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

Posts Tagged ‘Ulhas


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

Blog Day :

4801 Post No. : 16567

‘Parbat Pe Apna Dera’ (1944) was V Shantaram’s second film under his banner, Rajkamal Kala Mandir following a tremendous box office success of his first film ‘Shakuntala’ (1943). The film was released on August 8, 1944. The starcast included Vanmala and Ulhas in the lead roles supported by Shantarin, Madan Mohan, Kanta Kumari, P L Samant, Vijaya, Baby Nalini etc.

The lead actor of the film, Ulhas (real name: M N Kaul) had switched over to character actor’s roles when I started watching films in the theatre. So, it was a new experience to me when I first saw his performance as a lead actor in ‘Basant’ (1942) about 6-7 years back after which I saw his performance in the lead role in ‘Parbat Pe Apna Dera’ (1944). I have noted that Ulhas had worked in some films under V Shantaram – ‘Wahaan’ (1937), ‘Dr Kotnis Ki Amar Kahani’ (1946), ‘Dahej’ (1950), ‘Surang’ (1953), ‘Toofaan Aur Diya’ (1956), ‘Do Aankhen Baarah Haath’ (1957), ‘Navrang’ (1959) and ‘Sehra’ (1963).

Ulhas’s connection with V Shantaram goes back to 1937 when he left his home town, Ajmer and reached Pune to try his luck as an actor. He met his fellow Kashmiri, Chandramohan who has become a well-known actor in Prabhat Film Company. He helped Ulhas in getting a side role in ‘Wahaan’ (1937) in which Chandramohan was a lead actor and V Shantaram was the director. After this, there was no looking back for Ulhas. He acted in over 150 films during his active filmy career of over 3 decades.

V Shantaram who had been making films with progressive themes like in ‘Duniya Na Maane’ (1937). ‘Aadmi’ (1939), ‘Padosi’ (1941) etc, chose a different theme for the film which he had not handled in his previous films. The theme was an unusual romance between an ascetic with a hilltop as his abode sans the worldly pleasure and a blind heiress staying in her palatial home. I have watched the film a couple of months back. The story of the film is as under:

Sadhu Ram Das (Ulhas) has renounced the world and made a hill top his abode Just below his hilltop abode is a Shiva temple. Meera Devi (Vanmala) an heiress who has lost her eyesight in the childhood, often visit Shiva temple along with her father (P L Samant) and her maid (Shantarin) to seek the blessing for curing her eyesight as modern medical science has not been able to restore her eyesight.

During one of her visits to Shiva temple, Meera Devi hears a singing voice from a distance which happens to be that of Sadhu Ram Das. Meera Devi is eager to visit the place to see the singer. Sadhu Ram Das does not like people visiting him as they distract his concentration during the prayer. First, he discourages her to come near him. But finding Meera Devi blind, he offers to cure her blindness within six days through his herbal eye drops.

On the sixth day, Meera Devi’s eyesight is restored. Now she wants to become a devotee of Sadhu Ram Das to serve him in his daily routine. But Sadhu turns her away as he does not want to get affected in his prayer and the concentration. After she leaves, Sadhu Ram Das is restless and feels her absence. Hence, when Meera Devi starts visiting his abode to help him in his daily routine, he does not object her presence. Slowly, he tastes the luxury of someone doing the work for him.

Meera Devi’s daily visit to the abode of Sadhu Ram Das creates a flutter among other sadhus staying nearby. She suggests Sadhu Ram Das to shift to her palatial residence which after some hesitation, he agrees. He soon gets used to the luxuries of life. He shades his beard and sadhu’s outfits. He starts flirting with Meera Devi and soon they get married.

After marriage, Sadhu Ram Das becomes Ram Babu who suddenly develops taste for enjoying the company of other ladies. During a boat ride with Meera Devi, he gets attracted towards a courtesan who is singing in her own boat. He clandestinely visits her boats every day and enjoy her company with wine. During one of his such visits, he is caught red-handed by Meera Devi’s father but decides not to tell his daughter after Ram Babu promises not to repeat the mistake.

Ram Babu’s addiction for the company of females results in breaking his promises to his father-in-law and flirts with a florist in the vicinity of his home itself. He is once again caught red-handed by Meera Devi who is hurt by his behaviour. She debars him from entering her home.

Now that his wife knows about his weakness for women, he now openly flirts with women during the Navratri festival. On the Dusshera day, he flirts with one of Meera Devi’s friends (Kanta Kumari) and attempts to molest her. To save herself, she throws a burning cracker towards Ram Babu which hits him in his eyes resulting in blindness.

When Meera Devi comes to know about the incidence, she goes with her father in search of him. Eventually, they find him in his hilltop abode. Meera Devi suddenly remembers his magic herbal eye drop bottle which she retrieves from his cave. Alas, on the way, it falls and bottle is broken. Finally, it is the continuous ringing of the temple bell by both Meera Devi and Ram Babu which restores his eyesight.

Most of V Shantaram’s films have some message to the society and ‘Parbat Pe Apna Dera’ (1944) is no exception. In the film, he sets out the message that it does not take much time for ascetic to turn hedonist. Afterall, an ascetic is also a human and is subject to the temptation of the worldly pleasures which are addictive in nature. The title of the film did make me hesitant to watch the film. But once I began to watch, the film unfolded like a smooth sailing.

There is nothing much in the story by Diwan Sharar. In fact, the story’s end is a tame affair. But his dialogues are crispy. It is V Shantaram’s direction which makes the story visually interesting. There are a few brilliant streaks of symbolisms in his direction. For instance, the ascetic’s abode on a hilltop conveys that his status is on a high pedestal. When he decides to shift to Meera’s palatial home on the plains and is walking with her to come down, a big bolder with accompanying rocks and stones roll down symbolising that the ascetic is walking down to a lower status to become a householder.

On the performances of the actors in the film, only 4 actors have a large screen presence – Ulhas, Vanmala, Shantarin and Madan Mohan (not to be confused with music director, Madan Mohan). All the four have given a good performance.

Another plus point of this film is the musical compositions of Vasant Desai. Most of the songs have pleasing tunes and good orchestrations which have been nicely picturised. All these three elements of the songs put Vasant Desai’s music being ahead of its time.

So far, six songs (out of 9) have been covered in the Blog. I am presenting the 7th song from the film, ‘sapanon mein aane waale’ rendered by Khan Mastana. The song is written by Diwan Sharar which is set to music by Vasant Desai.

The song is picturised on Ulhas who, after renouncing from asceticism and marrying Vanmala, has become a playboy. He sings this song during a festival gathering to attract female participants.

Video Clip:

Audio Clip:

Song-Sapnon mein aanewaale hamko jaga rahe hain (Parbat Pe Apna Dera)(1944) Singer-Khan Mastana, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

aaa aa aa aa
aa aa aa
aa aa aa aaa

sapanon mein aanewaale
sapanon mein aanewaale
hamko jagaa rahen hain
hamko jagaa rahen hain
ham jinko dhoondhte thhe
ham jinko dhoondhte thhe
wo khud bula rahen hain
wo khud bula rahen hain

mehmaanon ki hai raunaq
mehmaanon ki hai raunaq
taanta sa lag raha hai
taanta sa lag raha hai
do chaar jaa rahen hain
do chaar aa rahen hain
do chaar jaa rahen hain

hairaan hain nighaaein
hairaan hain nighaaein
kya chaahen kya na chaahen
kya chaahen kya na chaahen
wo kuchch dikha rahe hain
aur kuchch chhupa rahe hain
aur kuchch chhupa rahen hain

doley ae
doley hain mann ki naiyya
doley ae
doley hain mann ki naiyya
aur bekhabar khaiwaiyya
aur bekhabar khaiwaiyya
bhooli huyi dagar mein aen
bhooli huyi dagar mein
ham dagmaga rahe hain
ham dagmaga rahe hain
sapanon mein aanewaale
hamko jagaa rahe hain
ham jinko dhoondhte the
wo khud bula rahe hain
sapanon mein aanewaale ae


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

Blog Day :

4727 Post No. : 16442 Movie Count :

4463

Wadia Movietone has been one of the well-known Hindi film production companies which was set up by Wadia Brothers – J B H Wadia and Homi Wadia in the late 1920s. Wadia Brothers’ partnership continued till 1942 when the brothers decided to split with Homi Wadia forming Basant Pictures while J B H Wadia continue to produce films under his own name.

Recently, I came to know that there was one more Wadia in Hindi film industry as a producer under his banner D R D Productions. I was aware of this banner but was not aware that it belonged to D R D Wadia, fondly called as ‘Daddy Wadia’ in the film circle. He was Bar-at-Law, an industrialist, an amateur photographer and the radio enthusiastic of international repute. I have seen some of the photographs taken by him in the 1940s including a few with Mahatma Gandhi on the Google Photos.

D R D Wadia set up his film production company, D R D Productions in 1942 almost at the same time when V Shantaram was setting up his Rajkamal Kala Mandir. Another coincidence was that D R D Productions maiden film, ‘Ishaara’ (1943) and Rajkamal Kala Mandir’s maiden film, ‘Shakuntala’ (1943) had the same writer – Dewan Sharar. While ‘Ishaara; (1943) was adapted from Dewan Sharar’s internationally well-known novel ‘The Gong of Shiva’ (1935), the screen-play and dialogues for ‘Shakuntala’ (1943) was written by Dewan Sharar.

After the box office success of ‘Ishaara’ (1943), D R D Productions produced ‘Aaina’ (1944), ‘Nek Parveen’ (1946) and ‘Pati Seva’ (1947) which seems to be the last film produced by the banner.

‘Nek Parveen’ (1946) was directed by S M Yusuf. The star cast included Ragini (Sr.) and Ulhas in the lead role with W MKhan, Yakub, Yashodhara Katju, Mirza Musharaf, Kumar, Nazir Kahsmiri, Shakir in the subsidiary roles. It was a Muslim social film, a love triangle. The story, screen-play, dialogues and songs were written by Waheed Qureshi.

Surprisingly, the film is available for viewing on one of the video sharing platforms on the internet. The lead actress, Ragini has been known for her tear-jerking performances just as Nimmi got branded as such in the 1950s. So, before watching the film ‘Nek Parveen’ (1946), I was sure that it would have a tear-jerking story. The film was released on June 14, 1946 in Mumbai’s Novelty theatre. The story of the film is as under:

Afzal (Ulhas), Shaukat (W M Khan) and his crony Nabbu (Yakub) are friends. They often meet to play cards and gamble in Shaukat’s gambling den. Both Afzal and Shaukat love Parveen (Ragini). Except for card gambling as his vice, Afzal is a good person while Shaukat has all the bad vices and is also the leader of the gang of gamblers and drunkards. The elders in Parveen’s family had already approved Afzal as a husband of Parveen.

Shaukat is not happy about Parveen getting married to Afzal. So, with the help of Nabbu, he devises a plan to make Afzal a vagabond person in the eyes of Parveen and her aunt. Both of them make him a habitual drunkard and a visitor to a courtesan. Afzal’s newly acquired vices are resented by Parveen’s aunt. After some initial hesitation, Parveen’s aunt, who has looked after her after the death of her father, agrees for the marriage of Parveen with Afzal. Their married life is smooth. But Shaukat is bent upon spoiling their married life.

With the help of Nabbu, Afzal is induced to gambling and drinking in Shaukat’s gambling den. In the process, Afzhal loses all his money. Even his palatial house is mortgage to Shaukat. In the gambling den, a heated argument between Shaukat and his friend, Munir results in the death of the latter. The murder is falsely pass on to Afzal who was found drunk near Munir’s dead body. When Afzal realises the seriousness of the situation, he runs away from the den before the police forces arrive. To wood wink the chasing police forces, Afzal boards a running train to Mumbai. In the train, he meets one businessman( Kumar) who offers him employment.

In the meanwhile, Parveen’s aunt dies leaving her alone with a kid to fend herself. The trusted servant, Thasin (Shakir) looks after Parveen and her child with his meagre savings. Afzal is untraceable to the police and after some time, he is presumed dead as a dead body was found under the same train in which he was travelling.

Shaukat is trying to win over Parveen and persuade he to marry him. But she is not interested in the marriage. Afzal with his new employer in Mumbai performs well and over a period of time, he becomes financially well off. Once he visits his house incognito and finds that Shaukat has kidnapped Parveen and the child. Afzal visits Shaukat’s den incognito where Shaukat is forcing Parveen to accept nikah with him. In this effort, Nabbu refuses to help Shaukat and in a fit of rage, Shaukat kills Nabbu. Some one from the den informs the police about the murder of Nabbu. Before, the police arrive, Shaukat is overpowered by Afzal and is handed over to the police. Afzal and Parveen are united.

‘Nek Parveen’ (1946) has 7 songs written by Waheed Qureshi which have been set to music by Feroz Nizami.

I am presenting the film’s first song ‘sun le meri iltija, sun le khuda meri dua’ to appear on the Blog which is sung by Zeenat Begum. The song is picturised on Ragini who has preferred Zeenat Begum’s voice in most of her films in which she had lead actress roles. Ulhas is also seen in the picturization of the song.

This is a ‘iltija’ (prayer) song which Ragini sings after her marriage with Ulhas for the well being of their married life. A feature of this song is that there is no interlude music. I like the song’s soft musical composition and Zeenat Begum’s rendition.

With this song, ‘Nek Parveen’ (1946) makes its debut on the Blog.

Video Clip:

Audio Clip:

Song-Sun le tu meri iltija (Nek Perveen)(1946) Singer-Zeenat Begam, Lyrics-Waheed Qureshi, MD-Feroz Nizami

Lyrics

sun le tu meri iltija
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
lamba safar hai zindagi
ham do musaafir ajnabi
lamba safar hai zindagi
ham do musaafir ajnabi
bhool naa jaayen raasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua

ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
tujhko nabi kaa waasta
tujhko nabi kaa waasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua

jhoole kushi ke jhoolen ham
paas naa aaye koi gham
jhoole khushi ke jhoolen ham
paas naa aaye koi gham
tu meharbaan rahe sada
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua


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

Blog Day : 3855 Post No. : 14868

Today’s song is a surprise item. Just when we were ( atleast I was) feeling that all available film songs of Noorjehan are covered in the Blog, I came across this song. As a Bonus, even the complete video of this song was traced by me. For a long time, only a short clip of the song was available, but now you can enjoy the full video too.

The song is from film Lal Haveli-44. The film was made by Bombay Cinetone of K.B.Lal, the producer and director of the film. It seems the finance for this film was provided by one Rooplal Mehra, as per comment made by one of our readers. The film story was by R S Chaudhari, dialogues were written by Agha Jaan Kashmiri and Wajahat Mirza and the screenplay was done by the director K B Lal himself.

The cast of the film consisted of the then popular singing pair Surendra and Noorjehan, supported by Ulhas, Maya Banerjee, Badri prasad, Kanhiayalal, Baby Meena(Meena kumari), Alaknanda, Brijrani and few others. The veteran composer Meer Sahab composed the melodious songs written by Munshi Shams Lucknowi.

Noorjehan ( 21.9.1926 – 23.12.2000 ) had a very short span of career in India- 1942 to 1947, as far as Hindi films are concerned. Her first Hindi film was Khandaan-42 as an adult and the last film was Jugnu-47. She acted in only 15 films during this period. They were Khandan-42, Naukar-43, Naadaan-43, Duhai-43, Lal Haveli and Dost in 44, Zeenat, Gaon ki Gori, Bhaijaan and Badi Maa in 45, Hamjoli, Dil and Anmol Ghadi in 46 and Mirza Sahibaan and Jugnu in 47. In these films, as per one source, she sang just 68 songs. 66 songs of these are already discussed on the Blog. Today’s song will be the 67th song.

As long as Noorjehan was in India, people were mad about her singing. After she left India, people became Nostalgic about her. Many composers used to insist the female singers to sing like Noorjehan ( just like after Saigal, his copies were popular), for quite some time. Over a period of course this influence waned. Out of the many artistes-in different categories of film making- who migrated to Pakistan, no one became as successful as Noorjehan. Not because she was extraordinary, but because there was an aura of fame and awe about her singing.

During 1980,Zia Sarhadi, who too had migrated to Pakistan, visited India. While in Bombay, he was asked ” How is our Noorjehan ?” He replied,” the most successful artiste who came from India was Noorjehan in Pakistan.”
” How is her singing?”
” you call it singing because she is singing, otherwise there is no charm in her singing anymore. Shreiking is what she does now, instead of singing. People in India are nostalgic about her. And why not ? Her best songs finished in India only. What she is doing in Pakistan , I wont call that singing ! ”
These words from a poet who wrote songs for her, like ” Diya jalakar aap bujhaya ” and ” Aaa intezar hai tera “,speak a lot about Norjehan’s singing in Pakistan.( from the book ” From Noorjehan to Lata” by Isak Mujawar).

I am not a fan of Noorjehan. In fact, except Mohd. Rafi, I dont consider any singer ( that includes Lata too) versatile and heart touching singer. Of course this is my personal opinion. Every person has his own likes and dislikes. When the tune is lovely, music is appropriate and Lyrics are meaningful, any song by any singer-in general- can become popular, but when Lyrics are meaningless, music is average and the tune is ordinary, to render a song that will touch your heart makes a singer immortal-like Rafi.

Film Lal Haveli-44 had some less known artistes namely Alaknanda and Brij Rani. Let us know more about them.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 etc . She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.
Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindi films-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made them the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Alas ! Their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. Her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 37 films till late 40s. All three sisters worked together in film Haiwaan-40. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age( Famous dancer Gopi krishna was her son). Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

Film Lal Haveli-44 story was nothing new. It was spun around an old time Thakur- beautiful daughter- cruel creditor etc type story. The story was-

Thakur Ramchand lives in his ancestral Haveli, of which he is very proud. His sister has eloped with an ordinary soldier. He had objected to their love story as the boy was from a lower caste. The soldier dies in war and his sister commits suicide. Thakur is very sad. His daughter Mukta (Noorjehan) is in love with her childhood friend Anand (Surendra). Thakur’s haveli is already mortgaged with seth Laxman singh. When thakur knows about Mukta’s love, he bans Anand from coming to their house, but the lovers meet secretly. Mukta is sent to attend the marriage of the daughter (Maya Banerjee) of Laxman singh. There, Laxman Singh’s son Jawahar (Ulhas) sees Mukta and desires her. On Mukta’s return to Thakur, Laxman singh proposes her marriage with Jawahar in return of his Haveli.
Mukta, to save family pride, agrees to this marriage. Anand is upset and joins Army and goes to the war front. Anand is injured severely. In the meantime Thakur dies and the marriage gets cancelled. Enraged, Jawahar decides to burn the Haveli as a revenge. Anand returns to the village, comes to know this. There is a confrontation of Jawahar and Anand. Finally, Jawahar has a change of heart, seeing the true love of Mukta and Anand and he blesses their marriage with Lal haveli as a Marriage Gift. So, all is well, happy ending.

In today’s video, see Noorjehan, Ulhas, Maya Banerjee, dancing- singing girls and enjoy this melodious song.

Audio

Video

Song-Bhaiyya hamaaro jee (Laal Haweli)(1944) Singers-Unknown female voice, Noorjahaan, Lyrics-Shams Lucknowi, MD-Meer Sahab
Chorus

Lyrics

bhaiyyaa humaaro ji ee
bhaiyaa humaaro ji
aayi hain bahne aas lagaaye
aayi hain bahne aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji

haathon mein pahnungi sone ke kangan
haathon mein pahnoongi sone ke kangan
heere kaa pahnoongi haar
haar

heere kaa pahnoongi haar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

pahanoongi main to dhaake ki saadi
pahanoongi main to dhaake ki saadi
bambay kaa gotaa kinaar

bambay kaa gotaa kinaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

na mohe chaahiye kangan naa saadi
na mohe chaahiye kangan naa saadi
naa teraa gotaa kinaar
naa teraa gotaa kinaar
ik bol kehde ae mere bhaiyaa
ik bol kehde ae mere bhaiyaa
pyaar se behna pukaar
pyaar se behna pukaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji
bhaiyaa humaaro ji
aayi hain behnen aas lagaaye
aayi hain bahnen aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Chaalbaaz”(1969) was directed by Kamran for Rainbow Pictures, Bombay. The movie had Dara Singh, Sanjana, Ullhas, Shyam Kumar, Meenaxi, Vijay Kumar, Habib, Tiwari etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Basant”(1942) was directed by Amiya Chakraborty for Bombay Talkies. The movie had Mumtaz Shanti, Ulhas, Pramila, Suresh, Mumtaz ali, Pithawala, Jagannath, Kanu Roy, Ganju, Baby Mumtaz (Madhubala) etc in it.
Read more on this topic…


“Basant” (1942) was a Bombay Talkies production. It was directed by Amiya Chakraborty. The movie had Ulhas, Mumtaz Shanti, Mumtaz Ali,Pramila, Jagannath, Suresh, Baby Mumtaz (Madhubala), Kanu Roy, Pithawala etc in it.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.

Parbat Pe Apna Dera (1944) is one of the more important creations of V Shantaram. The film deals with the concept of ‘maya’ the enduring allurement of the material world that spares no one. The theme also deals with the consequences fo desires, which are mostly painful and damaging. Briefly, Ulhas is an ascetic who lives alone on a hilltop, and does not allows any visitors or passersby to come to him. Once, Vanmala chances to come face to face with this ascetic, in one of her treks. She is injured, and the ascetic has some cure that relieves her of pain. She is the daughter of a rich person, probably used to having her way. She insists on continuing to meet Ulhas, against his wishes, and continues to bring him gifts, almost setting up a household on the hilltop, once where there was an abode of renunciation. One thing leads to another, and the ascetic ties the nuptial knot with this rich lady, leaves his ‘parbat’ (symbolically the high vantage point of human experience), and comes down to ‘civilization’ to live with his newfound family.
Read more on this topic…


This article is written by Sudhir,a fellow enthusiast of Hindi movie songs and a regular contributor of articles to this blog.

The 1962 movie Rangoli has a bevy of most wonderful songs, some of which are already discussed in this blog. Here is a very soft and romantic duet from the same movie, beautifully sung by Mukesh and Lata Mangeshkar. Lyrics are by Shailendra, and the composition is by Shanker Jaikishan.
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I have been discussing the songs of “Parbat Pe Apna Deraa” (1944) these days. and what wonderful songs this movie has ! It is a treasure trove of gems.
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I have posted several songs from “Do Bhai” (1947). It is this movie where Geeta Ray (as Geeta Dutt was then known) first came to limelight with her “mera sundar sapna beet gayaa”. I have since come across other Geeta Dutt songs from this movie which I liked even more.
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

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

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17246

Number of movies covered in the blog

Movies with all their songs covered =1338
Total Number of movies covered=4642

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Blog Start date: 19 july 2008

Active for more than 5000 days.

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