up to present this song, I check the HFGK Vol-III for more information of this movie and the list of its other songs.

I find that there is a ‘part-2’ of this song sung by S.D. Batish and Asha Bhonsle as mentioned in HFGK. However, when I looked for the link of this song I do not find it except that I find a link where both the female & male versions are combined together.
When I listened to it I noted that the male version abruptly ends at one place though after two stanzas (the second one being incomplete). (So we don’t know if this song was in a male and female version or a female and a duet version).

On this combined link of this song we can read a comment from the ‘YouTube’ account ‘Ragmala’. ‘Ragmala’ is the official channel of Batish family.
The comment on this song link says that the tempo of recording in this song is faster and it should be on lower tempo. After reading this comment we can conclude (?), that this song should be a male-female version only. And there is no duet version of this song. The comment doesn’t mention anything about the complete song in it.

“Amar Kirtan-1954” was directed by K.C. Pandit for ‘Punjab Film Corporation, Bombay’.
It had Asha Mathur, Shahu Modak, Jayant, Naaz, Rajendra, Sita Bose, S. Prakash, Prem Kumar, Sitaram, Maya Das, Heera Sawant, Kumkum, Lalan, Bansari, Chand Burq, and others. Kumari Amita Devi, Kamal Mehra, and Madan Puri make a guest appearance in this movie.

This movie was passed by Censor Board on 27.07.1954.

This movie had eleven songs (including two two-part songs) all written by Wali Sahab.

Music for this movie was composed by S.D. Batish.

Here is the list of songs of this movie:-

SNo Song Title Singer/s Posted On
01 Jai gurudeva, jai gurudeva, yug yug yug… S.D. Batish, Others
02 Hari om tatsat, hari om tatsat…(part-1) Geeta Dutt
03 Jaat paat aur oonch neech ko…(part-a) S.D. Batish, Asha Bhonsle
04 Thaare gail chaloon re saanwariya Asha Bhonsle 21.04.2017
05 Prabhu mori pariksha naahi karo S.D. Batish
06 Morey ghar shyam ghataa nahin barsi Geeta Dutt
07 Bhool gaya … panchhi bhool gaya path S.D. Batish 26.08.2017
08 Main to hoon bhagton ka das S.D. Batish
09 Hari om tatsat, hari om tatsat (part-2) S.D. Batish, Asha Bhonsle
10 Jin dhyayo shyam, tin paayo shyam (part-b) Asha Bhonsle
11 Nirdhan ki dasha S.D. Batish

From the above table we can see that, so far, only two songs from this movie ‘Amar Kirtan-1954’ have been posted earlier in ‘2017’ on the blog.

Today’s song is a ‘two-part’ song as mentioned above.

I would request knowledgeable readers to throw more light on this movie and its songs. I would also request readers to provide link of this song in the voice of S.D. Batish if they came across it or are already aware of it.

Let us listen to the today’s song now…

Geeta Dutt version

S D Batish version


Song-Hari Om Tatsat (Amar Keertan)(1954) Singer-Geeta Dutt/ S D Batish, Lyrics-Wali Sahab, MD-S D Batish

Lyrics

————————-
Geeta Dutt version
————————

Hmm mm mm hmm hmm
Hmm hmm hmm
mm mm hmm hmm
hmm mm hmm hmm

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Mahaa neech ban kar
Mahaakal ban kar
Diye dukh jo Raavan ne
Chandaal ban kar
Diye dukh jo Raavan ne chandaal bankar
To ye mantra kaam aa gaya dhaal bankar
To ye mantra kaam aa gaya dhaal bankar
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Dushaasan ne jab haath saari pe daala
Dropadi ke pat ko sabhaa me uchhaala
Dropadi ke pat ko sabhaa me uchhaala
To is mantra ne uske sankat ko taala
To is mantra ne uske sankat ko taala
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

—————————-
S.D. Batish version
—————————-
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Koi kasht sansaar mein tujhko ghere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
To uthhkar Japaa kar
Savere savere
To uthhkar Japaa kar
Savere savere
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat

Mahaa mantra hai ye
Mahaa mantra hai ye


Hari Om tatsat
Hari Om tatsat

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Ubalte huye tel mein
Jabke phenka
To nirdosh prahlad kaise bachaa thha
To nirdosh prahlad kaise bachaa thha
Yahi shabd thhe us ghadi Uske munh par
Yahi shabd thhe us ghadi uske munh par


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 :

5047 Post No. : 16959

Today’s song is from the film Door Chalen-1946.

Since the time Talkie films arrived in India in the form of Aalam Ara-1931, the enthusiastic film industry, with a pushover from the silent era to the Talkie era, was busy in discovering itself. It was improving in every field as the years passed by. In the first 5-6 years the industry was desperately trying to be free from the clutches of stage music, drama style acting and contents of the films made.

By 1937-38 all these 3 ghosts from the past had been thrown off. Music directors like Anil Biswas, R.C.Boral, Saraswati Devi, Shankar rao Vyas, K C Dey, Pankaj Mullick etc successfully brought a turnaround change in film music from stage -type boring singing to folk tunes and independent experiments with instruments, tuning and the singers. With actors like Motilal, Ashok kumar, Shahu Modak, Kumar etc. the acting became natural and free from drama-type overacting. New directors like Shantaram,Debki Bose, Mehboob etc. tried new themes in films. Prabhat and New Theatres made films on actual events or famous novels and dramas, thus making films vibrant and interesting.

By 1942 or so, many enterprising filmmakers and directors,hitherto tied up with the existing studios, broke free to start their own studios and film production companies. Shantaram, Mehboob,S. Mukherjee, Kardar, Homi Wadia and few more dynamic film makers began a new chapter in the film industry. With talented filmmakers, competing with each other to make better films, they were improving the quality of films in terms of content, music and the presentation substantially.

By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.

1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and film makers plan to pack their bage and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The3 film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.

The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.

In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.

Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.

Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….

Nirupa Roy debuted in film Amar Raaj-46

Geeta Bali debuted with a dance in film Badnaami-46

Geeta Roy sang her first film song in film Bhakta Prahlad-46

Balraj Sahni debuted in film Insaaf-46. It was a small role,though.

K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46

Meena kapoor sang her first Hindi film song in film Eight Days-46

Sudhir Phadke debuted as MD in film Gokul-46

P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46

Chitragupta did his first film as MD in Lady Robin Hood-46

Ram Ganguly became MD with film Maharana Pratap-46

Abhi Bhattacharya debuted in Hindi film Milan-46

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46

Hansraj Behl debuted as MD with film Pujari-46

Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46

Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46

S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.

Film Door Chalen-46 was made by Durga Pictures. Director was Phani Mujumdar, MD was K C Dey and all songs were written by Sajjan Purohit(the actor Sajjan). The cast was Naseem Jr., Kamal Kapoor, Balraj Sahni, Damayanti Sahni, Agha, David, K C Dey etc.HFGK sometimes blindly gave the data. The lead actress is written as just Naseem. Since in those days Naseem Bano (mother of Saira Bano) was famous, everybody thought that she was the heroine of this film. Her Filmography includes Door Chalen-46 and Jeewan Swapna-46. The reality is, there was another actress Naseem junior and she had acted in these films.

Naseem Jr. or Miss Naseem Jr. or Naseem Lodhi was the 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 the 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. Not having any income, she stayed with her sister Shamim. However, she fell ill and soon died on 17-11-1946.

She did only a 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.

Similarly, only Kamal is written in the Cast in HFGK. One can not make out if this Kamal is a male or female. In reality he was Kamal Kapoor, making his Debut in the film line as a hero. His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kaala, and, of course, Mard, where he played the evil General Dyer.
Born on 22th February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.

Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.

He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanned over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to the police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film).

Kamal Kapoor died on 2nd August, 2010.

Today’s song is a duet of Meena Kapoor and K C Dey. It is the 3rd song from this film on this Blog.


Song- Na rona na rona (Door Chalein)(1946) Singers-K C Dey, Meena Kapoor, Lyrics-Sajjan, MD-K C Dey

Lyrics

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
dulha mila salona
dulha mila salona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hamne dhoondha
hamne dhoondha le chiraag
ye laakhon mein hai laal
puny kiye thhe kisi janam mein
ho gayi aaj nihaal
phir kaisa rona-dhona
phir kaisa rona-dhona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona

gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar padha nahin main doob gayi
gar padha nahin main doob gayi
gar baazi se main oob gayi
bas nahin chaahiye ??
bas nahin chaahiye ??
samjhona
samjhona
samjho na mujhe khilauna

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona


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

Blog Day :

4918 Post No. : 16742 Movie Count :

4557

Pancham’s Music – Eighties (1981-1990) -5 (1985)
——————————————————————

In today’s post we move on to Pancham’s music in 1985.

Pancham Da continued to give his best in this year too like the previous years. He composed music for eighteen movies in 1985, one more than the tally of seventeen in 1984.

His music of 1985 was a mix of some excellent, very good and good music. Songs of ‘Alag-Alag’, ‘Saagar’, ‘Arjun’, ‘Savere Waali Gaadi’, ‘Zabardast’, ‘Laava’, ‘Sitamgar’, ‘Raahi Badal Gaye’ (ik baat dil mein aayi hain) were quite popular and frequently heard.

The list of eighteen movies where Pancham composed music in 1985 is given below.

Sno Movie Title Director Lyricist Date of Censor Certificate Status on the Blog
1 Aar Paar Shakti Samanta Anand Bakshi 19.11.1985 0 of 6 songs posted
2 Aawaaraa Baap Sohanlal Kanwar M.G. Hashmat, Vishweshwar Sharma, Verma Malik 19.11.1985 0 of 7 songs posted
3 Alag Alag Shakti Samanta Anand Bakshi 20.09.1985 6 of 8 songs posted
4 Ameer Aadmi Ghareeb Aadmi Amjad Khan Nida Fazli 19.02.1985 0 of 6 songs posted
5 Arjun Rahul Rawail Javed Akhtar 20.04.1985 2 of 4 songs posted
6 Bond 303 Ravi Tandon Gulshan Bawra 19.06.1985 1 of 5 songs posted
7 Ek Se Bhale Do S.V. Rajendra Singh Anjaan 10.05.1985 0 of 5 songs posted
8 Hum Naujawaan Dev Anand Anjaan, Indeevar 18.11.1985 0 of 5 songs posted
9 Laavaa Ravindra Peepat Anand Bakshi 10.01.1985 1 of 8 songs posted
10 Oonche Log Brij Anjaan 06.05.1985 0 of 5 songs posted
11 Raahi Badal Gaye Ravi Tandon Gulshan Bawra 30.03.1985 1 of 6 songs posted
12 Raam Kitne Tere Naam P. Madhavan, B.A. Majrooh Sultanpuri, Gulshan Bawra 02.02.1985 0 of 6 songs posted
13 Rusvaai Rajat Rakshit Pradeep, Indeevar 12.09.1985 0 of 6 songs posted
14 Saagar Ramesh Sippy Javed Akhtar 27.04.1985 YIPPEEEE’ED
15 Saverewaali Gaadi Bharati Raja Majrooh Sultanpuri 17.09.1985 3 of 5 songs posted
16 Shivaa Kaa Insaaf Raj N Sippy Gulshan Bawra 05.03.1985 0 of 5 songs posted
17 Sitamgar Raj N Sippy Majrooh Sultanpuri 08.03.1985 1 of 6 songs posted
18 Zabardast Naseer Hussain Majrooh Sultanpuri 05.06.1985 1 of 5 songs posted

For today’s presentation we have a song from the movie ‘Aar Paar-1985’. This movie will make its debut on the blog today. This was one of the reasons to select a song from this movie. The other reason being that the song is sung by R.D. Burman himself. Another reason is that this song is a lesser-heard song as well. But if one listens to this song a few times it grows upon you. It is a very nice hummable philosophical song.

Today (4 january 2022) happens to be the twenty-eighth ‘Remembrance Day’ (27 June 1939 – 4 January 1994) of our beloved Pancham Da. It has been twenty-eight years since he left us forever. But the music that he created will remain with us forever as long as HFM is around.

This is the fifth song in this series. I had kept this song up my sleeve for this day after drafting it more than one month back.

The song being posted today is our tribute to ‘Pancham Da’ and his ‘music’ in HFM.

The song is from the movie ‘Aar-Paar’(1985). ‘Aar-Paar'(1985) was directed by Shakti Samanta for his home productions ‘Shakti Films, Bombay’. Shakti Samanta was also the producer of this movie. It was an Indo-Bangladesh Co-Production. And Syed Hasan Imam (of Chitrangan-Dhaka) was the Co-Producer of this movie from Bangladesh.

‘Aar-Paar'(1985) had Mithun Chakravarty, Rosina, Nutan, Asit Sen, Utpal Dutt, Manik Dutt, Tarun Ghose, Ghulam Mustafa, Hasan Imam, A.T.M. Shamsuz Zaman, Ahmed Sharif, Ghulam Rafique, Madhu, Shekhar, Amal Bose, Kali Pada Sen, Bullet, Qutub, Mohammad Ali, Chunnu, Minhaz, Barua, Nurul Islam, Sumita Devi, Shahre Banu, Maya Ghose, Reena, Papiya and others.

Story of this movie was written by Shakti Pada Rajguru. Screenplay of this movie was jointly written by Shakti Samanta and Shanu Bannerjee.

Dialogues of this movie were written by Pradeep Roy Chowdhury. Bijoy Chowdhury was the editor of this movie.

This movie had six songs written by Anand Bakshi and composed by R.D. Burman. kishore Kumar, Asha Bhonsle, Shailendra Singh, Sabeena, Yasmin and R.D. Burman had given their voices to the songs in this movie.

This movie was passed by Censor Board on 19.11.1985.

Let us now listen to today’s song which is played in the background while we can see some policemen taking Mithun Chakravarty with them while some villagers (including friends of Mithun Chakravarty in the movie) are seen watching them.

As mentioned above today’s song is sung by R.D. Burman. lyrics are by Anand Bakshi. Music is composed by R.D. Burman.

(This post also serves of bringing movies with same title on the blog. With this song Aar-Paar(1985) joins the well-known movie ‘Aar Paar-(1954) in the blog.

Audio

Video

Song-O maajhi teri naiyya se chhoota kinaara(Aar Paar)(1985) Singer-R D Burman, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

o maajhi teri naiyya se chhootaa kinaaraa aa
o maajhi teri naiyya se chhootaa kinaaraa aa
kahaan le chali ee
samay ki dhaaraa
kahaan le chali ee
samay ki dhaaraa

bichhad gaye sab
tere apne
ujad gaye ae sab
sundar sapne ae
bichhad gaye sab
tere apne
ujad gaye ae sab
sundar sapne ae
o maajhi tera khel
bigad gayaa saaraa aa
kahaan le chali ee
samay ki dhaaraa
kahaan le chali ee
samay ki dhaaraa

ho o o
dosh na de tu
in maujon ko
kuchh mat bol tu
sab logon ko
dosh na de tu
in maujon ko
kuchh mat bol tu
sab logon ko
o maajhi tujhe tere
naseebon ne maaraa aa
kahaan le chali ee
samay ki dhaaraa
kahaan le chali ee
samay ki dhaaraa

patwaaron ko o
tod gaye hain
beech bhanwar wo
chhod gaye hain
patwaaron ko o
tod gaye hain
beech bhanwar wo o
chhod gaye hain
o maajhi toone
jisko bhi paar utaaraa aa
kahaan le chali ee
samay ki dhaaraa
kahaan le chali ee
samay ki dhaaraa

o maajhi teri naiyya se chhootaa kinaaraa aa
kahaan le chali ee
samay ki dhaaraa
kahaan le chali ee
samay ki dhaaraa

———————————————
Devanagari Script lyrics (Provided by Avinash Scrapwala)
———————————————-
ओ मांझी तेरी नैय्या से छूटा किनारा आ
ओ मांझी तेरी नैय्या से छूटा किनारा आ
कहाँ ले चली ई
समय कि धारा
कहाँ ले चली ई
समय की धारा

बिछड़ गए सब
तेरे अपने
उजड़ गए ए सब
सुन्दर सपने ए
बिछड़ गए सब
तेरे अपने
उजड़ गए ए सब
सुन्दर सपने ए
ओ मांझी तेरा खेल
बिगड़ गया सारा आ
कहाँ ले चली ई
समय की धारा
कहाँ ले चली ई
समय की धारा

हो ओ ओ
दोष न दे तू
इन मौजों को
कुछ मत बोल तू
सब लोगों को
दोष न दे तू
इन मौजों को
कुछ मत बोल तू
सब लोगों को
ओ मांझी तुझे तेरे
नसीबों ने मारा आ
कहाँ ले चली ई
समय की धारा
कहाँ ले चली ई
समय की धारा

पतवारों को ओ
तोड़ गए हैं
बीच भंवर वो
छोड़ गए हैं
पतवारों को ओ
तोड़ गए हैं
बीच भंवर वो ओ
छोड़ गए हैं
ओ मांझी तूने
जिसको भी पार उतारा आ
कहाँ ले चली ई
समय की धारा
कहाँ ले चली ई
समय की धारा

ओ मांझी तेरी नैय्या से छूटा किनारा आ

कहाँ ले चली ई
समय की धारा
कहाँ ले चली ई
समय की धारा


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 :

4905 Post No. : 16712

“Ham Hindustani”(1960) was produced by S Mukherjee and directed by Ram Mukherjee for Filmalay, Bombay. Most Indian patriotic movies are jingoistic and boastfuul, but this patriotic movie sought to inspire Indians to make India great again through deeds and not by rhetoric. The movie had Sunil Dutt, Asha Parekh, Joy Mukherjee,Helen , Jageerdaar, Agha, Leela, Chitnis, Mubarak, Vijaya Chaudhary, Malika, Sheela Rao, Mirza Musharraf, Rav Avtaar, Moni, Chatterjee, Hari Shivdasani, Yogendra, Bob, B K Mukherjee, Sarita, Saibi, Sitaram, < Baby Nasreen, Caeser, Shyam Chatterjee etc in it.

The movie had nine songs in it that were penned by five lyricists.

Eight songs songs have been covered so far.

Here are the details of the songs that have been covered so far:-

Blog post number Song Date of posting Singer(s)
624 Chhodo kal ki baatein 26 January 2009 Mukesh
1308 Raat nikhri huyi zulf bikhri huyi 19 May 2009 Mukesh
4128 Maanjhi meri qismat ke 4 July 2011 Lata
4688 Neeli neeli ghataa o bheegi bheegi hawaa 24 September 2011 Asha Bhonsle, Mukesh
6939 Chori chori tori aayi hai Radha 3 November 2012 Lata
14137 Ham jab chalen to ye jahaan jhoomey 8 March 2018 Rafi
16455 Chhedo na mohe Kaanha jaa 4 July 2021 Lata
16689 Baalma mori latt suljha de 8 December 2021 Asha Bhonsle

The ninth and final song from “Ham Hindustani”(1960) is sung by Geeta Dutt and Usha Khanna. K Manohar (father of Usha Khanna working under this name) was the lyricist. Music is composed by Usha Khanna.

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

With this song, all the songs of “Ham Hindustani”(1960) are covered in the blog. “Ham Hindustani”(1960) now joins the list of movies that have been YIPPEED in the blog.


Song-Tu laage mora baalam ye kaise kahoon main (Ham Hindustani)(1960) Singers-Geeta Dutt, Usha Khanna, Lyrics-K Manohar, MD-Usha Khanna

Lyrics(Provided by Prakashchandra)

tu laage mora baalam
ye kaise kahoon main
tu laage mora baalam
ye kaise kahoon main
jo poochhe hain sakhiyaan
to chup rahoon main
tu laage mora baalam
ye kaise kahoon main

ho o o o o
tose ye boloon
bhai meri kya majaal
meri kya majaal sainyya
meri kya majaal
ho o o o o
aankhon mein hai mere dil ka sawaal
dil ka sawaal
sainyya dil ka sawaal
sapna ?? main jo ?? takoon main
sapna ?? main jo ?? takoon main
?? main
tu laage
tu laage
tu laage mora baalam
ye kaise kahoon main
jo poochhe hain sakhiyaan
to chup rahoon main
tu laage mora baalam
ye kaise kahoon main

ho o o o o
aankhon ne teri na jaane kya kaha
jaane kya kaha saiyya
jaane kya kaha
ho o o o o
maathe pe mere paseena aa gaya
paseena aa gaya ji
paseena aa gaya
khoyi khoyi dekhoon
paseena pochhoon main
khoyi khoyi dekhoon
paseena pochhoon main
paseena pochhoon main
tu laage
tu laage
tu laage mora baalam
ye kaise kahoon main
jo poochhe hain sakhiyaan
to chup rahoon main
tu laage mora baalam
ye kaise kahoon main


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

Blog Day :

4874 Post No. : 16669

Today’s song is a duet from the film Wamiq Azra-1946.

Ask anyone to name a famous love pair and the answer would be Romeo and Juliet, Laila Majnu or Shirin Farhad. These are all lovebirds from foreign lands. In fact Romeo and Juliet never even existed, they are the fictional char acters from the drama “Romeo and Juliet” written by William Shakespeare in 1597 a.d. Layla-Majnun pair was from Arabia and Shirin and Khusro Farhad were from Persia or Iran. Likewise Wamiq and Azra were also from Persia.

There are several love pairs from our own Indian Mythology and Indian History, but most people do not either know about them or they simply do not remember, till reminded. So much for the knowledge of our own history ! How many of us really know about the love pairs from our Mythology, is a question better left unasked !

The famous Subhadra and Arjun pair, the Uttara- Abhimanyu pair which culminated in the sad end of Abhimanyu, and Usha- Aniruddha are some of the interesting love stories of Mythology. Surprisingly, there seem to be no love stories from Ramayana and all these are from Mahabharat or during the Krishn Avtar. And why not, when Krishna himself had Radha as his Love-mate.

Indian History too is replete with love stories like Jodha-Akbar, Salim- Anarkali, Bajirao -Mastani, Prithviraj-Sanyogita, Amrapali-Bimbisara, Mumal- Mahendra, Amaravati- Ambikapathy (Tamilnad) etc.etc.

In addition there are the Folk Love stories of India. India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably for thousands of years and still the country is ONE unit, when the Nation needs it. Proving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?

The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour.

Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is famous all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.

There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Dhola-Maaru (a story from Rajasthan).

Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48 and 1970
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
Dhola-Maaru….1956

Film Wamiq Azra-1946 was made by Hind Pictures, Bombay. It was owned by actor, Director Nazir Ahmed khan who was a very enterprising and capable, multi faceted artiste. He acted in 25 films, from 1933 to 1942, directed 8 films from 1940 to 1947,sang 7 songs in 5 films and even wrote lyrics in filmAabroo-1943. His first wife was Sitara Devi-dancer and actress, who eloped with his nephew-K.Asif. His second wife was Swarnalata-a Siyal Sikh actress. Nazir established his film Studio in Dadar-Hind Pictures. In the riots of 1947, his studio was burnt by a frenzied mob and he stood in a corner watching it burn completely, while he smoked cigarettes. Next week he migrated to Pakistan with wife Swarnalata in tow. He is regarded as the builder and developer of Pakistani Film industry, in the initial stages.

The film was directed by his Cinematographer Nazir Ajmeri. This was his first film as a Director and later he directed Rupa-46, Keemat-46, Majboor-48 and Abida-48, before he too migrated to Pakistan and joined his Mentor Nazir Ahmed khan. The film had music by A.R.Qureshi (29-4-1919 to 3-2-2000). He gave music to 40 films composing 356 songs and singing 14 songs in 7 films. By 1958 he left films and concentrated on his speciality- Tabla, holding concerts all over the world. He became very famous with his real name All Rakha Khan. His son Zakir Hussain is also an internationally famous Tabla Nawaz.

The songs of this film were written by Lyricist Tanvir Naqvi. Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also, he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

Today’s song is sung by A.R.Qureshi and Naseem Akhtar.


Song-Do hi lafzon ka thha ye afsaana (Wamiq Azra)(1946) Singers-A R Qureshi, Naseem Akhtar, Lyrics-Tanveer Naqvi, MD-A R Qureshy

Lyrics

Do hi lafzon ka thha ye afsaana
jo suna par khaamosh ho baithhe ae
ik ada ye ke tumko paaya thha aa
phir kaha ye ki tujhko kho baithhe

bhala koi kyun kar tumhen bhool jaaye
bhala koi kyun kar tumhe bhool jaaye ae ae ae ae
bhulaane se tum aur bhi yaad aaye
bhulaane se tum aur bhi yaad aaye

na socha na samjha
na dekha na bhaala aa
na socha na samjha
na dekha na bhaala
chale aaye hum tujhpe duniyaa lutaaye
chale aaye hum tujhpe duniyaa lutaaye

na maano
magar jab se tumse juda hain
na maano
magar jab se tumse juda hain
tumhaari kasam
hum nahin muskuraaye
tumhari kasam
hum nahin muskuraaye
bhala koi kyun kar tumhen bhool jaaye
bhala koi kyun kar tumhen bhool jaaye
ae ae ae ae
bhulaane se tum aur bhi yaad aaye
bhulaane se tum aur bhi yaad aaye


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 :

4861 Post No. : 16651 Movie Count :

4538

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LIX: Year 2006 and 2007
———————————————————————————————————

In this episode, the 59th episode, we were supposed to cover Lata Mangeshkar songs that she sang in Hindi movies released in 2006.

2006 saw 592 songs getting created in 105 movies. Lata Mangeshkar sang 1 song in one of these movies. So Lata Mangeshkar got to sing in 1 % of these movies and she sang 0.2 % of songs in these movies.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2006 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Rang De Basanti A R Rahman 1 1 0 1 0 0 Prasoon Joshi
Total 1 movie 1 MD 1 1 0 1 0 0 1 lyricist

Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2006. This song has already been covered <a href=”Lukka chhuppi bahut huyi saamne aaja re (Rang De Basanti)“>in the past more than eight years ago.

So, we had no option but to cover a song from the next year viz 2007.

It turns out that like 2006, 2007 also had just one movie that had the voice of Lata Mangeshkar in it.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2007 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Strangers Vinay Tiwari 0 1 0 1 0 0 Jawed Akhtar
Total 1 movie 1 MD 0 1 0 1 0 0 1 lyricist

Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2007. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5240 songs that Lata Mangeshkar had sung in Hindi movies till end of 2007. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2007 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 142 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 151 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 100 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 1 8 3 5 0 0
2003 NIL movies 0 0 0 0 0 0
2004 1 movie 4 9 2 4 0 3
2005 3 movies 1 4 3 1 0 0
2006 1 movie 1 1 0 1 0 0
2007 1 movie 0 1 0 1 0 0
Total upto 2007 1880 movies 3762 5240 3386 1515 213 126

“Strangers”(2007) was the sole movie released in 2007 that had the voice of Lata Mangeshkar in it. “Strangers”(2007) was Directed by Aanand L Rai for
Rise2shine productions, Bombay. The movie had Jimmy Sheirgill, Kay Kay Menon, Nandana Sen, Sonali Kulkarni(special appearance), Kitu Gidwani(guest appearance),
Mark voh, Cabourdin, Natailie Hatcher, Natalie Rowan, etc in it.

The movie had nine songs in it. Lata Mangeshkar’s voice was there in one song.

Here is that one song from “Strangers”(2007). This song is sung by Lata Mangeshkar and Vinay Tiwari. Javed Akhtar is the lyricist. Vinay Tiwari is the composer.

The song is picturised on Kay Kay Menon and Nandana Sen.

The lyrics of the song and other details were provided by Prakashchandra. He informs that the movie was based on Alfred Hitchcock’s classic thriller movie “Strangers on a train”(1951).

With this song, “Strangers”(2007) makes its debut in the blog.

audio link (Full song)

video link (Partial)

Song-Jaane thhi kaisi raahon mein ye zindagi (Strangers)(2007) Singers-Vinay Tiwari, Lata, Lyrics-Javed Akhtar, MD-Vinay Tiwari
Both

Lyrics(Based on audio link)(Provided by Prakashchandra)

jaaney thhi kaisi ra aaahon mein
ye zindagee eee eee
jaaney thhi kaisi raa aahon mein
ye zindagee ee
chhaayee thi inn nigaa aahon mein
be-rangi see eee
phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang se aey ae
jaaney thhi kaisi raa aahon mein
ye zindagee ee
chhaayee thhi inn nigaa aahon mein
be-rangi see ee
phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang se aey ae ae ae

jaaney thi kaisee raaahon mein
ye zindagee ee eee

(chorus)

tum bin thha lagtaa aaa
kuchch kho gayaa hai ae ae
kis ko bataatey ae
kya ho gayaa hai
tum bin kahen ae kyaa
kaisi kamee theee ee
palkon mein chhupke aey ae ae
rehti namee thhee eee

jaaney thhi kaisi raahon mein
ye zindagee ee
chhaayee thhi inn nigaahon mein
be-rangi see ee ee

phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang sey ae ae
jaaney thhi kaisee raa aa aaahon mein
ye zindagee eee eee

(chorus)

tum mil gaye ae ae ho
to sab milaa aa hai
jeeney ka hamko o o
matlab milaa aa hai
ab muskuraataa
har ek pal hai
lagtaa hai jeenaa aa aa
kitnaa sahal hai

jaaney thhi kaisi raahon mein
ye zindagee eee
chhaayee thhi inn nigaahon mein
be-rangi see ee ee

phir hamko mil gaye tum
to ab saare raaston mein ghul gaye hain rang se


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

Blog Day :

4848 Post No. : 16637 Movie Count :

4531

Today’s song is from an absolutely obscure film called Vijay Laxmi-1943. The film’s song are not available on social media like YT etc, but I had 4 songs of this film and I found that this film is yet to make a Debut on our Blog.

If 100 films are made in one year, only about 10% of films are Hits or popular. About 10 to 20 % of films do an average business on Box office, but the rest number of films either flop or disappear from the theatres quickly. That means the majority of the films are not worth remembering. Why does this happen when so much money is poured into the films ? No one wants to waste his money on making a film.

Filmmaking is like playing on a Race Course. 100 people buy tickets and put their money on different horses. Only a few win. The rest lose their money, but then everybody can’t win. It is a matter of Luck, because there is no fixed formula for success. When a producer puts his money into making a film, he has all the hopes to earn profit by making the film a Hit. However, not every film can become a Hit. In Spite of this uncertainty in races, films and other such matters, people take chances again and again by changing their strategies.

Let us now take a look at what the Film scenario was in the year 1943….

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

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

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital- excellent songs by kanan Devi.

Kanoon- another hit from Naushad.

Mera Khwab- MD Ghulam Mohammed’s Debut film

Najma- Mehboob khan’s first film, on Muslim society.

Nurse- Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh- A big budget costume drama made by Minerva, based on story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen- Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer- Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Besides these films, the following films were also made but their names are not even known to most people. These films just came and went into oblivion !
Andhera, Angoothi, Ashirwad, Bhalai, Chhed Chhad, Daawat, Duniya Deewani, Jangi jawan, Kurbani,Mohabbat, mauj, Pati pooja, prem sangeet, Rekha, Sahara, Salma, Sawaal, Tasweer, Vijay laxmi and Zameen etc etc. These are only sample names. I have not counted C grade and stunt or costume films, which were plenty in numbers.

Today’s film Vijay Laxmi was made by Indian Art Pictures and was directed by one G.S.Kashyap. I find that his name appears as a Director only for this film in the HFGK. Possibly he was a one film director like many in the war period ( who would provide finance also for the film to become a director ). The music was composed by G.M.Durrani, who was basically a singer but had a strong desire to also be a composer. While he sang 305 songs in 168 films, he also composed music in 8 films and acted in 16 films. He even wrote 1 song in film Nazare-1949.

The cast of the film was Shobhana Samarth, Motilal, Yashodhara katju, Gope, David, Meher Bano (actress Purnima, in adult life),Bhudo Advani, Leela Mishra and many others. In this film even Leela Mishra’s husband Ram Prasad Mishra had also done a small role and his name appears in the credits too.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received the Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli, and she and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-37, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She faced a similar problem while working in another film titled Honhaar. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-96. 8 films were released after her death. ( Thanks to wiki, Ateet ke sitare, muVyz, HFGK and my notes).

I have no idea about the film’s story or other details. The song was given to me by friend Abhay Jain (USA) and was uploaded by our Sadanand Kamath ji. Thanks to both.

Editor’s note:_Readers are request to suggest correction to the lyrics wherever applicable.


Song- Bano sudeshi bano Sudeshi (Vijay Laxmi)(1943) Singers- G M Durrani, Lyricist- Not known, MD- G M Durrani

Lyrics

Bano sudeshi
Bano sudeshi
Bano sudeshi
Bano sudeshi
?? bhayo ??
?? bhayo ??
?? bhayo ??

tan sudeshi man sudeshi
maal ?? deshwaalon
kyun nahin lete sudeshi
desh hai kangaal
desh hai kangaal

?? bhayo ??
?? bhayo ??
?? bhayo ??
??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

laakhon hamaare bhai
zinda hi mar rahe hain
roti ka nahin tukda
faakon se mar rahe hain
aanten hain unki bhookhi
aanten hain unki bhookhin
bachche hain unke bhookhe
maayen hain unki bhookhi

kapdon ko mohtaaj
dhaanp nahin saktin
maa behnen
apne tan ki laaj
apne tan ki laaj
unki roti aatma ka
unse hai sawaal
unse hai sawaal
unki roti aatma ka
unse hai sawaal
unse hai sawaal
?? bhayo ??
?? bhayo ??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

jo desh pe urbaan
achche wahi insaan
desh laakhon mit gaye
zinda hai Hindustan
zinda hai Hindustan

Desh apna bemisaal
uska tum se hai sawaal
Desh apna bemisaal
uska tum se hai sawaal
?? bhayo ??
?? bhayo ??
marte dam Bhagwaan
de yahi vardaan
har har janam humko miley
ye pyaara Hindustaan
har har janam humko miley
ye pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaaaan


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

Blog Day :

4843 Post No. : 16631

Today’s song is from a very old, i.e. 83 year old film, which was one of the popular films of Wadia Movietone. The film was Lutaru Lalna-1938 and the title role was done by then famous stunt queen The Fearless nadia. Yes, this was a C grade stunt film. In those years, when the Talkie itself had not even entered it’s Teens, these stunt films, especially featuring Nadia were very popular. C grade stunt films were not yet looked down upon by the elite. That categorisation started from the mid 40’s, when social and films of other Genres divided the audience and stunts became the choice of the lower class of the society.

When the Talkie films started, the audience was awestruck and went to the theatres to see and enjoy whatever the producers served them on the screen. Initially, the films were mostly Mythological and Costume dramas, but in due course, the film makers realised that making a stunt film was much more profitable than a Costume drama. Stunt films could be made in Rs. 30-50 thousand, whereas for other films, the investment was more. Further religious films catered to only a particular religion, i.e. Muslim and Christian audience would not see a Mythological film and Hindu and Christians will not see a Muslim religious film. But stunt films were for all and sundry. There was no restriction.

Due to all this, the pioneers of stunt/action films decided to concentrate on this Genre only. Wadia Movietone was the leading film maker of these C grade films. Other companies who made such films were, Imperial, Ranjit, Sharda, krishna, Saraswati, Saroj, Sagar, Bharat Royal, Ajanta, Madan etc. in 1933 Wadias entered with force in this market, and followed by others, in just 3 years i.e. from 1933 to 1935, a total of 138 films of Stunt/Action, Costume, Arabian Night stories and magic based Imaginary films ( all C grade) were made. Significantly, out of these 138 films, as many as 42 films were Stunt and Action films. This was mainly because of Wadia Movietone. They introduced Fearless Nadia in Hunterwali-35 and virtually ignited the flame of Stunt/Action films from 1935 to 1950. Thus the decade of the 40s could well be called “Stunt Film Decade” with 210 such films from 1941 to 1950.

Wadia Movietone was a noted Indian film production company and studio, based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).

Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.

However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. Their company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.

However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director of the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.

Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003. Wadia Movietone, besides making stunt films, had some FIRSTs to their credit like, they made India’s first songless movie ” Naujawan” in 1937. First English film “The Court Dancer’-1941 and the first Sindhi film ” Ekta”-1942. They also made a Telugu film “Nar Narayan”-37, two Tamil films ‘Vanraz Karsan’-38 and Bharat kesari-39, one Bangla film ” Raj Nartaki”-41 and one Gujrati film Valo Namori-73.

From 1933 to 1942(till the split) they made 43 films. From 43 to 73 only 24 films. Their last Hindi film was Saaz aur Sanam-71 and the overall last film was a Gujarati film in 1973. J.B.H.Wadia was born on 13-12-1901 and died on 4-1-1986. His brother Homi Wadia was born on 22-5-1911 and died on 10-12-2004.

Their Ace Actress for most films was Fearless Nadia.

Mary Evans (Fearless Nadia’s real name), a devout catholic was born on 8-1-1908 at Perth, Australia, to a Scottish father and a Greek mother. Father,a British Army soldier, was based in Elephanta caves in Bombay. She wanted to be a singer and a dancer. She learnt dancing from father and singing from mother. She sang in the local church choirs on Sundays. In 1915, when her father died in WW I action, they shifted to first Peshawar and then settled in Bombay. After working in an Army canteen for some time, She joined a dancing troupe. Here her name was changed to first NADA and then to NADIA.

One Mr. Eruch Kanga, owner of Lahore cinema saw her performance in the troupe and told the Wadia Brothers, who were looking for a Heroine. They called her for an interview. After seeing her, the brothers realised the difficulty in making a white woman a Heroine in Hindi films. In the interview JBH wadia said, “I have never heard about you before. ” she sprightly retorted,” I too had not heard your names till this morning”. The brothers were impressed and she was appointed in Wadia Movietone. To test her, she was given small roles in films which were in the making, like Lal e yaman and Noor e yaman, while she studied speaking Hindi.

She was launched with ” HUNTERWALI-1935″ ,a dramatic story of a Princess trying to rescue her kidnapped father and salvage his Empire. It was an unconventional role and a new subject for the Indian audience.

The film opened in Super cinema on Lamington road, Bombay and instantly became a great Hit. It was like a revolution. Audience was thrilled to see a white woman, donning a mask and cracking whip at her tormentors. They were awed, happy and mesmerised, wanting more of it .She was named NADIA. They added FEARLESS for her in the ads.

HUNTERWALI was only a prelude to a remarkable career. Encouraged by the success of Hunterwali, films were made on the cause of social injustice, women’s emancipation, corruption, Land grabbing and Exploitation of the poor. She always played roles like King Arthur and Robin Hood.

Her films had a set of characters. There was her pet Horse-Punjab ka Beta, Gunboat the Dog and her jalopy was called Rolls Royce ki beti (later when Homi Bhabha started Basant Pictures with her, there was Horse Rajpoot, Dog Moti and the car- Austin ki Bachhi). In her films, usually the villain was Sayani (his stock line was ” Dekha Jaayega”), John Cawas and Boman Shroff- the heavyweight Bodybuilders.

Her stunts became more dangerous and death defying with every film. She did all her stunts herself, breaking bones many times in this.

From 1933 to 1968 she did 43 films. herv first film was Lal-E-Yaman-33 and the last film was Khiladi-68. She also sang 3 songs in 3 films, namely Noor-E-yaman-35, Hunterwali-35 and Pahadi kanya-36. Her name in many films (starting with Hunterwali) was Madhuri.

She had married and divorced early and also had a son. Later she was in love with Homi Wadia, but could not marry him due to the opposition of his mother. They married in 1961 after his mother died. She was 53 years old by then.

In her last days she was frequently seen in the lanes of Colaba in Bombay ,taking her dogs for walks.

In 1993, her great grand nephew Riyad Vinci Wadia made a documentary on her, in which she had appeared.

She died peacefully on 9-1-1996.

Nadia has a special place in my memories. Sometime in 1972, one of my friends, Mahesh Sharma, who lived in Colaba, Bombay, told me that he frequently sees Nadia in a Garden where he went for his morning walks. She lived near his apartments. Anxious to meet her and talk to her, I stayed with Sharma ji overnight. Next day morning, we both went to that garden. Sure enough, after some time Nadia entered the garden with two of her dogs. She sat on a bench and her servant took the dogs for their walks. Mahesh had a casual acquaintance with her. He greeted her and said ” this is my friend Mr. Deshmukh. He is your great fan “. I greeted her and recited names of her 10-15 films which I had seen. She looked suitably impressed . She smiled and we talked for a few minutes and left. Alas ! In those days, there was no Mobile phone, otherwise I would have had my photos with her as a prize possession. Anyway, I will never forget my meeting with her- the great Stunt Queen, The Fearless Nadia !

Today’s song is sung by Sarita, Master Muhammed and chorus. It is a typical 30’s decade song. The story of this film was almost the same as any other film of Nadia. Kind and simple king, cruel and wicked Senapati, a Masked person to fight against him , a love affair and happy ending after the audience was given a full dose of stunts by Nadia.


Song- Jagat hai sapna koi na apna (Lutaru Lalna)(1938) Singers- Sarita, Master Muhammad, Lyricist- Pt. Gyan, MD- Master Muhammad

Lyrics

Jagat hai sapna
koi na apna
jaag uthha ae bande
Jagat hai sapna
koi na apna
jaag uthha ae ?? bande

dialogues
——————————–
is boodhhe musalmaan ki ??
isi ne hindu ladki se bheekh mangwaai hai
haan haan ye sach baat hai

khaamkhaa
dharm bhrasht kar raha hai

baba
ye jurm mera nahin
jab tum hindu hokar
ek yateem kanya ko
ann aur paani na doge
to kya
ek sachha
?? musalmaan bhi apna farz poora na karega

bandhuon
ye wo buzurg hain
jinhone dharm sankat mein mujhe aasra diya thha
?? muslim se mili taaleem
ye quraan ki
Hindu hi rakkha mujhe
na fikr ki jaan ki
apni jaati ne suna na jab meri fariyaad ko
Hindu beti aa gayi godi mein musalmaan ki

?? baba

??

kya ek musalmaan ek hindu ke liye itni qurbaani kar sakta hai
kyun nahin baba

jab ??ji ka upnishad ?? ek hai
Kashi Kaba mandir masjid ??
sab ka imaan ek hai

?? ka parda ?? ka tum uthha kar dekh lo
fark kuchh mein nahin
hindu musalmaan ek hai

————————–

jagat hai sapna
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa

jaag uthha hai ?? bande
jagat hai sapna koi na apna
jaag uthha ?? bande

??? ek hai ??
??? ek hai ??
ye kahin ??
ye kahin ??
ye kahin ??
ye kahin ??
???

jaag uthha ?? bande
???
jaag uthha ?? bande
jagat hai sapna koi na apna
jaag uthha ?? bande


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

Blog Day :

4840 Post No. : 16627

‘Ye Gulistaan Hamaara’ (1972) was produced and directed by Atma Ram under the banner of Guru Dutt Films Combined. The star cast included Dev Anand and Sharmila Tagore in the lead roles supported by Pran, Iftikhar, Sujit Kumar, Johny Walker, Jaishree T, Lalita Pawar, Kanan Kaushal, Ramesh Deo, Raj Mehra, Keshav Rana, Janakidas etc.

The story is woven around a bridge which is being constructed over Dihing River in North-East India for a good connectivity. But the local tribals are oppose to it. They think that this is one way of imposing the slavery on the local tribes in the name of infrastructural development. This sentiment is exploited by some foreign agents who instigate the tribal chieftain to destroy the under-construction bridge. It is at this point, Dev Anand as an Intelligence Bureau Officer is sent to supervise the construction of the bridge without any hindrances.

How Dev Anand achieves the objective by overcoming the tribal opposition to construction of the bridge is the rest of the story that moves forward. If the film was to be made in English, it would have been apt to name the film as ‘The Bridge on the River Dihing’ on the lines of a well- known Hollywood film ‘The Bridge on the River Kwai’.

The film’s outdoor shooting was done in Assam (near Digboi where a bridge was under construction), Meghalaya, and Arunachal Pradesh. During the shooting of the film, the crew faced the hostile crowd led by the Naga Students Federation in Shillong. Some stone throwing incidences were also reported. The Naga students felt that it was a politically motivated film to insult the Naga tribal culture. Sharmila Tagore played the role of a Naga girl named ‘Sekrenyi’ which is the name of the holy festival of Angami Naga tribe. It is said that with the intervention of Bhupen Hazarika, the shooting of the film went on smoothly thereafter. The name of Sharmila Tagore’s character in the film was changed to ‘Soo Reni’.

In my younger days, I had read in the newspapers about the opposition of local tribals in laying the railway tracks in Meghalaya (Guwahati to Byrnihat). I understand that this line is yet to be operational. The same problem is faced for the railway track between Silchar and Imphal in Manipur. The main worry the local tribals is that good connectivity would lead to the influx of outsiders in their tribal belts threatening their own existence and culture. I feel that ‘Ye Gulistaan Hamaara’ (1972) was a ‘half-baked’ attempt to remove tribal population’s worries about the likely cultural dominance by the rest of India over the North-East’s tribal culture.

At the time of the release of the film, Naga Students Federation took out the protest march for banning the film on the ground of undermining the Naga tribal culture. They also felt that a couple of songs in the film sounded racial. In any case, they opposed the released of the film in Nagaland and Meghalaya. There were violent protests on the streets of Shillong. Finally, the film was released in 1973 after incorporating a notice in the film itself that ‘customs depicted in film, folk dances, dresses etc have no parallel with any of the tribes in Nagaland’. Some songs’ wordings were also changed to appease the protestors.

Initially, Danny Denzongpa was to perform the role of Dev Anand’s local associate in the film. S D Burman had already recorded a song in Danny voice along with Lata Mangeshkar. However, Johny Walker insisted with Atma Ram that he should also get a role in the film. Atma Ram agreed to take Johny Walker in place of Danny. However, Danny’s first song as a playback singer was retained which was picturised on Johny Walker. I personally feel that the role of a local person would have fitted well on Danny because of his facial feature. But at that time, Danny was a newcomer to protest. His consolation must have been the debut song he sang under the baton of S D Burman which was well appreciated.

‘Ye Gulistaan Hamaara’ (1972) had 7 songs of which six songs were written by Anand Bakshi. Six songs have been covered on the Blog, details of which areas under:

Songs Date of Posting Singers
Gori gori gaaon ki gori re 30/10/2008 Kishore Kumar – Lata
Mera naam yaao mere paas aao 17/01/2009 Dany Denzongpa-Lata
Naina soyi soyi raina jaage jaage 09/06/2013 Lata Mangeshkar
Ho Tushima ri Tushima…aa gara toofaan 31/10/2018 Lata Mangeshkar
Hey suno meri baat chalo mere saath 03/12/2020 Kishore Kumar
Saare jahaan se achcha Hindostaan hamaara 26/01/2021 Sushma Shreshta and Kids -1, Chorus Version-2

I am presenting the 7th and the final song, ‘kya ye zindagi hai kaisi bebasi hai’ from the film which is rendered by Lata Mangeshkar, S D Burman and chorus. The song is written by Anand Bakshi. The song has its uniqueness in that when Lata Mengeshkar sings, the chorus voices parallelly sing some words which I am unable to decipher.

With this song, all the songs from the film ‘Ye Gulistaan Hamaara’ (1972) have been covered on the Blog.

Audio Clip:

Video Clip:

Song-Kya ye zindagi hai (Ye Gulsitaan Hamaara)(1972) Singers-Lata, S D Burman, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics (Based on the Audio Clip):

kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

sadiyon se yoon hi
sar pe dukhon kaa
bojha uthaaye
in parbaton pe
ham chal rahen hain
bhookhe nange pyaase
laao haath
laao haath
apne saath
laao haath apne saath
chalke dekho do kadam tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum

kitni hai doori ee
ham bade peechhe
tum bade aage
tumhen chhoo naa paaye
tumhen chhoo bhi len to
thukraaye jaayen
apna mel
nahin khel
apna mel
nahin khel
o baabu kahaan hum kahaan tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

hamne ye maana
ham to bure hain
hamne ki buraayi
tum to bhale ho.o o
tumne hamaari
ki hai kya bhalaayi
samjhaao
sikhlaao
samjhaao
sikhlaao
gale se lagaa ke hamen tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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