Posts Tagged ‘Sudhir Phadke’
Haseenon se koi poochhey
Posted on: April 28, 2024
- In: Duet | expression of love | Feelings of heart | Guest posts | Lalita Deulkar songs | Post by Arunkumar Deshmukh | Rare song | Song sung by relatives | Song sung by spouses | Songs of 1950s (1951 to 1960) | Songs of 1956 | Sudhir Phadke songs as a singer | Sudhir Phadke-Lalita Deulkar duet | Yearwise breakup of songs
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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.
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Blog Day : |
5763 | Post No. : | 18288 |
Today’s song is a duet from the film Sajni-1956. This song is of some significance. It is a song sung by a pair of Husband-wife. Of course this is not unique. Earlier also there were a few such songs by Husband-wife pairs. What is significant is that this was their last duet in a film. The pair was Sudhir Phadke and Lalita Deulkar Phadke. What’s more, with this song Lalita ended her film singing career also !
Film Sajni-1956 was not a famous film. In fact it was an obscure film, hardly known to most people. Produced by a couple – P.R.Patkar and Isabel Clifford, the film was directed by Vasant rao Painter. He was the nephew (son of Anandrao Painter) of the famous Kala Maharshi Baburao Painter, owner of the Maharashtra Film Company, Kolhapur. Many stalwarts of the early Silent and Talkie films emerged from this film company, where they got an all round training in filmmaking. Some of the famous names are V.Shantaram, Master Vinayak, Baburao Pendharkar, Fattelal, Damle, Dhaibar etc.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘Bhishma Pratignya’-1950. This was, probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were, Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”. Vasant painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.
The film had music by Sudhir Phadke and his assistant for this film was Vishnu Govind Jog, who became a world famous Violinist in his later life. He played in several concerts all over the world, including the Madison Square Garden in New York. He was a Sangeet and Natak Academy Award winner in 1980 and Padma Bhushan in 1983. The cast of the film was Sulochana, Anup Kumar, Lalita Pawar, Sapru, Krishna Kumari, Gope, Maruti, Nimbalkar and many others. The songs were written by Narendra Sharma (5 songs) and today’s song was by Nakshab Jarachavi.
Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?
This actor was I. T. Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.
This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.
I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, Music Directors etc. Some of them are Omkar Devaskar, Zunzar rao Pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, Kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.
I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘Nimbalkar’ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.
Baburao, Damle, Fattelal etc were taught painting By Anandrao Painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao Painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao Painter is credited with making films a form of art and spreading it on a larger canvas of India.
Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu Maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.
One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu Maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).
Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra-32, Sinhagadh-23 etc.
After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’-38, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.
He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra-46, Subah ka tara-54, Parchhain-52, Teen batti char rasta-53, Toofan aur Diya-56, Z Z Payal baje-55. Earlier he did Aapki sewa mein-47, Prarthana-44,Nal Damayanti-45, Seedha Rasta-41, Gokul-46, Apna Ghar-42, Maharathi karna-44, Seeta Swayamvar-48. He worked in Pyasa-57, Mera Naam Joker-70, Amar Prem-60 etc etc. From 1928 to 1970 he acted in over 250 films.
His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu Moshoi, in addition to my notes, HFGK, muVyz, CRTWF, Encyclopedia of Indian Cinema and Film India magazines).
Two interesting trivias before I conclude this post. The first is Sudhir Phadke and Lalita Deulkar got married on 29-5-1949. Phadke’s close friend Mohd. Rafi did one wonderful thing. He sang a specially prepared and well rehearsed ” Mangalashtak” (an 8 stanza Marriage song in Marathi) in their marriage !
The second trivia is, Lalita became a famous singer with a duet with Rafi “Hum ko tumhara hi aasra” from film SAAJAN-1947 and she ended her career with a duet from film SAJNI-1956 !
(Acknowledement- I sincerely thank Shri Syed Zafar Shah ji for making the above very rare song available to us for discussion, on my request. He has always been very helpful.)
With today’s song, all songs of this film are covered and the film is YIPPEED !
Song- Haseenon se koi poochhe (Sajni)(1956) Singers- Lalita Deulkar, Sudhir Phadke, Lyricist- Nakshab Jarachavi, MD- Sudhir Phadke
Both
Lyrics
Taqdeer ka likha hua
taula nahin jaataa
dil hai ke sambhaale se
sambhaalaa nahin jaataa
sambhaalaa nahin jaataa
haseenon se koi poochhe
sataa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
aa aa aa aa aa
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
o o o o
ye soorat hai
ye haalat hai
na jeete hain
na marte hain
na jeete hain
na marte hain
marte hain
mitaa kar humko kya logey
sataa kar humko kya logey
jalaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
wahaan majboor paa kar
dekh tum par julm hote hain
wahaan majboor paa kar
dekh tum par julm hote hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
rote hain
rulaa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
Ro na munna pyaare
Posted on: April 1, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5736 | Post No. : | 18258 |
“Apraadhi”(1949) was produced by S Fattelal and directed by Yashwant Pethekar for Prabhat Film Company. The movie had Ram Singh, Madhubala, Pran, Leela Pande, Gauri, Uma Dutt, Gangubai, Madhu Apte etc in it.
This movie, which had a very young Madhubala in lead role, had seven songs in it. Six songs have been covered in the blog so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 7324 | Pyaar karne waalon ke liye hai duniya | Sitaara Kanpuri | Amar Verma | 5 January 2013 | |
| 8411 | Jaan pehchaan na saaheb salaam na | Sitaara Kanpuri | Amar Verma | 25 July 2013 | |
| 9395 | Dil ro raha hai | Sitaara Kanpuri | Amar Verma | 3 February 2014 | |
| 12260 | Zindagaani ka mazaa shaadi mein hai Multiple version song | G M Durrani | Amar Verma | 25 July 2016 | Multiple version song |
| 18213 | Mera dil churaanewaale dekho pyaar nibhaanaa | Sitaara Kanpuri | Amar Verma | 20 February 2024 | Post by Arunkumar Deshmukh jee |
Here is the seventh and final song from “Apraadhi”(1949) to appear in the blog. This song is sung by Sitara Kanpuri. Amar Verma is the lyricist. Music is composed by Sudhir Phadke.
The song is picturised as a mother child song. Madhubala born of 14 february 1933 was just 16 years of age in 1949 when this movie was released. She was not even an adult by that time. Madhubala perhaps played the role of mother for the first and last time in this movie.
With this song, all the songs of “Apraadhi”(1949) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Ro na munna pyaare (Apraadhi)(1949) Singer-Sitara Kanpuri, Lyrics-Amar Verma, MD-Sudhir Phadke
Lyrics
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
kyun tere naina bhar aaye
kya baabu ki yaad sataaye
yaad sataaye
kyun tere naina bhar aaye
kya baabu ki yaad sataaye
yaad sataaye
tu hi zara muska re
tu hi zara muska re
zara muska re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
jab teri ankhiyaan muskaatin
jab teri ankhiyaan muskaatin
mujhko unki yaad rulaati
yaad rulaati
tu na mujhe rula re
tu na mujhe rula re
na rula re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
godi bhari hai ae ae
dil hai khaali
dil hai khaali
godi bhari hai ae ae
dil hai khaali
dil hai khaali
phool khila hai ae ae
aaya na maali
aaya na maali
phool khila hai ae ae
aaya na maali
aaya na maali
tuhi jaake bula re
tuhi jaake bula re
jaake bula re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
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.
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Blog Day : |
5695 | Post No. : | 18213 |
Today’s song is from a Romantic cum Mystery film – Apradhi-1949.
Although HFGK labels it as a ‘Social’ film, I found that this film is half-way through a Romantic film and the second half is full of Mystery, hence I called it a Romantic cum Mystery film.
The uploader of several songs from this film on YouTube, has claimed that this was the Debut film/First film of actress Madhubala, but the facts indicate that this is not true. As per the Biography of Madhubala ” The story of Madhubala”, by author Khatija Akbar, the journey of Madhubala in Hindi films, started like this….
Madhubala debuted as a Child Artiste of 8 years, in Bombay Talkies film “Basant”-1942. Next was ” Mumtaz Mahal”-1944, made by Ranjit Studios. As a child artiste she also did films like Dhanna Bhagat-1945, Phulwari-1946, Pujari-1946 and Rajputani-1946. Then came her first film as an adult heroine – “Neel Kamal”-1947 opposite Raj Kapoor. With him she also did Chitod Vijay-1947, Dil ki Rani-1947 and Amar prem-1948. She acted with Rajan Haksar in Lal Dupatta-1948 and Singar-1949 with Jairaj and Paras-1949.
After all these films came the film Apradhi-1949. Therefore the claim of the film Apradhi-1949 as her Debut film is erroneous !
Nowadays, Social media like Facebook, Whatsapp, YouTube, wiki, Internet, ” X ” and such other public platforms have become untrustworthy. Lack of effective control by knowledgeable authorities and greed to expand their platform have made them doubtful sources of credible information. Sites like IMDB, simply do not heed to complaints and correction of wrong information. Thus it is necessary to countercheck their information with other sources or experts.
Film Apradhi-1949 was produced by S.Fattelal for Prabhat Film Company and it was directed by Yashwant Pethkar. The MD was Sudhir Phadke. The cast consisted of Madhubala, Ramsingh, Pran, Leela Pande, Gauri, Uma Dutt, Gangubai, Madhu Apte and many others.
Since the start of Talkie film in 1931 till the year 2000, according to one source, about 7000 male and female actors worked in films. The provider of this number also listed names of 7000 actors. This list was reproduced in RMIM by Dr. Surjit Singh ji and I had copied it on my Laptop. However, in the process of changing the laptop many times later, the list was misplaced and lost.
In the early cinema period, many hopefuls used to run away to Bombay to become Hero in films. Very few succeeded. All others ended up doing secondary or sundry roles. There are many such names of hopefuls who initially did Hero’s roles in few films and then settled for character roles. Just as an example, few names are given here. See how many names are known to you. The number of films they did is also given. All these actors were heros in atleast 10 to 15 films, initially…..
Rama Shukul-20
Khalil Ahmed-28
Moti Sagar-13
Dalpat Joshi-120
Balwant Singh-18
Madhav Kale-21
Amar-81
Amarnath (Bharadwaj)-89
P.Kailash-43
Majid-100
Umakant Desai-59
Ram Mohan-240
Anant Marathe aka Anant Kumar-71
Some actresses….
Hemavati
Prabha
Peace Kanwal
Asha Mathur
Zohra Jaan,
Padma Devi
Mrudula (First Heroine of Dilip Kumar)
Kamla Kotnis (First Heroine of Dev Anand)
Sumitra devi etc. etc.
Film Apradhi-1949’s Hero Ram Singh was also one of these actors. He too came from a remote village of UP to Bombay to become a Hero. The actor Ram Singh’s name is not very famous or well known, but in his times, he did Hero’s and Villain’s roles in many films. His entry in films and life story is very interesting.
During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, the Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated Hostels.Two persons became homeless. One was Ramchandra Dwivedi – who later on became well known as Kavi Pradeep- and the other was Ramsingh- who became an actor. After the riots, instead of informing his family about his welfare, Ramsing left for Bombay and then to Poona, to become an actor. He was tall,fair and handsome. V.Shantaram hired him as an assistant in the studio. His family thought that he must have been killed in the riots and grieved, when he never returned.
One day one of the villagers came to their house and told excitedly that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film.Lo and behold ! There he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and enquired. The officials brought out their own son- Ramsingh before them !! Everyone was happy. It seems he did not contact his household just to avoid the Police investigations, as he too was an active participant in the agitation.
Ramsingh was born into a rich Zamindar family of village Ishanpur in Pratapgarh (U.P.), in 1920. After graduating, while doing his M.A. he joined films. His first film was Ramshastri-44, then came Chand-44, Lakhrani-45 and Hum ek hain-46….all Prabhat films. While in Prabhat, he became friendly with Dev Anand and Guru Dutt. In his later years, they gave him roles in almost every film..
In his other films, Ramsingh worked with Heroine Ranjit Kumari ( real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he had 4 children.
Ramsingh played Hero, Villain and character roles in 69 films. Some of his notable films were, besides 4 Prabhat films, Gaon-47, Shaheed-48, Khidki-49, Aparadhi-50 ( He was the Hero, opposite Madhubala), Sargam-50, Sangram-50, Shrimati ji-52, Jaal-52, Baaz-53 etc etc. In his later career, he only got insignificant roles in B and C grade films and Mythologicals. His last film was Sati Sulochana-69. ( 2 more films Veer Chhatrasal-71 and Mere Bhaiya-72 were released after he left films).
Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing Agriculture. The U.P. Chief Minister H.N.Bahuguna was his classmate and a very good friend. Ramsingh approached him. Bahuguna, to help him, immediately established “U.P. Film Corporation” and made Ramsingh its Chairman. However, due to political turmoil in the country, Bahuguna left congress and joined Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the fields again. Ramsing started drinking, against medical advice and died in 1984, in his village.
( adapted, with Thanks, from Javed Hameed’s book ” Kuchh kalakar, kuchh yaden “, Vithal Pandya’s book Asli Nakli Chehre, Bapu Watve’s book ” My Prabhat days” and my notes).
The story of the film Apradhi-1949 was….
Master Amar, a Physical instructor, loves the voice of Radio singer Sheela devi. Everyday, while doing exercises, he listens to her songs on Radio. he decides to meet her personally. He rushes to Radio Station, Bombay and on the stairs, he meets the real Sheela Devi, who misguides him that Sheela is a Drill Teacher in girls school. He goes there only to find the wrong girl. Next day he follows Sheela. They become friends and fall in love. Finally they get married. After an year, a baby is also born.
One day, his friend-Mohan, a revolutionary on the run, comes to his home.Amar keeps Mohan in his house. However, after some time, Amar suspects that Mohan and Sheela are having an affair. A half heard conversation confirms his doubt. Mohan runs away when the Police come to arrest him. The Relationship between Amar and Sheela is spoiled. Meanwhile their baby is stolen. One day Amar follows Sheela and finds that she meets Mohan in his hideout.
With an intent to kill both of them, Amar goes to Mohan’s hideout, with a Pistol. When Sheela comes there, he listens to their talk. Mohan tells Sheela that he has found her child and it is kept there with him. Further talk makes it clear that they are brother and sister, in reality. Amar feels guilty. He meets them and begs pardon for his misunderstanding. Suddenly Police arrive and take Mohan to jail. Amar and Sheela, with their child, return to their home happily.
One of the least known actors in this film is Madhu Apte…..
Madhu Apte’s full name was Madhukar Shankar Apte. He was born at Poona on 1-3-1919. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humour by mistiming the dialogues.
He acted in many Hindi films for about 40 years. His first film was Ramshastri-1944. He used his stammering as a means to create comedy. He worked in 33 Hindi films. For this he had to travel from Poona to Bombay frequently. This affected his health and he said goodbye to acting somewhere in 1985. His last Hindi film was Aasha-1980. Madhu Apte died on 25-2-1993 at Pune.
Today’s song is sung by Sitara Kanpuri. 5 out of 7 songs of this film are solos of Sitara Kanpuri. Today’s song is the 6th song to feature her. The last 7th song is also available on YouTube. Let us now enjoy today’s song….
Song- Mera dil churaanewaale dekho pyaar nibhaanaa (Apraadhi)(1949) Singer- Sitara Kanpuri, Lyricist- Amar Verma, MD- Sudhir Phadke
Lyrics
Mera dil churaanewaale
mera dil churaanewaale
dekho pyaar nibhaanaa
dekho pyaar nibhaanaa
mera dil churaanewaale
mera dil churaanewaale
dekho pyaar nibhaanaa
dekho pyaar nibhaanaa
tumhre mahlon mein aayee hoon
apni kutiya chhod ke
apni kutiya chhod ke
tumse naataa joda maine
sabse naataa tod ke
ho sabse naataa tod ke
mujhse aankh milaane waale
mujhse aankh milaane waale
dekho aankhen na churaanaa
aankhen na churaanaa
dekho pyaar nibhaanaa
mera dil churaanewaale
mera dil churaanewaale
dekho pyaar nibhaanaa
dekho pyaar nibhaanaa
aayee jawaanee laayee suhaanee raaten ho
ho aayee jawaanee laayee suhaanee raaten din mastaane ho
ho ho din mastaane
mere man kee tum jaano
tumhre man kee hum jaanen
ho tumhre man ki hum jaanen
mujhko apna banaane waale
mujhko apna banaane waale
dekho badal na jaanaa
badal na jaanaa
dekho pyaar nibhaanaa
thhandee thhandee chaleen hawaayen
thhandee thhandee chaleen hawaayen
chaleen hawaayen
thhandee thhandee chaleen hawaayen
rimjhim barse paanee ho
rimjhim barse paanee
angdaayee le rahee nashe mein
do pal mast jawaanee
ho do pal mast jawaanee
mera haathh pakadne waale
mera haathh pakadne waale
dekho haathh na chhudaanaa
haathh na chhudaanaa
dekho pyaar nibhaanaa
mera dil churaanewaale
mera dil churaanewaale
dekho pyaar nibhaanaa
dekho pyaar nibhaanaa
Jaago hey Yadurai
Posted on: February 18, 2024
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.
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Blog Day : |
5693 | Post No. : | 18211 |
Today’s song is from a semi Mythological film, Maya Bazar-1949.
I said ” Semi Mythological” film and there is a reason for it. Both Ramayan and Mahabharat are more than 5000 year old. Since generations,Indians have been infatuated with the various stories from these sacred books. Actually, Mahabharat is 4 times bigger than Ramayan. Ramayan contains stories of Loyalty, Obedience, righteous behaviour. Ideal Human Qualities, war against evil, Ideal democracy and good Just Governance. In short-everything that is ideal and good.
Whereas Mahabharat contains stories of deceit, injustice, adventures, magic, diplomacy, Tit for Tat principle and ways to win over the evil at any cost – even adopting cheating and using weakness of the enemies. In short, Ramayan is following the right systems and methods and Mahabharat is achieving Goals by overcoming opposition by hook or crook !
Naturally mahabharat stories are more interesting. Personally, I like Krishna more than Ram. Ram is ideal but Krishna is practical and result oriented ! Perhaps Indian film makers also agree with me because there are more films made on stories of Mahabharatthan Ramayan. Over thousands of years, many new stories are added to Mahabharat and Ramayan. As per the experts, more stories are added to Mahabharat than Ramayan. Obviously, because Ram had only one wife whereas Krishna had 8 regular wives in addition to 16008 wives whom he had freed from the prisons of King Kans ( to provide them a respectful living). Jokes aside, there was obviously more scope in Mahabharat as there were hundreds of characters involved, unlike the limited number of Ramayan characters. Ramayan was a story of one Ram, but Mahabharat was a conglomerate of stories of 5 brothers, their wives, Krishna and his several wives.
During the Silent film era, fictitious stories erupted about the love marriage of Balram’s daughter and son of Arjun. This is not in the original story at all. In some stories the name of the girl was Vatsala and in some it was Surekha. These stories were primarily written for stage dramas. They had enough love, adventure, magic and sweet end – almost similar to later day modern film love stories. The first silent film on this imaginary pair was made by Baburao painter through his Maharashtra Film Company of Kolhapur. It was titled Vatsala Haran in 1919 Another film was made as Surekha Haran in 1921 and a third one was made as Maya Bazar aka Vatsala Haran in 1925. During this period the added roles were of Krishna and Ghatotkach (son of Bheem and Hidimba). Including these characters the first Talkie was made by Sagar Movietone-Maya Bazar in 1932. Later films with this title were made in 1949, 1958, 1971 and 1984. That is why I called today’s film a ‘Semi Mythological ” film.
In all this, the Southern film industry was not to lag behind. The famous Drama and later film company, Surabhi Drama Troupe made their silent film, in which the name of Vatsala or Surekha was changed to Sasirekha in Maya Bazar-1925. A Talkie ” Maya Bazar aka Sasirekha Parinay” was made in 1936. The Vijay Vauhini studio made Maya Bazar in 1957 in Tamil and Telugu. Its dubbed version in Kannada came in 1958. This was , so far, the best film and became popular and also won many awards.
The market for mythological and religious films kept on increasing from the period 1931 to 1960. The best decade was 1950 to 1960. Then there was a steady decline in its number and by the end of the century and the Millenium, such films became rare. What was the reason ?The clear answer is The Audience. Who saw such films ? Males in the age group of 40 to 60++ and women of almost all ages. If you compare the age wise Demographyof population in 1961 and 2022, the following picture emerges…..
| Year | Age group | Percentage |
|---|---|---|
| 1961 | 0-14 | 15 % |
| 15-60 | 50 % | |
| 60++ | 35 % | |
| 2022 | 0-14 | 25.31 % |
| 15-64 | 67.80 % | |
| 65++ | 6.90 % |
( figures taken from Wikipedia)
No doubt this was one reason. The other reason was Change of taste of the audience. The inkling was obvious in the 50’s decade, when Romantic/Musical films became very popular. Escapist and light comedy musicals like Naya Daur, Tumsa nahi dekha, Paying Guest, Hum sab chor hain etc were followed later in different garbs and at times same stories with little variation , by Nasir Hussain . Manmohan Desai and their ilk. Both these reasons were responsible equally for the shrinking of religious films being made. First they shifted to TV in the guise of serials like Ramayan and Mahabharat and then they became rare even there !
Film Maya Bazar aka Vatsala Haran-1949 was written by Pt. Mukhram Sharma. The film was made in Hindi and Marathi. The songs and screenplay was also by Sharma. The director was Datta Dharmadhikari and the music was by Sudhir Phadke. The cast was Durga Khote, Shahu Modak, baby Shakuntala, Balak Ram, Kusum deshpande and Vasant Thengdi(wife-husband), Ganpatrao Bakre (a handsome, well built wrestler, acted as Ghatotkach), Usha Marathe (who later became Usha Kiran from film gauna-1950) and many others. The story of the film was….. Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marriage when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.
Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.
Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.
With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.
With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.
On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).
Today’s song is sung by Malti Pande and chorus. Malti Pande was a popular Marathi Natya sangeet and film singer. Malati Pande is one of my most favourite Marathi singers. Her Bhavgeets in the 1950s were extremely popular in Maharashtra and with all the Marathi people wherever they were in the world. Malati Pande was also a Classical singer and has sung very few songs in Hindi films, but excelled in Classical and Marathi songs. Her songs like ” tya tithe, palikade, tikde, maziya priyeche zopde” or ” kunihi paay naka vajvu” are evergreen. She is one of those Marathi singers like Manik Verma, Jyotsna Bhole, Hirabai Badodekar, Saraswati Rane, Shobha Gurtu, Nalini Mulgaonkar, Ram Marathe, Bhimsen Joshi, D.V.Paluskar etc, who just visited Hindi films out of curiosity, but returned to their comfort zones immediately.
Malati was born on 19-4-1930 at Poona, She was attracted to music from her childhood. She was trained by several teachers like Bhaskarrao Ghodke, Trivedi Master, Vilayat Hussain Khan, Vinayak buwa Patwardhan, Bholanath Ghatt and also her husband Pt. Padmakar Barve. At the age of 15 years, she was invited to sing on A.I.R. Poona. She did her Ph.D in Music.
When Sudhir Phadke brought her to Prabhat for an audition, for songs of Marathi version of ‘ Aage Badho ‘-47, Fattelal was very happy with her style of singing and thanked Phadke. Malati Pande’s first lori song “kunihi Paay Naka vajvu…” was with Singer & Music Director Gajanan Watve and poet Shrinivas Kharkar. It is said that afterwards, many singers and music directors recorded lori songs, but Malati Pande’s this lori song is the best and is still remembered by the Marathi listeners.
Malati Pande sang many Marathi songs under the music direction of Gajanan Watve, Sudhir Phadke, Ram Phatak, Shrinivas Khale, Datta Dawjekar, Madhukar Pathak etc.
Malati Pande sung some 15 Hindi songs under the music direction of K. Bhole, Avinash Vyas, Sudhir Phadke in the following Hindi films – Seeta Swayamvar-48, Maya Bazar-49, Shrikrishna Satyabhama-51, Shri Vishnu Bhagwan-51 and Malati Madhav-55.
Malati married classical singer Pt. Padmakar Barve. They have a son Rajiv Barve who is a singer. His daughter Priyanka Barve is also a famous singer in Marathi and Hindi films. Malati Pande died on 27-12-1997.
Let us now enjoy today’s song….
Song- Jaago hey Yadurai (Maaya Baazaar)(1949) Singer- Malti Pande, Lyricist- Pt. Mukhram Sharma, MD- Sudhir Phadke
Chorus
Lyrics
Jaao o o
jaago hey Yadurai
jaao o o
jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jeena jeena taaron waala
jeena jeena taaron waala
door hataa ke ghoonghat kaala
poorv disha muskaayee jaago
poorv disha muskaayee jaago
jaago hey Yadurai
jaao o o
jaago hey Yadurai
deep bujhe
chakwi hai harshaai
band kalee ne nainaa kholey
band kalee ne nainaa kholey
gun gun gun gun bhanwra boley
koyal kook sunaayee jaago
koyal kook sunaayee jaago
jaago hey Yadurai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
oas ke motee bikhre laakhon
oas ke motee bikhre laakhon
?? nabh pe dekho
nabh pe dekho
kiran sunahree aayee
jaago jaago
jaago jaago
jaago jaago
jaago jaago
jaago hey Yadurai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
jaago hey Yadurai
- In: "expectant mother" song | "expectant parents" song | Asha Bhonsle songs | Duet | expression of love | Feelings of heart | Guest posts | Post by Sadanand Kamath | Question-Answer song | Rafi songs | Rafi-Asha Bhonsle duet | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 6 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5583 | Post No. : | 18056 |
I had heard the name of Ved Rahi for the first time in one of the Doordarshan’s television serials. It took me some more years to know that his canvas was much bigger than the TV serials. He is a well-known poet and writer in Dogri, Hindi and Urdu, a journalist, editor, translator, screenplay, dialogue writer, producer and director in Hindi films and television serials. He is the recipient of many awards and honours for his contributions to the literature in Dogri, Hindi and Urdu.
Ved Rahi (b. 22/05/1933) was born in Jammu in a well-respected family. His father, Mulkraj Saraf was a freedom fighter and a well-known journalist and publisher of an Urdu newspaper, ‘Ranbeer’. Under the influence of his father, Ved Rahi got interested in journalism and literature. At the age of 12, he started writing in Urdu.
After the completion of his Matriculation, Ved Rahi told his father that he was not interested in further studies. His father was shocked as he was a crusader of literacy in his region. He took his son to an educationist for advice. The man spoke to Ved Rahi at length and in the end suggested to his father that his son should learn Hindi. He was put under the tutelage of an eminent Hindi teacher. He joined Radio Kashmir, Jammu as script writer. In 1958, he became the editor of a monthly magazine, ‘Yojana’ which was published under the Information Division of the Govt of Jammu & Kashmir. Simultaneously, he started writing short stories and novels in Dogri language followed by Hindi and Urdu.
Ved Rahi felt that staying in Jammu will not expand his literary horizon. He was already influenced by writers like Krishna Chandra and Ramanand Sagar who were doing well in Mumbai. Sometime in 1961-62, Ved Rahi left his Government job and moved to Mumbai with his wife and two children with the intention of pursuing his literary pursuit. In Mumbai, he soon realised that income from writing short stories and novels will not be sufficient to sustain his family.
With a recommendation from his father, Ved Rahi approached Ramanand Sagar to start his filmy career as a screenplay and dialogue writer to supplement his income. Since Ramanand Sagar was aware of his calibre as a writer, he took him as his assistant in screenplay, dialogue writing and direction for his films. His name appeared as Assistant Director for the films, ‘Aarzoo’ (1965) and ‘Aankhen’ (1968). He started getting offers from other producers also to write screenplay and dialogues for films such as ‘Ye Raat Phir Na Aayegi’ (1966), “Pavitra Paapi’ (1970), ‘Beimaan’ (1971),’Aap Aaye Bahaar Aaye’ (1971), Kathputli (1971), ‘Paraaya Dhan’ (1971, ‘Beimaan’ (1972) ‘Sanyaasi’ (1975), ’Charas’ (1976), etc which became box office hit films.
Ved Rahi felt that he did not have much freedom as a writer in Hindi films. He decided to turn director with ‘Daraar’ (1972) followed by ‘Prem Parbat’ (1973). But as a director, he had to compromise with producers and distributors. So, he become producer-director with ‘Kali Ghata’ (1980). None of his films performed well at the box office. His last released film as a director was ‘Veer Savarkar’ (2001) which did well in Maharashtra and Goa region. During his association with film industry, he realised that writing for the films is a different art than writing the literary stories and novels where the writer has full freedom to express his thoughts. While he appreciated the point of views of producers and distributors for whom it is a commercial venture, as a writer, Ved Rahi felt restricted in showing his best in the film industry. He turned to TV serials where he felt that he had more freedom than in the film industry. Ved Rahi directed his first TV serial for Doordarshan, ‘Gul-Gulshan-Gulfaam’ (1987) which became a hit with the audience. He also directed ‘Meera Bai’ (1997).
During his film career, Ved Rahi was a member of Censor Board of Film Certification and Film Writers Association.
Even after shifting to Mumbai, he was well connected with the developments in Dogri literature. He continued to write short stories in Dogri and Hindi which were published in magazines. He used to say in his interviews that his main passion was literature and his association with films and television was to enable him to sustain in Mumbai with his family. One can note that he has received honour and awards mainly for his literary works.
Ved Rahi got Sahitya Akademi Award for ‘Aale’ (1982), the collection of his short stories in Dogri in 1983. He also received Maharashtra Gaurav Award (2000) for his contribution to literature, Maha Pandit Rahul Sankritayan Puruskar (2011) for his outstanding works in Hindi and the Best Book Award for his Dogri novel ‘Lal Ded’. He got his second award from the Sahitya Akademy in 2015 for his Urdu translation of the novel ‘Lal Ded’. He received Kusumagraj National Award for literature in 2019.
[Note: Ved Rahi’s profile is mainly based on a TV documentary in Dogri on him, his TV interviews in Dogri and Hindi, and his interview published in ‘Daily Excelsior’, April 24, 2016, apart from some online information available on him].
Sometime in 1960s, Ved Rahi wrote a short story, ‘Daraar’ based on 1965 Indo-Pak war, which was published in one of the reputed Hindi magazines. The story became the talk of the town among the Hindi readers. Encouraged by this, Ved Rahi decided that one day he would make a Hindi film on this story. Sometime in 1971, Shanti Sagar, the elder son of Ramanand Sagar decided to make a film on this short story and the name of the film was kept the same as the title of the story, i.e., ‘Daraar’ (1972). By this time, there was second Indo-Pak war of 1971. Therefore, the context of Indo-Pak war in the film was changed from 1965 to 1971. Since Ved Rahi has been assisting Ramanand Sagar in the direction, Shanti Sagar gave the responsibility of direction of the film to him. The cast included Baldev Khosa and Rohini (probably her only film) in the lead roles supported by Lata Arora, Ashavali, Manju Sharma, Birbal, Meenal Mehta, Radheshyam, Kamalakar Date, Usha Bakshi, Radharani, Satyarani etc. It was a low budget film. Hence most of the actors for minor roles were taken from Jammu who were associated with radio plays and local theatres.
The story of ‘Daraar’ (1972) is based on 1971 Indo-Pak war and the resultant chaos in the family life of those staying in a village close to the border. Unfortunately, the film is neither available for viewing on any of the video sharing platforms nor on OTT. Even I could not get the synopsis of the film online. I am sure that the original short story may be there in Ved Rahi’s one of the published books containing his collection of Hindi short stories. However, none of his old, published books are available online for reading or even for buying. The silver lining in my efforts was that I got my hand an audio clip available online, discussing the broad story of the film interspersed with a few dialogues from the film.
I have attempted to weave the story of the film based on the audio clip and the lyrics of the film’s songs which is as under:
In a village close to Pakistani border, Baldev Khosa and Rohini fall in love. After a brief courtship, their love blossoms into a marriage. They happily live their married life. Rohini gets pregnant and a mood of celebrations starts in the family. When Rohini is in advanced stage of her pregnancy, the Indo-Pak border skirmishes starts which turns into a full-pledged war. The villagers can hear the sound of mortar firings some of which lands in the village. There is an exodus of the villagers to move away to far off places from the border as they hear the sound of tanks coming from Pakistani side.
Rohini starts getting labour pain. Due to exodus, Baldev Khosa is not able to get a Dai to attend to the delivery of Rohini. She cannot withstand her increasing labour pain as the cross-border firings increase. Baldev Khosa is caught between saving his life and Rohini’s life. He tells Rohini that he would leave the village carrying her on his back. But she is in so much pain that she decides to stay in the house and leave her fate to the Almighty. She tells her husband to leave her alone and save his life by leaving the village. But he is still in two minds – to leave Rohini alone in such a situation or not.
The increased mortar shelling and the sound of tanks coming from Pakistani side forces Baldev Khosa to leave the house and run away along with other villagers to a safer place leaving Rohini alone. After few days, when the shelling stops, Baldev Khosa walks back to his village and hears infant’s crying inside his house. Baldev goes inside the house to find Rohini in good shape with the infant. He comes to know that the Indian Army had pushed back the intruding Pakistani army. But the situation in the border is still tense. Baldev Khosa and his wife with the infant, leave the village. But their married life is not as was before. The film ends with a narrator telling that there is a ‘daraar’ (crack) in their relationship.
I find quite an unusual ending in the film as the director who is also the writer of the original story has left to the audience as to what kind of ‘daraar’ has developed in the relationship of Baldev Khosa and Rohini. Going by the theme of most of his short stories in Hindi as well as his TV serial, Gul-Gulshan-Gulfaam’ (1987), Ved Rahi may be hinting at the psychological ‘daraar’ that develops between the close relatives and friends due to the impact of war-like situations in their hitherto peaceful and relaxed life. My own guess is that though Baldev Khosa and Rohini may continue to live in their married life happily, somewhere in the back of her mind, Rohini would occasionally remember that her husband left her alone to fend for herself in her difficult period even though she had also suggested him to do so.
The film has 4 songs written by Kulwant Jani (2) and Mahendra Dehlvi which were set to music by Sudhir Phadke. All the songs are good to listen. I am presenting the third song from the film to appear on the Blog. The song is ‘kyun chamke bol kuchh bol ras ghol goriye’. The song is rendered by Mohammed Rafi and Asha Bhosle on the words of Mahendra Dehlvi. Only the audio clip of the song is available. My guess is that the song was picturised on Baldev Khosa and Rohini who was expecting a baby.
There is an interesting trivia which was revealed by Ved Rahi in one of his interviews. He visited Sudhir Phadke’s house to request him to compose the music for ‘Daraar’ (1972). A surprised Sudhir Phadke asked him ‘Why me’? He had not given music for any Hindi film after 1962. Those days, Sudhir Phadke was busy with Marathi films. Ved Rahi said that he was so mesmerised by his composition, jyoti kalash chalke in ‘Bhaabhi Ki Choodiyaan’ (1961) that he had decided that whenever he makes his first film, he would take Sudhir Phadke as the music director. How can Sudhir Phadke say ‘no’ to his fan? He agreed.
After about 20 years later, Sudhir Phadke who was producing ‘Veer Savarkar (2001) in early 1990s, financed by the public contributions, approached Ved Rahi to write screenplay for one of the segments of the film and direct it. (The film had many directors who directed different segments of the film). Ved Rahi asked the same question. ‘Why me’? He had not directed any Hindi film after 1984. Of course, Ved Rahi agreed.
The song under discussion was very popular on Vividh Bharati in 1970s and I had heard this song many times. After many decades, I heard this song recently which made me to know about the film under discussion.
Audio Clip:
Song-Kyun chamke Bol kuchh bol ras ghol goriye (Daraar)(1972) Singers-Mohammed Rafi, Asha Bhosle, Lyrics-Mahendra Dehalvi, MD-Sudhir Phadke
Lyrics
kyun chamke
kyun chamke
bol kuchh bol ras ghol goriye
tere maathhe ki bindiya
kyun chamke
kyun chamke
kaise bataaun mere dhol sajna
mere maathhe ki bindiya
mamta ke baadlon ki
thhandi thhandi chhaav mein
kisko bulaaye tu
sapnon ke gaaon mein
tera hi nazaara mujhko rijhaaye
dekhoon jab tujhko
wo jhalak dikhaai
bhed hai ye kaisa
kuchh bol goriye
bol kuchh bol ras ghol goriye
tere maathhe ki bindiya
bol kab aane waali
nanhi si bahaar hai
dekh mere kheton ko bhi
yahi intzaar hai
jaldi hi dekhega
wo nanhi si bahaar tu
dam to le sainyyan aise
ho na bekaraar tu
aayenge wo din anmol sajna
kaise bataaun mere dhol sajna
mere maathhe ki bindiya
chaand hai badariya mein
(haan aan aan)
phir bhi ujaala hai
(aan aan)
tujh mein samaaya kaise
roop ye niraala hai
o… jaise mera pyaar channa
tujh mein samaaya hai
roop tera aise hi to
mujh mein samaaya hai
motiyon se doonga tujhe tol goriye
bol kuch bol ras ghol goriye
tere maathhe ki bindiya
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5444 | Post No. : | 17844 | Movie Count : |
4768 |
When we discuss songs of 1930s and 1940s, we tend to think that those days that are now 80 to 90 years behind us were similar to present days, as far as listening to songs was concerned. This assumption is highly incorrect. Today everyone is able to listen to any song that is available online. Those days technology was far less advanced. Forget internet, even Radio and TV were in their infancy. Record players and movies were the only means to listening to songs. Record players were very expensive. Only rich people could afford them. Even Radio was expensive. Even if Radio was there, there were very few Radio stations that played film songs. For majority of people, visiting movie halls may have been the only way they would be ale to listen to a song. If the movie was a hit movie, then getting entry into the movie hall was a tall order. One needed to brave big crowd and somehow jostle one’s way to the ticket counter and shove one’s hand, with money in it, inside the round counter measuring less than six inch in diameter and tell the counter clerk how many ticket you required.
In case the movie was less popular, that movie would not even get released in smaller places. Movies that did not get to many opportunities to get released would find their songs failing to get popular because few people listened to them. Unless enough number of people listen to songs and liked them, even record companies would shy away from making too many copies of those songs.
I wonder how many copies of songs were made by record companies those days. Popular songs would sell more copies so more copies would be made. But what was the minimum number of records made for a less popular movie ? Did all the records of such less popular songs get sold or there were some unsold records too ? What happened to the unsold records ?
Suppose there was a movie that failed to get popular. With time the copies of its film were lost. Very few copies of its records got sold. Decades upon decades passed. The original individual who bought the record passed away. What happened to these records ?
When I think along these lines, I am really surprised that the records of less popular movies of 1940s are still available today, eighty to ninety years later, and they are gradually finding their way online. That way, these songs are getting heard by the present generation, perhaps for the first time in eighty to ninety years !
Take the movie “Seeta Swayamwar”(1948) for example. This movie, clearly based on Ramayan, did not do as well as the movie “Ram Rajya”(1943), which was a super duper all time hit movie. “Seeta Swayamwar”(1948) hoped to do similar kind of business, but could not. This movie was directed by A R Sheikh for Vijay Pictures, Bombay. The movie had Durga Khote, Anant Thengdi, Balakram, Nimbalkar, Kelkar, Sulochana, Usha Marathe, Manjrekar etc in it.
The movie had nine songs in it. Unlike “Ram Rajya”(1943), the songs of “Seeta Swayamwar”(1948) were not available till recently. This movie is not represented in the blog for this reason.
A couple of songs from this movie have now become available. So this movie can now make its debut in the blog.
Here is the first song from “Seeta Swayamwar”(1948) to appear in the blog. This song is sung by Malti Pande. Amar Verma is the lyricist. Music is composed by Sudhir Phadke.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
I have not been able to get a few words in the last paragraph of the song. I request our readers with keener ears to help fill in the gaps/ suggest corrections wherever applicable.
With this song, “Seeta Swayamwar”(1948) makes its debut in the blog.
Song-Roop tumhaara mera jiya ko lubhaaye re(Seeta Swayamwar)(1948) Singer-Malti Pande, Lyrics-Amar Verma, MD-Sudhir Phadke
Lyrics
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
bade bade nain wohi
wohi muskaana hai
bade bade nain wohi
wohi muskaana hai
bolo kahaan ki tumse meri pehchaan hai
bolo kahaan ki tumse meri pehchaan hai
naina tumhaare mere naina nachaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
janam janam ke meet hamaare
janam janam ke meet hamaare
bhole bhaale ho tum pyaare pyaare
bhole bhaale ho tum pyaare pyaare
yaaden tumhaari mohse bhoole na bhulaaye re ae
yaaden tumhaari mohse bhoole na bhulaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
man mandir mein toh ko bithhaaun
man mandir mein toh ko bithhaaun
praanon se runjhun taar bajaaungee
praanon se runjhun taar bajaaungee
daasee tumhaaree dekho aanandee gaaye re ae
daasee tumhaaree dekho aanandee gaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
Aaj ki raat niraali hai
Posted on: April 9, 2023
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.
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Blog Day : |
5378 | Post No. : | 17640 |
Today’s song is a duet from the film Maaya Bazar aka Vatsala Haran-1949.
The Ramayan and The Mahabharat are the two epics that are known to almost every Hindu person in this world. Different stories from these epics have entertained all of us from our childhood. Do you know that Mahabharat is 4 times bigger than the Ramayan ? The number of characters in Mahabharat are 10 times more than one would find in Ramayan.
Between these 2 epics, the personal choice of every person is different. Personally, I like the Mahabharat more for two reasons. The first reason is that Mahabharat is full of activities on every page and there is no dull moment anytime while reading Mahabharat, unlike the Ramayan, which is more descriptive than the actions. Secondly , mahabharat stories are about the various qualities of Human beings like Love, Adventure, Deceit, Revenge, travel, Magic, different places, good people-bad people, desire, anger, greed, ego, attachment, partiality, support, fight, births and deaths, war and peace and all such matters. It is like an interesting novel which is ‘ unputdownably interesting.’ It teaches you, in its course, how to handle and win in difficult situations in your life ! In other words, Ramayan teaches how a just and people oriented king should be and Mahabharat teaches how to win over problems in difficult situations of today’s world.
These epics were originally written by sage Valmiki (Ramayan) and sage Vyas dictating and Shri Ganesh ji writing non-stop (Mahabharat), thousands of years ago. Over the years, there have been several additions to them by learned scholars, sages, Rishis etc. Even new characters (not existing in the originals) have been added. Today’s film Maaya Bazar aka Vatsala Haran is an excellent example of such an addition. There was no one in Mahabharat by the name of Vatsala. It is a later addition.
Some highly imaginitive and enterprising dramatist of old times had created this new character Vatsala in Mahabharat, who is supposed to be the daughter of the elder brother of Shrikrishna – Balram and Revati. She gets married to the son of Arjun in the most thrilling and dramatic way. This first started in Maharashtra, where stage dramas were very popular. Different drama companies gave the imaginary daughter different names, to prove that their story was authentic. Thus two names- Surekha and Vatsala came into the stories for this fictitious character. Addition of Krishna and a Rakshas- Ghatotkach also added the required humour and magic. These dramas became very popular.
When Silent film era began, the then famous Maharashtra Film company of Kolhapur, belonging to Baburao Painter, made not one, but three silent films on this story. The first film was Vatsala Haran-1919, the second was Surekha-Abhimanyu alias Surekha Haran-1921 and the third film was Maya Bazar alias Vatsala Haran-1923.
The South was not to lag behind. They too staged dramas on this story, but the name of the daughter was changed to Sasirekha, to claim that their story was the original.The famous ” Surabhi Drama Troupe” of south made the play- one of the most crowd pulling popular shows. In the south a silent film on this story was made as ” Maya Bazar”-1925.
When the Talkie films started in 1931, the very next year, the film ” Maya Bazar”-32 was made by Sagar Movietone. Subsequently, movies on this title were made in 1949, 1958, 1971, and 1984 also. The south made a Talkie film Maya Bazar in 1936 with a title ‘ Sasirekha Parinay’, because Surekha/Vatsala was known as Sasirekha in south. However, one of the best ever films on this story was made by Vijay Vauhini Studios, Madras as ” Maya Bazar” in 1957 in Telugu and Tamil. The Kannada version- as dubbed film- came in 1958. This film was on Top in the list ” 100 greatest films made in India “, by CNN-IBN, for the period of 100 years-1913 to 2013. I have seen this wonderful film and enjoyed it thoroughly.
Today’s film Maya Bazar-(Vatsala Haran)-49 was made by Manik Studios, Bombay. All songs of this film as well as the story and screenplay was done by Pt. Mukhram Sharma and the music was by Sudhir Phadke. The film was made Bilingual-in Hindi and Marathi. The cast was Durga Khote, Shahu Modak, Baby Shakuntala, Balakram, Kusum Deshpande and Vasant Thengadi ( they were Husband-wife pair in real life), Ganpatrao Bakre (one time a famous, popular and handsome Hero of silent films), Usha Marathe ( she changed her name to Usha Kiran and became famous in Hindi and Marathi films,later on), Master Chhotu etc.etc. The film was directed by Datta Dharmadhikari. This was his first independent film as a director. Earlier he had joined Raja Nene for directing the film Shadi se pehle-47.
The story of the film Maaya Bazar aka Vatsala Haran-1949 was….
Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marriage when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.
Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.
Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.
With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.
With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.
On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).
Today’s song is a duet sung by Lalita Phadke (nee Deulkar) and Balakram. I have earlier written about Lalita and also on Balakram, but then I found an article on Balakram by our Sadanand kamath ji. I found this much better than my own article and so here it is for you, with thanks ,……
Balakram Jadhav (24/02/1931 – 02/03/1974) was born in Nagpur where his father Gangaram Bapu Jadhav was an active member of a musical drama company. Gangaram had four children – Vijaymala, Manjula (Manju Diwan), Trayambak and Balakram who was the youngest . The family shifted to Pune when the father got a job in Prabhat Films. Balakram started his filmy career as a child artist in ‘Majha Mulga’ (in Marathi) and its Hindi version, ‘Mera Ladka (1941)’. In the same year, he acted in Prabhat’s bilingual ‘Aadmi’ (1941). In both these films, he sang songs for himself.
During this period, Balakram was also learning the nuances of Hindustani classical music from Pandit Gunidas and Pandit Jagannath Prohit of Agra Gharana. A glimpse of his proficiency in Hindustani classical music can be seen when he sings a fast sargam in the midst of a song in Prabhat’s ‘Nayi Kahaani’ (1943) referred to above. In Prabhat’s ‘Chaand’ (1944), Balakram acted in the film in which he had two songs picturised on him. But he did not sing the song himself. Instead, his elder sister Manju gave playback for him. Probably, Balakram was on a threshold of his adolescence and his voice pitch may have changed which may not have suited his child’s role.
After a hiatus of about 3 years, Balakram returned to Hindi films with a role in ‘Krishna Sudama(1947) probably donning the role of Sudama. Whether it is coincidence or otherwise, the films in which acted thereafter were mostly belonging the genre of mythology/Devotional like ‘Seeta Swayambar’ (1948), ‘Satyanarayan’ (1948), ‘Sati Ahilya’ (1949), ‘Sant Janabai’ (1949), ‘Subhadra Haran’ (1964), ‘Shri Ram Bharat Milan’ (1965) etc. He acted in 14 films and sang 12 songs in 9 films.
Balakram once again had a long break in Hindi film career between 1949 and 1964. During this period, he acted and sang in many Marathi films and he was associated with some Marathi plays where he got fame. He also participated in classical vocal concerts and gave training in classical music. At Dadar, he established Pandit Gunidas Sangeet Vidyalaya and started teaching music to children.
Balakram died of liver complications on 02/03/1974.
Now enjoy the duet……
Song- Aaj ki raat niraali hai (Maaya Baazaar)(1949) Singers- Lalita Phadke, Balakram, Lyrics-Pt Mukhram Sharma, MD-Sudhir Phadke
Both
Lyrics
Aaj ki raat niraali hai
Aaj ki raat niraali hai
tumne ki banaai(??) niraali hai
tumne ki banaai(??) niraali hai ae ae
aaj ki raat niraali hai
hil mil ke lehren naach rahin
hil mil ke
hil mil ke lehren naach rahin
hans hans ke kirnen naach rahin
muskaai chaandni chali hawa aa aa
muskaai chaandni chali hawa
bikhri man mein ??laali re
bikhri man mein ??laali re
?? ki banaai niraali hai
?? ki banaai niraali hai ae ae
aaj ki raat niraali hai
lehron mein naach tumhaara hai
kirnon mein haar tumhaara hai
lehron mein naach tumhaara hai
kirnon mein haar tumhaara hai
muskaan chaandni ki tum ho
muskaan chaandni ki tum ho
tum hi se hawa matwaali hai
tum hi se hawa matwaali hai
tumne hi banaai niraali hai
tumne hi banaai niraali hai ae ae
aaj ki raat niraali hai
man poojan kare tumhaara hee ee
gaagar hai saagar pyaara hee
chande ka deep suhaana hai
chande ka deep suhaana hai
ambar ki sundar thhaali hai
ambar ki sundar thhaali hai
tumne ?? ki banaai niraali hai
tumne ?? ki banaai niraali hai ae ae
aaj ki raat niraali hai
aaj ki raat niraali hai
Ho o main yauwan ban ki kali
Posted on: January 21, 2023
- In: "Growing up" song | Artist century song in blog | Century songs for the blog | expression of love | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Avinash Scrapwala | Songs of 1950s (1951 to 1960) | Songs of 1951 | Yearwise breakup of songs
- 3 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5300 | Post No. : | 17360 |
#the Decade of Fifties – 1951 – 1960 #
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Today’s song is from the ‘1951’ movie ‘Maalti Maadhav’ or ‘Malti Madhav’.
Here is the brief about this movie.
“Malti Madhav-1951’ was directed by M. Nilkanth for ‘Prasann Pictures’.
It was produced by Bhalerao-Shriniwas Joshi.
The cast of this movie included Durga Khote, Anand Marathe, Baby Shakuntala, Indu Pal, Pittu, Sushant, Vasant Shinde, Indu Kulkarni, Ganpat Rao, Gauri, Kelkar, Subodhini, Takalkar, Kumud Lele, Bargir, Suman, Raj Kishore, Sulochana and others.
This movie was passed by Censor Board on 10.04.1951.
“Malti Madhav” is based on the famous ‘Sanskrit Play’ of the same name by the great poet Bhavbhuti.
Here is the brief about Bhavbhuti and the story of this movie as mentioned on ‘Wikipedia’ and quoted by our Respected Arunkumar ji in his post with a song from this movie presented on the blog on 15.09.2020.
Bhavabhuti was an 8th-century scholar of India noted for his plays and poetry, written in Sanskrit. His plays are considered the equal of the works of Kalidasa. Bhavabhuti was born in Padampura, Vidarbha, in Gondia district, on the Maharashtra and Madhya Pradesh border. His real name was Srikantha Nilakantha, and he was the son of Nilakantha and Jatukarni. He received his education at ‘Padmapawaya’, a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at ‘Kalpi’, a place on the banks of river Yamuna.
He is believed to have been the court poet of king Yashovarman of Kannauj. Kalhana, the 12th-century historian, places him in the entourage of the king, who was defeated by Lalitaditya Muktapida, king of Kashmir, in 736 AD.
The play is set in the city of Padmavati. The king desires that his minister’s daughter Malati marry a youth called Nandana. Malati has been in love with Madhava ever since she saw him and drew his portrait. Madhava reciprocates, and draws a portrait of her in turn. Malati suspects her father’s motives in falling in with the King’s plans for her. A side plot involves the lovers’ friends Makaranda and Madayantika. The latter is attacked by a tiger, and Makaranda rescues her, getting wounded in the process. After numerous travails, all ends well, with the two couples uniting. According to the renowned Sanskritist Daniel H.H. Ingalls, the Malatimadhava is a work that combines love and horror with a felicity never again equaled in Sanskrit literature.
This movie has nine songs as mentioned in HFGK Vol-III (1951-1960). Lyrics for all the songs have been written by Pt. Narendra Sharma.
Music for this movie has been composed by Sudhir Phadke.
Lata Mangeshkar, Malti Pande, Sudhir Phadke have given their voices to the songs in this movie. Though singer’s name for three songs has not been identified and mentioned in the list of songs in HFGK.
However as per the footnote given at the end for this movie in HFGK it is mentioned that as told by Sudhir Phadke, the voice of Lalita Phadke also appears in one of the songs of this movie.
So far, four songs from this movie have been posted on the blog as per following details. (In order they were posted)
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Baandh preet phool dor | Lata Mangeshkar | 25.07.2011 |
| 02 | Man mein mere angaarey hain | Lata Mangeshkar | 28.07.2011 |
| 03 | Man saunp diya anjaane mein | Lata Mangeshkar | 08.08.2018 |
| 04 | Motiyon se maang bhare sundari suhaaye re | Malti Pande | 15.09.2020 |
We can see from the above table that this movie made its debut on the blog on 25.07.2011 and the second song also followed within three days on 28.07.2011. However, the third song from this movie took another seven years and it was posted on 08.08.2018. The fourth song appeared after a gap of two years thereafter.
Today we are going to listen to the fifth song from this movie more than two years after the fourth song was posted on the blog.
Today’s song is a ‘sweet’ song in the voice of Lata Mangeshkar with beautiful verses by Pt. Narendra Sharma.
Music is composed Sudhir Phadke.
Lyrics for the today’s song were sent by Prakashchandra.
Editor’s note:-This song is the 100th song by Pt Narendra Sharma in the blog as a lyricist.
Let us listen to this beautiful song …
Song-Ho o main yauwan ban ki kali (Malti Madhav)(1951) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Sudhir Phadke
Lyrics (Provided by Prakashchandra)
ho o o o o o
main yauwan ban ki kali
ho ho o o o o o
main yauwan ban ki kali
mujhe kali se phool banaane ae
preeti pawan bah chali ee ee ee
o o o
main yauwan ban ki kali
ho o o ho o o
main yauwan ban ki kali
ulajh ulajh jaataa kyun anchlaa aa aa aa aa
ulajh ulajh jaataa kyon anchlaa
charan shithil par chitwan chaplaa
o o o o o o o
charan shithil par chitwan chaplaa
chupke se aakar lajjaa ne
mukh par roli mali ee ee ee
o o o o o o
main yauwan ban ki kali
ho o o o o o o o
main yauwan ban ki kali
poochh rahe panchhi kit jaati
kis ke hit varmaal banaati
ho ho o o
poochh rahe panchhi kit jaati
kis ke hit varmaal banaati
kaise keh doon main apne
priy se milne nikli ee ee ee
o o o o
main yauwan ban ki kali
ho o o o o o
main yauwan ban ki kali
jab main un ki ho jaaoongi ee ee ee
ee ee
jab main un ki ho jaaoongi
dhan aanand mein kho jaaoongi
dhan aanand mein kho jaaoongi
luk chhup kheloongi badli mein
ban ban kar bijlee ee ee ee ee
o o o
main yauwan ban ki kali
ho ho o o o o o
main yauwan ban ki kali
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.
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4823 | Post No. : | 16601 |
On this 1st October 2021, I am completing 9 years of my blogging here. My first post was published on this Blog on 1-10-2012. It was on the film Savitri-1937. Since then in the last 9 years I have been continuously writing here and elsewhere. Though my writings are also published on several other Blogs and sites, my main favourite place is this one only.
Most of my original works were first published first here, except the interviews of relatives of old time artistes, which were published on memsaabstory.com. Some articles were published on anmol fankaar, Sangeet ke Sitare,Harveypam Blog, Kalyan Music Group, Songs of yore etc etc. In the last 9 years I have written, till today, 1020 posts here. It works out to an average of 1 article every 3.2 days-every 4th day- continuously for 9 years. In addition I have written film synopses of more than 600 films and more than 500 comments on this Blog alone. When I look back, I get surprised. How did I do it ?
There are reasons how and why I could do it. First, I like the atmosphere of this Blog. Secondly, Atul ji is a silent motivator, a good leader and he encourages contributors by giving a free hand and without disturbing styles of narrations. Thirdly, it is a very congenial and friendly team of Atulites. There are many more points but we all know them.
The Blog has created a special place for itself in the Blogosphere for its Credibility, Variety, Quantum of songs with lyrics and pots of information not available easily elsewhere. The Blog has actually become ” A Point Of Reference” for most other music and old film lovers. Information from the Blog is invariably quoted as proof and authenticity. Credit for all this goes to Atul ji. Thanks Atul ji. We feel proud to be associated with atusongaday !
Today’s song is from a Mythological film – Jai Bhim-1949. The film was made by Nav Jhankar productions, Bombay. It was directed by Anant mane -who became one of the all time successful Directors of marathi Cinema, later on. Music was by Sudhir Phadke, for songs written by lyricist Amar Verma- who married the famous Classical Singer Manik Dadarkar, better known as Manik Verma. The cast of the film was Vishwas, Vasant Thengdi, Ganapatrao Bakre, uma Devi, kusum deshpande, kanta kumari and many others.
Film Jai Bhim-49 was a MYthological film, but its information is not available anywhere. It is one of those films which have existance only in HFGK pages. The film was directed by Anant Mane. He was a struggling Director in 1949, but due to hard work and of course with good luck, he became a very big and renowned director in Marathi cinema. His contribution in the Hindi cinema was of a minimal nature but his Marathi films were mostly Hit films.
Anant mane was born in a lower middle class family of kolhapur, on 22-9-1915. His uncle Gyanba Mane was working in Prabhat films as an actor (in his last days Gyanba was seen selling vegetables on the roads of Kolhapur, for survival). Anant used to go with him to Prabhat studio. The studio life attracted him. At the age of 15 years, he left school and joined Prabhat. he was given work in the Laboratory. First 2 years he worked without pay and then he got a salary of Rs.10 pm.
While in Prabhat he worked and learned a lot in editing, Artwork, Sound recording in addition to working as an extra in a Mob scene. He was impressed with Shantaram’s knowledge in the studio. When the film ” Sairandhri” was made, he was given Vishnu’s role in it.
His diligence impressed Shantaram and he was taken in Editing laboratory. When Prabhat shifted to Poona, he too came with it and continued working in editing. He did editing of all Prabhat films till 1941. When Shantaram left Prabhat in 1942, he too left but joined as an assistant to director Raja nene till 1946. In 1949, he directed his first Hindi film ” Jai Bhim”-1949.
In 1950, Anant mane and Dada Dharmadhikari started ” Alhad Chitra”. Its very first Marathi film ” Bala jo jo re” became a hit and celebrated Silver jubilee. Their next two films ” Stree janma hi tuzi kahani” and ” Chimni Pakhare” also became Jubilee films. Chimni Pakhare was remade in Hindi as Nanhe Munne-1952. Anant mane directed 2 Hindi films in 1954-Kalakar and Suhagan, which were remakes of their Marathi films.
After this he concentrated only on marathi cinema and became a well known and successful director of 58 Marathi films. He also wrote stories and screenplays of 14 films. He won many State and Central Government awards. He considered Shantaram as his Guru. Even after being so successful, he worked as an assistant director to Shantaram for his famous film ‘ Pinjara”-1972.
Anant Mane died on 5-10-1995.
In the cast of this film you will find 2 names- Vasant Thengdi and Kusum Deshpande. They were husband and wife in real life. Thengdi was a very handsome person. Vasant Thengadi was born on 11-1-1910 at Nagpur. He was son of Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join the Army, because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome,tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with the film Dhuwandhar-35. ( This was also the Debut film for Leela Chitnis and Meera Alexander). He started doing Villain roles and became popular and famous. Besides Marathi films, his Hindi films were Taramati-45, Phir bhi apna hai-46, Mera Ladka-38, Din Raat-45, Ten o clock-42 etc. Later he also worked as assistant director to Raja Nene.
Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She worked in A.I.R. and some Marathi dramas and films. Her first Hindi film was Ghar ki Rani-40. She also did Charnon ki Daasi-41, Village Girl-45, Wamaq Azra-46 and Zamin Asmaan-46. In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.
After she stopped getting roles in Hindi films, she turned to Marathi films and had a long and fruitful career in it. She was the sister of actress Ranjana, who was Dilip Kumar’s Heroine in film Milan-1946( a bilingual in Hindi and Bangla, made by Bombay talkies).
Today’s song is a duet by Sudhir Phadke and Lalit Deulkar ( after this film they got married on 29-5-1949).
Song-O roop nagar ki raani dekho roothh ke na jaao (Jai Bhim)(1949) Singers- Sudhir Phadke, Lalita Deulkar, Lyricist- Amar Verma, MD-Sudhir Phadke
Lyrics
O roop nagar ki raani
dekho roothh ke na jaao
O roop nagar ki raani
dekho roothh ke na jaao o
roothh ke na jaao
mera jiya na dukhaao
o o
roothh ke na jaao
O roop nagar ki raani
dekho roothh ke na jaao
o o o
prem nagar ke raaja
prem nagar ke raaja
haath na lagaao o
haath na lagaao
jahaan rahe wahi jaao
haath na lagaao
main to jaan gaya
tere man ki batiyaan
o main to jaan gaya
tere man ki batiyaan
bolo kahaan thhe teen din tin ratiyaan
kahaan thhe teen din tin ratiyaan
bolo kahaan thhe teen din tin ratiyaan
kahaan thhe teen din tin ratiyaan
haan
to isliye roothhhi thi meri raani
suno
main to thha Panchal desh mein
jahaan hua Draupadi swayamwar
jahaan hua Draupadi swayamwar
nagar nagar ke raaja aaye
bade dhanurdhar veer dhurandhar
bade dhanurdhar veer dhurandhar
sabne apne dhanush baan ki
vidhya ke kaushal dikhlaaye
vidhya ke kaushal dikhlaaye
par koi bhi chakr beech
machhli ki aankhen bhed na paaye
haay raam
phir kya hua
phir brahman ke vesh mein
aaya Arjun veer
chhaaya dekhi tel mein
diya lakshya ko cheer
tab muskaayi jyun sadi
tab muskaayi jyun sadi
prem ras tabhi laga ??
phir mangal baaje baje
Parth ko varmaala pahnaai
o roopnagar ki raani
aao naacho dhoom machaao
dhoom machaao
o prem nagar ke raaja
aao naacho dhoom machaao
dhoom machaao
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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