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

Posts Tagged ‘Ustad Ali Akbar Khan


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4257 Post No. : 15478 Movie Count :

4266

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Hindi Songs in Bangla Films – 22
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‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


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 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.

Blog Day : 3515 Post No. : 14118

Today’s song is from the 1952 film ‘Aandhiyaan’.

The early part of the 1950s was a turbulent period for the Hindi film industry. A wholesale, but silent change was taking pace. Though the exchange of film fraternity from India to Pakistan and vice versa had slowed down, the vacancies created by the exit of actors, directors and composers were getting filled up fast. At the same time, the older generation of artistes was slowly fading out, giving way to the artists of the newer generation.

Changes were taking place even in other areas, like public tastes in music and the film contents. This automatically changed the face of the film music and the type of film stories presented. Hindi films were now becoming entertainment oriented, taking a precedence over films discussing social reforms. Surprisingly, the decade of the 50s became a ‘ Golden Period ‘ for mythological, religious and devotional films. As many as 124 such films were released in 10 years from 1950 to 1959. This gave roughly an average of one such film released every month continuously for 10 years !

Older composers like Gyan Dutt, Husnlal Bhagatram, K Datta, Hansraj Behl etc were on the decline and the newer ones like Shankar-Jaikishen, Madan Mohan, OP Nayyar etc. prospered. Some old stalwarts like Naushad, C Ramchandra and SD Burman continued their popularity for many more years. Actors, who had entered this field in the second half of the 40s pushed hard to establish themselves into this new set up. It was easier for them to adapt their working pattern to suit the new tastes. One such actor was Dev Anand.

By the end of second world war, writer director Chetan Anand was struggling hard. He wrote dramas, worked for All India Radio, worked even for BBC and finally met KA Abbas of IPTA. Meanwhile, his brother Dev Anand too, after graduation, came down to Bombay and worked in the British Censor Office at a salary of Rs. 160 pm. He too joined IPTA. The brothers worked there and acted in IPTA’s drama, ‘Zubeida’. But their target was Hindi films. Luckily, in 1945, Dev got a role in Prabhat’s film ‘Hum Ek Hain’ and same time Chetan also became Director of India Pictures’ film ‘Neecha Nagar’. Both films were released in 1946 and flopped at the same time. ‘Neecha Nagar’ was critically acclaimed but popularly rejected. Till 1948, every film of Dev Anand was a flop. ‘Ziddi’ (1948), a film which he got courtesy Ashok kumar, was a hit film. Then came Madhubala and ‘Niraala’ (1950).

One day, Dev Anand went to Makanlal Jain, owner of M and T Films, and asked for his full payment in advance and also some more as a loan. Jain liked and trusted Dev, so he gave all that money to him. Dev took all that money to Chetan Anand and said, “Let us start our own banner. I will be the hero and you be the director. Suraiyya will be our heroine”. They established Navketan in 1949. Nav means New and Ketan was the name of Chetan’s son. They established their first office in room number 147 in Famous Studios, Mahalaxmi, Bombay.

Chetan Anand had written a drama ‘The Inspector General’, inspired by Nikolai Gogol’s drama ‘The Government Inspector’. With suitable adaptation in this drama, Navketan’s first film,’Afsar’ (1950) was made on shoe string budget, within six months. The film was released on 16-6-1950. And it promptly flopped. For their next film, they called in their good friend Guru Dutt to be the director and selected a crime story. They needed a new heroine. Mona Sinha, a cousin of Uma Anand (Chetan Anand’s wife) had come to Bombay as their guest. Chetan selected her and changed her name to Kalpana Kartik. She became the heroine of 7 Navketan films. Later on, when Dev Anand married Kalpana Kartik in 1954, Chetan Anand, in addition to being his brother, also became his co-Brother ( साडू ).

The film that Guru Dutt directed for Navketan – ‘Baazi’ (1951) became a hit film and it gave Navketan the much needed stability. Two more films were planned, ‘Aandhiyaan’ (1952) and ‘Humsafar’ (1953). Again, both films were flops. Navketan decided to fall back on a crime story once again. Uma Anand wrote the story, Chetan wrote the screenplay and Vijay Anand wrote the dialogues. SD Burman was brought back for the music – the music of ‘Baazi’ had also been a hit. The film – ‘Taxi Driver’ was directed by Chetan Anand and it became an unprecedented hit film. The songs became popular and SD Burman got the Filmfare award too. ‘Taxi Driver’ was also the first film showing the new logo of Navketan for the first time.

Coming to the film we are discussing today. ‘Aandhiyaan’ was written by Chetan Anand and Hameed Bhatt – his friend from their IPTA days. This time music was composed by Ustad Ali Akbar Khan. Jaidev, who had learnt sarod from the Ustad, became his assistant for this and the next film. Ten years later Jaidev would independently give music to Navketan’s hit film, ‘Hum Dono’ (1961). All the 8 songs of ‘Aandhiyaan’ were written by Pt Narendra Sharma. 5 singers – Lata, Asha, Hemant Kumar, Laxmi Shankar and Surinder Kaur were used. Lata sang a long song in 3-parts, which is being presented today. It is almost 10 minutes long. One of the commenters on YouTube has stated that this was originally recorded as a 6-part song. Since HFGK reports only 3 parts, either the claim is wrong or the other 3 parts must have been discarded before the film took final shape.

The choreography for the film was done by Laxmi Shankar, who also sang one song in the film. The cast of the film was Dev Anand, Kalpana Kartik, Nimmi, KN Singh, MA Latif, Leela Mishra, Durga Khote etc. Johnny Walker had a small role in the film, probably as a mascot (which did not work this time). The story of the film is

Ram Mohan (Dev Anand) is a sincere and hard working advocate. He is the legal advisor to Seth Deen Dayal (MA Latif). Seth ji’s daughter Janki (Kalpana Kartik) and Ram Mohan are in love. Seth ji gives his consent for their marriage and they are engaged. Raami (Nimmi) secretly loves Ram Mohan but never expresses her love. Another businessman Kuber Das (KN Singh) wants to marry Janki.

Janki’s mother falls ill and Seth ji spends all his money on her treatment. Finally, he even asks for a loan from Kuber Das. Kuber puts a condition that Janki should marry him. With all other sources exhausted, Seth ji has no option. Janki also is ready to marry  Kuber to save her mother. Thus Kuber marries Janki. When Janki’s mother comes to know this, she goes into a shock and passes away.

Kuber wants Janki to sleep with him, but she refuses. When he forces, Janki runs away and collides with Raami, who had come there to inform her about her mother’s death. When she sees Kuber forcing Janki, Raami kills Kuber Das. She is arrested and brought to court. Before she gets to hear her sentence she dies in the courtroom itself.

Ram Mohan and Janki get married. (No. 651)

 


Song – Hai Kahin Par Shaadmaani Aur Kahin Nashaadiyaan (Aandhiyaan) (1952) Singer – Lata Mangeshkar, Lyrics – Pt Narendra Sharma, Music – Ustad Ali Akbar Khan

Lyrics (Provided by Sudhir)

———–
Part 1
———–
hai kahin par shaadmaani
aur kahin nashaadiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan

kya raaz hai
kya raaz hai..ai..ai
kya raaz hai
kya raaz hai
aaj parwaane ko bhi
apni lagan par naaz hai
naaz hai
kyon shama bechain hai
khamosh honay ke liye..e..e
kyon shama bechain hai
khamosh honay ke liye
aansuon ki kya zaroorat
aansuon ki kya zaroorat
dil ko roney ke liye
dil ko roney ke liye
tere dil ka saaz pagli
tere dil ka saaz pagli
aaj be-awaaz hai
aaj be-awaaz hai

hai kahin par shaadmaani
aur kahin nashaadiyaan..aan..aan

———–
Part 2
———–

aaa aaaa aaa
aaaaa aaaa aaa
aaaaa aaaaa aaaaa aaaaa
aaaa aaa aaaa aaa

hai kahin par shaadmaani
aur kahin nashaadiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan

aain aisi aandhiaan
aain aisi aandhiaan
aaan..dhi..aa..aa.aan
bujh gaya ghar ka chirag
dhul nahin sakta kabhi
jo pad gaya aanchal mein daa..aa..aagh
dhul nahin sakta kabhi
jo pad gaya aanchal mein daagh
the jahaan armaan
the jahaan armaan
us dil ko milin barbaadiaan
barbaadiaan

hai kahin par shaadmaani
aur kahin nashaadiyaa..aa..aan

———–
Part 3
———–

aaaa aaaa aaaa aaaa
aaaa aaaaaa aaaaaaa aaa

aaaa aaaaa aaaaaaaa
aaaaa aaaaa aaaaaaa aaaaa aaaaa aaaaaaaaaaa

zindagi ke sabz daaman mein
zindagi ke sabz daaman mein
kabhi phoolon ke baag
zindagi ke sabz daaman mein

zindagi ke surkh daaman mein
kabhi kaanton ke daagh
zindagi ke surkh daaman mein
kabhi kaanton ke daagh

kabhi phoolon ke baagh
kabhi kaanton ke daagh

phool kaanton se bhari hain
zindagi ki vaadiaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
———–
भाग १
———–

है कहीं पर शादमानी
और कहीं नाशादियां
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
है कहीं पर शादमानी
और कहीं नाशादियां

क्या राज़ है
क्या राज़ है॰॰ऐ॰॰ऐ
क्या राज़ है
क्या राज़ है
आज परवाने को भी’
अपनी लगन पे नाज़ है
नाज़ है
क्यों शमा बेचैन है
खामोश होने के लिए॰॰ए॰॰ए
क्यों शमा बेचैन है
खामोश होने के लिए
आंसुओं की क्या ज़रूरत
आंसुओं की क्या ज़रूरत
दिल को रोने के लिए
दिल को रोने के लिए
तेरे दिल का साज़ पगली
तेरे दिल का साज़ पगली
आज बेआवाज़ है
आज बेआवाज़ है

है कहीं पर शादमानी
और कहीं नाशादियां

———–
भाग २
———–
आss आsss आss
आssss आsss आss
आssss आssss आsssss आssss
आsss आss आsss आss

है कहीं पर शादमानी
और कहीं नाशादियां
है कहीं पर शादमानी
और कहीं नाशादियां
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ

आईं ऐसी आंधियां
आईं ऐसी आंधियां
आं॰॰धि॰॰आ॰॰यां
बुझ गया गहर का चिराग
धुल नहीं सकता कभी
जो पदगाया आँचल में दा॰॰आ॰॰आग़
धुल नहीं सकता कभी
जो पदगाया आँचल में दाग़
थे जहां अरमां
थे जहां अरमां
उस दिल को मिलीं
बरबादीयां
है कहीं पर शादमानी
और कहीं नाशादियां

———–
भाग ३
———–
आss आss आss आss
आss आsssss आssssss आss

आss आsss आssssss
आssss आssss आssssss आssss आssss
आssssssss

ज़िंदगी के सब्ज़ दामन में
ज़िंदगी के सब्ज़ दामन में
कभी फूलों के बाग
ज़िंदगी के सब्ज़ दामन में

ज़िंदगी के सुर्ख दामन में
कभी काँटों के दाग़
ज़िंदगी के सुर्ख दामन में
कभी काँटों के दाग़

कभी फूलों के बाग
कभी काँटों के दाग़
फूल काँटों से भरी हैं
ज़िंदगी की वादियाँ
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
आंधियाँ
है कहीं पर शादमानी
और कहीं नाशादियां


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 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.

Last entire week, SATYA NADELA’s name was in the headlines of almost every newspaper and TV channel. Since the time his name was announced as the next chief of Microsoft, all roads leading to the Public School at Begumpet, Hyderabad were adorned with Big banners. All this because Satya Nadela was an alumnus of this school many years ago !
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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 ELEVEN years. This blog has more than 15600 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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

15642

Number of movies covered in the blog

Movies with all their songs covered =1207
Total Number of movies covered =4307

Total visits so far

  • 13,512,342 hits

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Category of songs

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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