Posts Tagged ‘Sulochana Kadam’
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 : |
5312 | Post No. : | 17413 |
Today’s song is a very melodious duet from the film Actor-1951.
The film was directed by Ramjibhai Arya. I could not get any information about him except that he directed 6 Hindi films namely, Hind ke lal-40, Manthan-41, Jungle ki pukar-46, Bhedi Dushman-46, Sher E Bengal-47 and his last film as a director, Actor-1951. The musical score for this film was by 2 MDs – Aziz Hindi aka Aziz Khan and Ibrahim aka Master Ibrahim. There are many films having 2 MDs or even 3 MDs and also an unique case like the film Pathan-1962 which had a record 9 MDs ! (This film has nothing to do with Shahrukh khan’s controversial film Pathan released recently). In almost all cases songs are separately credited to each MD, as it is a Team work. In rare cases we find that a few songs are composed jointly by both MDs and credited accordingly.
In film Actor-51, as many as 4 songs were composed by both MDs together as per HFGK credits. I can understand composers working jointly on a song but I wonder how lyrics can be written by 2 Lyricists together. But in Hindi films this was not a rarity. Actually, a few years back, thinking that this phenomenon was worth discussing, I started finding such songs from the HFGK. After getting names of films where more than 1 lyricist have jointly written songs, like Chandrtalekha-48, Anyaya-49, Sheesh Mahal-50 Hum Log-51, Buzdil-51, Footpath-53, Chandni Chowk-54, Dhobi Doctor-54, Darbar-55, Miss Bombay-57, Changez Khan-57, Pardesi-57…I stopped my search. I realised that this happened in many films and was not a novelty. I cancelled my idea of discussing this matter in my posts.
Connected to these issues is another problem with stories of films like Actor -51. There are many cases in Hindi films, where remakes of earlier films on the same stories are made. As far as Folklore like Laila Majnu or Shirin Farhad or stories from Ramayan and Mahabharat, one can surely understand, but it is very strange why people want to make films on the same stories.
In some cases, in addition to the same stories, even the film titles are the same. The case of actress Sulochana-Ruby Meyers, is unique. She featured in 7 such films where the Titles and stories were the same. Sulochana acted in Anarkali-28, Anarkali-35 and Anarkali-53. She also acted in Madhuri-28 and Madhuri-32. She also acted in Indira B.A.-29 and Indira M.A.-34. Then there was Gunsundari-27 and Gunsundari-48, with different heroines. All these films had the same Titles and same stories.Actually Sulochana became the first ever actress to have worked in 3 films of the same title and story. The first male actor to do this was W.M.Khan who acted and sang in 3 films – Alam Ara-1931, Alam Ara-1956 and Alam Ara-1973. Ashok Kumar also acted in 3 films of the same title – Kangan-1939, Kangan-1959 and Kangan-1972, but here the stories were different.
Then there are other films which have same stories, but different Titles.Some of such films are Panghat-43 and Chitchor-76, Mala-41 and Amar-54 (MD was Naushad for both films and Jayant did the same role in both films), Grihasthi-48 and Ghar Basa ke dekho-63, Malkin-53 and Biradari-66, Aurat-40 and Mother India-57(Kanhaiyalal did the same role in both films) etc etc. There are 100s of such remakes, but I have yet to see a film which mentions it in their credits. One can not forget films like Do dooni chaar-68 and Angoor-82. Here the first hindi film Do dooni chaar was a remake of Bengali film of 1963, ” Bhrantibilas”, which was based on the novel of the same name by Ishwarchandra Vidyasagar who had taken inspiration from Shakespeare’s play ” Comedy of Errors“- which was an adaptation of a play by Plautus “ Menaechmi”. Hope this was atleast the original story !
It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost the same story and Bhagwan was the Hero in all 3 films – Actor-51, Damad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste. Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on the next day i.e. 14-12-51.
The cast of the film Actor -51 was Ramola, Bhagwan,Sunder, Murad, Manchi Thoothi, Violet, Sulochana, Cuckoo and others. Actress Violet was the sister of her more famous actress sister Patience Cooper. Their one more sister Pearl was also in Hindi films. While Patience acted in 34 Talkie films, Violet acted in 16 films and Pearl acted only in 6 films. At the same time there was another set of 3 sisters in Hindi films namely Zubeida- 22 films, Shahzadi-26 films and Sultana-9 films. (actress Mehtab was their step sister who acted in 40 films. Mehtab was Sohrab Modi’s wife.) In later times there were the Travancore sisters – Lalitha, Padmini and Ragini who danced their way into Hindi films. Padmini and Ragini also acted in films.Padmini did 47 films while Ragini acted only in 23 films. Chandralekha-1948 was their first Hindi film.
You will find one name in the cast -Murad. Hardly anyone writes about him. I remember his role of a Land jahagirdar, who gives loan to Balraj Sahni in the film Do Bigha Zameen-1953. Actually finding information on Murad was difficult. Hamid Ali Murad or simply Murad was born at Rampur in Uttar Pradesh in 1911. He was very fair and good looking. He came to Bombay in 1942 to seek roles in films. Mehboob Khan had just established his own studio and Production house and was making his first film Najma. He gave a role to the fair and handsome Murad in the film Najma and thus started his film career with a character role. His career lasted till film Tamacha-1988, All these years he did only character roles. Murad was so fair and tall that ,in those days, many Policemen saluted him as if he was a British person !
Due to his personality, he would be selected for the roles of Judge, Police Commissioner, Badshah or a Maharaja. He was a favourite of producers / directors like Mehboob, K.Asif, Sohrab Modi, Kardar, Nitin Bose, Bimal Roy, K.A.Abbas, M.Sadiq etc, who would cast him in their films. Murad did more than 300 films and in almost 250 films, he did the role of a Judge. That must be a sort of a record,like Iftekhar as Police Commissioner !
Some of his famous films were Andaz, Anandmath, Do Bigha Zameen, Mirza Ghalib, Durgesh Nandini, Heer, Yahudi, Mugha e Azam, Palki etc etc. He fitted perfectly in Costume, Mughal and Historical films. In 1976-77, he became President of Cine Artistes Association. In 1981, he suffered from Paralysis, but continued to work in films till 1988.
Murad died on 24-4-1997, leaving behind a wife, 3 daughters and one son. His son Raza Murad-famous for his voice- is also an actor. ( Thanks to Shri Harish Raghuwanshi ji for information on Murad. )
Today’s duet is sung by Sulochana Kadam ( my favourite singer) and G.M.Durrani. It is very melodious and as usual, Sulochana is very good in this song. Enjoy….
Song- Teri galiyon mein aayee gore rang ki lugaai (Actor)(1951) Singers- Sulochana Kadam, G M Durrani, Lyricist-Nazim Panipati, MD- Aziz Hindi and Ibrahim (joint composition)
Lyrics
Teri galiyon mein aayi
gore rang ki lugaai
zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
mori saasu ji ke chhore
mori nanad ke bhai
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
mujhe tujhse hai pyaar
mujhe aaye na karaar
haaye saari saari raat karoon tera intzaar
mujhe tujhse hai pyaar
mujhe aaye na karaar
haaye saari sari raat karoon tera intzaar
dil deta hai duhaai
mujhe neend na aayi
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
teri galiyo me aayi gore rang ki lugaai
zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
mori saasu ji ke chhore
mori nanad ke bhai
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
jeene dete hi nahin chaahne waale mujhko
chaahne waale mujhko
jeene dete hi nahin chaahne waale mujhko
chaahne waale mujhko
koi naazim(?) se ye kahde ke bacha le mujhko
haaye re bacha le mujhko
mori bainyya ko thhaam
koi kare hai salaam
haaye gali gali ghar ghar huyi badnaam
mori bainyya ko thhaam
koi kare hai salaam
haaye gali gali ghar ghar huyi badnaam
sab kare hain buraai huyi mori ruswaai
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
teri galiyon mein aayi gore rang ki lugaai
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
mori saasu ji ke chhore
mori nanad ke bhai
zara nainon se
o zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
Teri galiyon mein aayi
gore rang ki lugaai
zara nainon se naina milaaye ja
o milaaye ja milaaye ja milaaye ja
Kaali kaali raat hai
Posted on: July 21, 2022
- In: expression of love | Feelings of heart | Guest posts | Missing the loved ones | Missing the opportunity song | Post by Arunkumar Deshmukh | Rare song | Song with incomplete details on HFGK | Songs of 1940s (1941 to 1950) | Songs of 1948 | Songs with missing details in HFGK | Sulochana Kadam songs | Yearwise breakup of songs
- Leave a Comment
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 : |
5116 | Post No. : | 17064 |
Today’s song is from the film Chanda ki Chandani-1948.
The film was directed by Dwaraka Khosla, the lyricist was D.N.Madhok and the music Director was Gyan Dutt.
When I was looking at the cast of this film, my eyes were stuck on one name and a smile came to my face.
From the day films started being made in India, in the first stage, no one was ready to work in films. In the second stage, no one from a respectable family was coming forward to work in films. In the third stage, very few educated people joined the films. However, as the film industry got well established, the picture changed and highly educated people from respectable families joined Cinema world. Not only that, working in films became a matter of prestige. It brought fame and money both ! The film industry attracted all talented people from various places.
Working in films also became an attraction for many producers, directors, lyricists, singers, music directors,cinematographers, choreographers etc. In fact, people who had no direct involvement in the actual role playing too became attracted to be seen on the silver screen. Thus, we find many examples of such ‘ unconnected ‘ film personalities to appear on the silver screen at least once.
Take the case of Music Director S.N.Tripathi, for example. When he joined the film industry through Bombay talkies, for fun, he first did a small role in the film Jeevan Naiya-1936, which was also the first film of Ashok Kumar as a Hero. But after that film, after 10 years, he started acting in films and finally he ended up acting in 83 films in his career, while giving music to 107 films and even directing 10 films ! This is the charisma of films !!. Another example I remember offhand is that of music director Jaikishen ( of Shankar- Jaikishen fame), who appeared as a singer in the film Begunah-1957.
Among lyricists, I remember Dewan Sharar, doing a small role in the film Karma-1933, who ended up appearing in 7 more films in the next 20 years ! Not only this, but even Lata Mangeshkar ( initially as a need), Asha Bhosle, R D Burman etc have appeared on the silver screen. Mukesh and Talat Mehmood had done Hero’s roles too. There could be many such examples and our readers can quote them.
In my younger days ( which was too long ago ! ), I remember Alfred Hitchcock, director of Murder mystery films, had the habit of appearing at least once in evry film that he made, either as a part of a crowd or in a negligible cameo role. During that period, it became a craze all over the world to spot him in his films- which was a difficult task and people saw films many times just to locate him.
All this came to my mind, when I saw the name of Neelkanth Tiwari in the cast of the film Chanda ki Chandani-1948. Tiwari was a well known author and a lyricist in Hindi films. This winner of Sahitya Academy Award, had a penchant for appearing on Silver screen. He appeared in at least 2 films – Apna paraya-1942 and Chanda ki Chandani-1948. He is also said to have appeared along with Dev Anand (with whom he was quite close) in one of his films- name of which I do not know. Not only this he also sang a song in his first film Nirdosh-1941 !
Other members of the cast of this film were Jairaj, Rehana, E.Bilimoria, Moni Chatterjee, Kesari, Veera, Ameer bano etc. The case of E. Bilimoria is strange. He became an actor by accident (reminds me of Motilal and Ranjan too). In the early era of the Talkie films the Bilimoria brothers were very famous. First it was D (Dinshaw) and then came E (Eddie) Bilimoria. Eddie was born at Bilimora,in Gujarat, in 1900. At the age of just 13 years he ran away from house to Kirkee (near Poona), to his uncle, to become a Fireman in Railways. Here, he became a Door keeper in a Cinema house and also learnt operating the film projector. Due to ill health, he was brought to Bombay.
One day he went to Imperial Studio to meet his brother Dinshaw, who worked in films. Mistaking him to be Dinshaw, make-up was done to him and he played a role in the film ‘Punjab Mail’. Then onwards he started working regularly in films. As a Hero his first silent film was ‘Raj Ramani’. He worked as Hero in 7 Imperial films and 10 films of Ranjit Studio. His Heroines were Putli, Shanta, Sultana. Madhuri, Padma, Panna and others. When Talkie films started he was Hero in 32 films made by Ranjit, opposite Gauhar, Shanta, Kamla, Mehtab, Madhuri and Sitara etc. He worked in 15 films opposite Madhuri only. Fencing, shooting and horse riding were his specialties as a stunt Hero. He was the First in India to wear Cowboy dress in stunt films.
Char chakram-32, Miss 1933-33, and Nadira-34 were his Hit films. In the film ‘ Sipahi ki sajni’-36, he jumped into Sea from a flying plane, without duplicate. Daredevil stunts were his hallmark. There were hundreds of stitches on his body. After 1939 he stopped getting Hero roles, so he did other character roles. After 1953, he was reduced to only an Extra. He did acting till 1973 and then took up a job in a Fridge and AC shop. He stayed in a flat in Kemps corner in Bombay. His last days were not very happy. E.Bilimoria died on 18-2-1981 at Bombay.
He acted in 73 Talkie films, directed 1 film ( sone ki chidiya-48) and also sang 4 songs in 4 films. His first film was Radha Rani-32 and last was Honeymoon-73.
( adapted from ‘Inhe na Bhulana’ (in Gujarati) by Harish Raghuwanshi, with thanks.)
Another name of interest was that of Veera. This name too may not be known to many. Veera was from a Parsi family.Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar,a small industrial town(now), in Gujarat. She started her career in films as a Heroine opposite Nasir khan in the film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok Kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.
Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.
She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and ex husband of actress Neena (Shaheeda). After the marriage, both migrated to Pakistan in 1955. No news after that.
Today’s song is a good one, sung by Sulochana Chavan and B. Hussain. I do not know who this B. Hussain was. HFGK mentions the singer of this song as Geeta Roy, but the names on the actual gramophone record are different. This song and the record photo was uploaded by Jaffer Bhai. Thanks to him for this rare song. Let us enjoy this duet – which is the 7th song of this film to feature on this Blog.
Song- Kaali kaali raat hai (Chanda Ki Chaandni)(1948) Singers- Sulochana Kadam, B Hussain, Lyricist- D N Madhok, MD- Gyan Dutt
Both
Lyrics
kaali kaali raat hai
kaali kaali raat hai
gar saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
gar saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
kaali kaali raat hai
lo ghir ghir baadal aa gaye
aa morey raaja
hum ghabra gaye
lo ghir ghir baadal aa gaye
aa morey raaja
hum ghabra gaye
tu to ghabra gayi
mera dhadke hai dil
tu to ghabra gayi
mera dhadke hai dil
tu makkhi ban ke
kabootar ban ke
o sajni aa ke raat beeti jaat hai
raat beeti jaat hai
per maa teri so jaaye to kya baat hai
per saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
kaali kaali raat hai
jo main jaanti
saasu ka raaz ghar mein hoga
jo main jaanti
saasu ka raaz ghar mein hoga
kabhi na aati
kunwaari hi rah jaati
jo main jaanti
saasu ka raaz ghar mein hoga
kabhi na aati
kunwaari hi rah jaati
jo main jaanta
meri dushman hai meri maata
jo main jaanta
meri dushman hai meri maata
zehar ka pyaala pee ke
kabhi ka mar jaata
jo main jaanta
meri dushman hai meri maata
zehar ka pyaala pee ke
kabhi ka mar jaata
udhar padi to khabardaar
ye last hai
kaali kaali raat hai
kaali kaali raat hai
per saas teri so jaaye to kuchh baat hai
per maa teri so jaaye to kya baat hai
kaali kaali raat hai
kaali kaali raat hai
Kyun pareshaan huye
Posted on: March 13, 2022
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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Blog Day : |
4986 | Post No. : | 16874 |
Today 13th March 2022 is the eighty-nineth birthday of Singer Sulochana Kadam (DoB 13th March’1933) who later became Sulochana Chavan.
I think she has sung many songs during the ‘golden period’ of HFM, but the total number of songs sung by her is yet to be determined. However, the blog so far has sixty-three songs containing her voice.
She had also sung many famous and popular ‘laavanis’ in Marathi Film Music and that is why she is popularly known as the ‘Laavni-samradhni’ in Marathi music.
Today on her birthday I am presenting a song from the movie “Baabuji-1950” which is lying with us since long. Incidentally I had presented a song from the same movie on her birthday last year in ‘2021’.
“Baabuji” or ‘Babooji’ was directed by Bhagwan for ‘Uday Productions, Bombay’.
It had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami and others.
This movie had nine songs written by Ehsaan Rizvi and composed by music director P. Ramakant (i.e., C. Ramchandra ji).
HFGK Vol-II (1941-1950) lists the songs of this movie as given below; (in order of their appearing on this movie (Babooji-1950) page in HFGK)
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Saawanwa umdaa aaye ho | Sulochana Kadam | 13.03.2021 |
| 02 | Baat meri maan lo ji, baat meri maan lo | Sulochana Kadam,Anna Saheb | |
| 03 | Milne nahin paate hain naina lachaaye huye | Sulochana Kadam | |
| 04 | Zaraa sunte jaana ho do dilon ka afsaanaa | Sulochana Kadam,Anna Saheb | 23.08.2013 |
| 05 | Nazar se nazar lad gayi | Sulochana Kadam | 12.09.2018 |
| 06 | Rewdiyaan hain rewdiyaan | Sulochana Kadam,Anna Saheb | |
| 07 | Kyun pareshaan huye | Sulochana Kadam | Being presented today |
| 08 | Jo bigad gayi wo qismat hoon | Sulochana Kadam | 22.11.2017 |
| 09 | Gorey gorey mukh se jo ghoonghat hataawjo | Anna Saheb |
So far, four songs from this movie “Babuji-1950” have been posted on the blog. Today’s song is the fifth song from this movie to be posted on the blog.
Let us hope that we get all the songs from this movie here on the blog as early as possible. 😊
Let us now listen to today’s lovely song and wish a very happy birthday to Sulochana Kadam and our wishes for her healthy and peaceful life ahead.
Song-Kyun pareshaan huye (Babuji)(1950) Singer-Sulochana Kadam, Lyrics-Ehsan Rizvi, MD-P Ramakant (C Ramchandra)
Lyrics
Kyun pareshaan huye
Kyun pareshaan huye ae
Hamne dekha jo tumhe
Kyun pareshaan huye ae
Man ke bhi ee
Meet bane ae
Dil ke bhi mehmaan huye
Ae ji dil ke bhi mehmaan huye
Kyun pareshaan huye
Hamne dekha jo tumhe
Kyun pareshaan huye
Ik nazar dekh liya
Aa aa aa aa aa
Ik nazar dekh liya
Ismein kya meri khataa aa aa
Kuchh bigaada to nahin
Apna hi nuksaan kiya
Apna dil tumko diya
Apna dil tumko diya
Dil ke tum armaan huye
Ae ji dil ke tum armaan huye
Kyun pareshaan huye
Hamne dekha jo tumhe
Kyun pareshaan huye
Munh se kuchh kehte nahin
ee ee ee ee ee
Munh se kuchh kehte nahin
Dil mein jo kar jaate ho
Jaane kya baat hai
Reh reh ke jo yaad aate ho
Din bhi kuchh aise nahin
Din bhi kuchh aise nahin
Beete hain pehchaan huye
Ae ji beete hain pehchaan huye
Kyun pareshaan huye ae
Hamne dekha jo tumhe
Kyun pareshaan huye
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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Blog Day : |
4912 | Post No. : | 16729 |
Today’s song is from the film Raja Harishchandra-1952.
The story of Raja Harishchandra is prominent in Hindu culture for being a Satyawadi king, who made big sacrifices to stand by his word given to a sage, though in a dream. Most people in the age group of 50 and above possibly must have read his story in their childhood. This was not only a popular story for children but even the Hindi film makers loved this story.
The very first silent feature film made in 1913 by Dadasaheb Phalke was on this story. From 1913 onwards there were 5 silent films made on this story, in the years 1913, 1917,1924, 1928 and 1929. After the Talkie films started, in the first year itself, i.e. in 1931, there were 2 films made on this story. The first was Harishchandra-1931 made in Bombay by Krishnatone film co. and the other was Satyawadi Raja Harishchandra-1931 made in Calcutta by Madan Theatres. Following is the list of films on this story….
1931- Harishchandra
1931- Satyawadi Raja Harishchandra
1932- Ayodhya ka Raja ( Hindi version of the First Marathi Talkie ” Ayodhyecha Raja”, by Prabhat Films )
1952- Raja Harishchandra
1958- Harishchandra
1963- Harishchandra-Taramati
1970- Harishchandra Taramati
1979- Raja Harishchandra
These are Hindi films. There were several films in Regional languages too. In the last 30 years or so, I am not aware of any mythological or religious films made in Hindi – though regional languages keep on making such films. Perhaps Hindi filmmakers have become too ‘ Secular’ to make religious films !
Film Raja Harishchandra-1952 was made by Trivedi productions, owned by Chimanlal Trivedi. He was a producer of a different kind. He founded many production houses, starting with the famous CIRCO Productions – which was sold to A.R.Kardar in 1942 to make his own Kardar studio. Kardar was a paid director in this company.
Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !
Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.
He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.
He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani Mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !
C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon, Sharafat, Bhagya Laxmi, Kadambari, Tamanna, Inkaar, Mohabbat,Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, K C Dey, Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.
In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.
It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !
My today’s post will be my last post in this year – 2021. I have written 121 posts in this year, from January 2021 till this one. This is much faster than my 95 posts written in 2020. I had reached my Landmark post no. 1000 on 18-8-2021. Forget the number of posts I write, the sheer joy I get in writing about old films and music can not be measured. The credit for my writing goes to ATUL ji and our readers of this Blog. This Blog has achieved an unique position in the Blogosphere for its consistency, accuracy, credibility and variety of information available – unrestricted to any and everyone interested in old films and music. It is a matter of Pride for us to be one of the contributors here. Thank you, ATUL ji.
Most of us who had read the story of Raja Harishchandra in our childhood may not be remembering it fully now. So, here is the story of the film Raja Harishchandra-1952….
Truth alone shall succeed in the end. For, Truth alone can keep the world stable. From times immemorial, torch-bearers of Truth have blazed the trail of human progress. Such one was Harishchandra, the King of Ayodhya. . Child Harischandra flowered into a handsome youth on the bough of royal luxury. The young heart fell for Princess Taramati of Mithila. Every full moon saw the young hunter Harischandra making his way to the forest to meet his love, Taramati.
On one such occasion, the lovers lost their track in the darkness of the heavy bursting clouds and wandered to the ashram of a blind Brahmin sage Sachchidanand, who gave them shelter for the night. Next morning came the time to take leave; but Harishchandra could not feel like leaving the ashram until he knew his future from the lips Sachchidanand, the miracle of whose astrological powers, he was fortunate to see. Sachinanand tried to dissuade Harishchandra from his thoughts but Harishchandra insisted upon knowing his future. Helpless Sachidanand had to foretell what lay in store in the future of Harishchandra. . “The married life of Harishchandra and Taramati shall be a hard one”. What a rude shock to the great lovers.
Harishchandra did his utmost to persuade Taramati away from her decision of marrying him. But how could Taramati be happy without Harishchandra? So Harishchandra and Taramati were married. The father of Harishchandra refused to believe in the words of Sachchidananad and put him behind the bars. . Destiny has its way with human beings. In spite of everything, Harishchandra could not find peace with himself. The shadows of the coming events made him restless. The words of Sachchidanad started taking shape. This development was too much for the old father of Harishchandra to bear. He broke down under its weight and died a miserable man.
This completely unnerved Harishchandra and took him to the feet of Sachchidanand seeking his advice in saving himself and his family from ruination. . Sachchidanad impressed upon him the greatness of Honesty and Karma, and asked him to practice Truth.
When Harishchandra accepted and started practicing the doctrine of Truth, Indra, the King of Gods, was greatly shocked. For, a mere human being like Harishchandra had started on his path to Godliness by practicing Truth and might one day unseat the Gods! . Sensing this great danger, Vishwamitra decided to put Harishchandra on severe trials, with a view of forcing him to commit breaches in his practice of Truth. He thought of the most ruthless snares to catch Harishchandra unawares. Next day he went to the king and asked him to donate all his kingdom, which the king had promised him in the sage’s dream. Satyavadi Harishchandra donates the kingdom, sells his wife and son to a Brahman and self to a guard of Shamshan, in order to collect Dakshina amount.
After a few days,his son dies of snake bite,but there is no money to pay tax for cremation. Taramati sells her Mangalsutra and pays to Harishchandra, the Shamshan Guard to cremate their son. Seeing all this, the Gods descend and make his son alive,return all his kingdom and give the family a place in Heaven. Thus Truth alone triumphs.
The cast of the film was Sumitra Devi, Prem Adeeb, Gope, Lalita pawar, Tiwari, Kammo and many others.Film’s 6 songs were written by Bharat vyas, Ramesh Gupta, Gulshan and qamar Jalalabadi and the music was by Husnlal-Bhagatram. 5 songs of this film were already discussed. Today’s song is the 6th and final song here, making the film an ” YIPPEE” film.
Here is wishing our readers a very Happy and prosperous New Year – 2022 !
Song- Khushiyan manaao aaj deepak jalaao aaj(Raja Harishchandra)(1952) Singers- Sulochana Kadam, Satish Batra, Lyricist- Not known, MD- Husnlal Bhagatram
Lyrics
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
o o o o
o o o o
suno suno suno saajna tumhen sikhaaun naachna
suno suno suno saajna tumhen sikhaaun naachna
aaj naache mora ang ang re
aaj naache mora ang ang re
naacho naacho chham chhama chham chham chhama chham
naacho naacho chham chhama chham chham chhama chham
jhoom jhoom gaao aaj masti lutaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
sajan ke
saajan ke sang sang naacho sajaniya
o o o o
o o o o
o o o o
dekho dekho dekho saanwri huyi khushi se baawri
dekho dekho dekho saanwri huyi khushi se baawri
man bhi naache paayal ke sang re
man bhi naache paayal ke sang re
khelo khelo khelo more baalma
khelo khelo khelo more baalma
raas rachaao aaj
rang udaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
o o o o o
o o o o
hato hato hato saanwre
chhedo na sabke saamne
hato hato hato saanwre
chhedo na sabke saamne
mukhde ka ud na jaaye rang re
mukhde ka ud na jaaye rang re
jaao jaao jaao more baalma
jaao jaao jaao more baalma
dil ko na jalaao aaj
aankhen na churaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
Kalkatte se aaya jahaaz
Posted on: September 3, 2021
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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4795 | Post No. : | 16555 |
Today’s song is from the film Actor-1951.
Four songs of this film are already discussed here, however I liked this funny song, so I selected this song for today’s post. The film made under the banner of Sarosh Pictures, Bombay was produced by H.M.Kerawala and Bhojani. The film was directed by Ramjibhai Arya. He came to Talkie films from silent films. After working as an assistant to a few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.
The music was by Aziz Khan and Ibrahim. In my last post, I had given Asha Bhosle’s song from the film ‘ Andhon ki Duniya’-1947 as an example how the film industry history adapts itself to make corrections in its earlier information. By sheer coincidence, even in this post also a film industry history adaptation example is present.
Ibrahim, the joint MD in this film as well as two other films- Utho Jaago-1947 and Bachelor Husband-1950 was considered to be the brother of Ghulam Mohd. MD. This Ibrahim worked as assistant to Naushad for a long time, after Ghulam Mohd. expired. For many years these 3 films were credited to his name. Even author Pankaj Raag, in his book ” Dhunon ki Yatra’ Mentioned the same thing.
However while working on the book on the Clarinet Expert Master Ibrahim, Dr. Surjit Singh ji had interviewed Iqbal Ajmeri-Master Ibrahim’s son, who had confirmed that the MD for these 3 films was Master Ibrahim and not Ibrahim, brother of Ghulam Mohd. After reading this in that book, just to confirm this, I wrote to shri Harmandir Hamraaz ji about my doubt. He promptly replied that he too had met and interviewed Iqbal Ajmeri- who was an expert in Music history of the Hindi films, had also confirmed that these films had music by Master Ibrahim only. Thus, one more correction in the history pages !
A lot has been written about Aziz khan on this Blog, by me as well as Sadanand Kamath ji, so I will not go into that again here. Instead, here is a note on Master Ibrahim, the expert Clarinet player who was the joint MD for today’s film.
Film critics and those who wrote in glossy magazines ignored stunt and action films, but a certain portion of the Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.
The Music Director of this type of film was also one such person – Master Ibrahim, who did only 2 films as independent MD. He, however, gave music, along with Aziz Khan to film “ Utho Jaago-1947″, Bachelor Husband-1950 with Sarswati Devi and film Actor-1951, with Aziz Hindi. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.
For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.
His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.
In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Ragas on Clarinet as per time of the day or night.
He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.
He played not just the Clarinet, but also played the Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.
Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnai etc is remembered even today. Every year Radio Ceylon pays tributes to him on his death anniversary on 20th September by playing only his records.
He had 3 sons, who all are in the Music industry. They are experts in Vibraphones. Its use is very frequent in films nowadays.
Recently, Dr.Surjit Singh ji has published an exclusive book on Master ibrahim.
( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).
The cast of the film Actor-51 was Ramola, Bhagwan, Indumati, Sundar, Murad,Sulochana Cuckoo and many others. It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost the same story and Bhagwan was the Hero in all 3 films – Actor-51, Damad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.
Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on the next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.
Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no mainstream Heroine was ready to work in his film and he could not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !
The Lyricist of all the 10 songs was Nazim Panipati, who was the brother of Wali Saheb, a producer and Director of the 40’s. Wali Saheb was the husband of actress Mumtaz Shanti. They both migrated to Pakistan, but Nazim Panipati stayed in India. In the cast one name Indumati is there. This is a less known name for most readers, I feel. INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.
Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.
Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.
While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), Actor-(1951), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.
Today’s song is a good one, sung by Sulochana Kadam and Chorus.
Song-Kalkatte se aaya jahaaz haay sakhi mere balam nahin aaye re (Actor)(1951) Singer- Sulochana Kadam, Lyricist- Nazim Panipati, MD- Aziz Hindi and Ibrahim
Chorus
Lyrics
kalkatte se
ae ji
kalkatte se aaya jahaaz
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
sabke balam aaye
mere na aaye
mere na aaye
ek ek se poochha sakhi
koi na bataaye
koi na bataaye
? ho ae ji
? ho mere mijaaz(?)
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
baalam jo aate to laate wo mundri
laate wo mundri
baalam jo aate to laate wo mundri
laate wo mundri
aur saath laate wo resham ki chundri
haaye resham ki chundri
mujhe sakhiyon mein
ae ji mujhe sakhiyon mein aati hai laaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kaise bhulaaungi kaise bhulaaaungi
main unke gham ko
haaye main unke gham ko
mere dil pe hai
ae ji mere dil pe hai beeta hai aaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se
ae ji kalkatte se aaya jahaaz
Sau baar miley mil kar bichhde
Posted on: August 20, 2021
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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4781 | Post No. : | 16534 |
“Chhoti Duniya”(1953) was produced by D M Sheth and directed by Uday Kumar for Meera Productions, Bombay. This movie had Uday Kumar, Leela Kumari, Shiela Naik, Nannu, Ranjeet, Ashwin Roy, B Lalwani, Moolji Khushal, Babu, Chandar etc in it.
This little known movie had seven songs in it. Two songs have been covered in the past.
Here is the third song from “Chhoti Duniya”(1953) to appear in the blog. This is a mlncholic song which is sung by Sulochana Kadam. Bekal is the lyricist. Music is cmposed by Rajhans Kataria.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This song is the 500th song from movies of 1953 to be covered in the blog.
Song-Sau baar mile mil kar bichhde (Chhoti Duniya) (1953) Singer-Sulochana Kadam, Lyrics-Bekal, MD-Rajhans Kataria
Lyrics
sau baar miley mil kar bichhde
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
har baar sunaana ji chaaha
har baar sunaana ji chaaha
par dil ka haal suna na saki
par dil ka haal suna na saki
sau baar miley
teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
kayi haar piroye tere liye
kayi haar piroye tere liye
main ek tujhe pahna na saki
main ek tujhe pahna na saki
sau baar miley
dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
phaldaar hua to ae kismat
phaldaar hua to ae kismat
main uska bhi phal kha na saki
main uska bhi phal kha na saki
sau baar miley
wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
main ujdi hui haay
main ujdi hui tere kadmo mein
ik chhoti si duniya bana na saki
ik chhoti si duniya bana na saki
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
sau baar miley
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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4769 | Post No. : | 16518 |
Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.
The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.
Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.
In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.
LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.
The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.
And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.
At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.
Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-
Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.
Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.
With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)
After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped completely.
Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.
I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com
” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.
Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.
The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “
Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –
| S No | Phase | Period |
|---|---|---|
| 1 | Independence and growth | 1947-1958 |
| 2 | The Golden Age of Pak Film Music | 1959-77 |
| 3 | The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) | 1977-88 |
| 4 | Politics,Islamisation and downfall | 1979-87 |
| 5 | Collapse | 1988-2002 |
| 6 | Decline | 2002-2009 |
| 7 | New wave and Hopes | 2010 onwards |
Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.
Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.
Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.
After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).
Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.
Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.
Rasheed Attre passed away on December 18, 1967, at the age of 48.
Today’s song is sung by Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.
Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both
Lyrics
Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana
jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
Meri bhaabhi ne bheja sandesa
Posted on: April 20, 2021
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“Bhaagyawaan”(1953) was produced by Mahipatre Shah and Anoopchand Shah and directed by Datta Dharmadhikari for Roopkamal Chitra, Bombay. The movie had Nirupa Ror, Raja Nene, Radhakishan, Yashodhara Katju, Ratan Kumar, Qamar, Baby Mala, Alhad, Balraj, Shakuntala etc in it.
THis “social” movie had five songs in it. Two songs have been covered in the past.
Here is the third song from “Bhaagyawaan”(1953) to appear in the blog. This song is sung by Sulochana Kadam and Madhubala Jhavery. Saraswati Kumar Deepak is the lyricist. Music is composed by Avinash Vyas.
Only the audio of the song is available. My guess is that Nirupa Ray has played the Bhabhi in this movie and lip synced in Madhubala Jhavery’s voice in this song. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Meri bhaabhi ne bheja sandesa (Bhaagyawaan)(1953) Singers-Sulochana Kadam, Madhubala Jhavery, Lyrics-Saraswati Kumar Deepak, MD-Avinash Vyas
Lyrics
meri bhaabhi ne bheja sandesa
jiya jhoom jhoom jhoom kar gaaye
kaun duniya mein hoga mujh jaisa
jiya room jhoom kar gaaye
jiya rom jhoom kar gaaye
meri bhaabhi kitni achchi
kitna laad ladaati
paas nahin hoti hai mere
mujhko nahin rulaati
meri bhaabhi ka
o meri bhaabhi ka, pyaar ye hai kaisa
nahin meri samajh mein aaye
meri bhaabhi ne bheja sandesa
jiya room jhoom kar gaaye
jiya room jhoom kar gaaye
bhagwaa aa aa aa aan
bhagwaan bhed ye kaisa
nahin meri samajh mein aaye
ek hi dharti
ek hi ambar
ek hi jeev banaaye
ek abhaaga ek saubhaaga
ek hi seep ke moti
ek daal ke do phoolon ko, duniya kahaan pe roki
ek koi maathe par rakhta, ek koi thhukraaye
nahin meri samajh me aaye
bhagwaa aa aa aa aa aa aan
mujhe bulaayegi meri bhaabhi
degi doodh katore
degi doodh katore
mujhe sulayegi meri bhaabhi
suna suna kar lori,
suna suna kar lori
bhaag ki toone khoob banaai dori
kahin hansaaye kahin rulaaye
baat na jaaye todi
bhookha nanha munna kaise
apna man bahlaaye
pankh nahin hai jo ud jaati
devar mujhe bulaaye
mera devar mujhe bulaaye
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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