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

Posts Tagged ‘Vasant Desai


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 :

3760 Post No. : 14731 Movie Count :

4026

Today’s song is from a film called “Sona”(1948). In 1946, there was a film titled “Sona Chandi”. In 1964 there was a film titled not just “Chandi”, but a whole “Chandi ki Diwar” and in 1977 there was a film called “Chandi Sona”. So much for the precious metals in Hindi film Titles !

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were actually invited by Bombay filmmakers, rolling out red carpets for them. This normally used to offer in case of promising stars from other film centres like Calcutta and Lahore. For example, Shamshad Begum was specially brought to Bombay from Lahore. Saigal was brought from Calcutta to Bombay, with an attractive offer.

That, precisely, was the reputation of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, Heroine of film Sona-48 was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan.

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, Peene ke din aaye piye jaa picturised on her. She went by the screen name Asha for this period.

In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song Dil jalta hai to jalne de (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.

In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song Afsana likh rahi hoon became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere, as well as on this blog too,earlier.

When Mehboob Khan heard the story initially, he spent few days thinking about it. He anticipated adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film. He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face, whatever happens as an aftermath.

This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.

1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani.

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad. The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters. In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

The cast of film Sona-48 also consisted of the producer director Mazhar Khan as the Hero, Madhuri, Dikshit, Navin Yagnik, Madan Puri and others.

How many of us know anything about Navin Yagnik ? Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta in 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports, dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.

He joined Sagar Films in 1930, as an Extra, without salary. After few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in film ” Pyar ki maar”-35.

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Son of Zambo-39, Main Haari-40, Vasantsena-42, Raja Rani-42, School Master-43, prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last film was Bhagwat mahima-55. In all, he worked in 30 films.

The Music Director for film Sona-48 was Vasant Desai. Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his dues.

That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, has not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Mazhe Sangeet” applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song Jo dard banke zamaane pe chhaaye jaate hain from “Parbat Pe Apne Dera”. Hear Rafi’s immortal kah do koyi na kare yahaan pyaar(Goonj Uthi Shehnaai) and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignored his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like Jo tum todo piyaa (Jhanak Jhanak Paayal Baaje) , Tere sur aur mere geet(Goonj Uthi Shehnaai), Main gaaun tu chup ho jaa (Do Aankhen Baarah Haath) , Piyaa te kahaan gayo (Toofaan aur Diyaa) or Ek thhaa bachpan (Aasheerwaad) . Even though Desai made her Ae maalik tere bande ham (Do Aankhen Baarah Haath) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan Hamko man ki shakti dena(Guddi) into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi. She even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song rail gaadi rail gaadi (Aasheerwaad) (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes ! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his Bole re papeehara(Guddi) to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films. His first film was Shobha-42 and Last released film was Shaque-76.
(some information in the article adapted from Wiki and The Hindu).

Shantaram was planning a path breaking film Maanus(Marathi)-Aadmi in Hindi,in those days and was in the process of finalising the cast.Vasant Desai who was Shantaram’s chela in those days,was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too.He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.

Meanwhile Mera Ladka-38 became quite popular and its songs, particularly,Dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit.Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi – 39.

Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. he had worked as assistant to Tembe, Krishnarao, Bhole and Mainkar. He had acted and sang in Amar Jyoti . His time came when Shantaram gave him SHAKUNTALA-1943 as a Music Director.

Today’s song from film Sona-1948 is sung by Zohrabai Ambalawali and Chorus, but there is also an unidentified male’s voice in the song. The song was procured and uploaded by our Sadanand ji Kamath on my request. Thanks. The song is very melodious and immediately reminds another popular song Mubaarak ho dulha dulhan ko ye shaadi from film Paak Daaman-1957-MD Ghulam Mohd. As per the prevailing custom of composers having a classical base and a stage music background, the prelude music of this song is also quite long, lasting for 54 seconds. Not all songs had such preludes, but majority had.


Song-Umangon ke din hain khushi ka zamaana (Sona) (1948) Singer-Zohrabai Ambalewaali, unknown male voice, Lyrics-Nakshab, MD-Vasant Desai
Both

Lyrics

aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa

aa haa ha
hahahaha

Umangon ke din hain khushi ka zamaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana
ye mausam suhaana
yahin aana jaana

nigaahon ko milne lagin hain nigaahen
nigaahon ko milne lagin hain nigaahen
wafa ke kadam hain mohabbat ki raahen
wafa ke kadam hain mohabbat ki raahen
machalti chali jaa rahi hai jawaani
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa

machalti chali jaa rahi hai jawaani
thaharta chala ja raha hai zamaana
thaharta chala ja raha hai zamaana
ye mausam suhaana
yahin aana jaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana

o ho ho ho
ho ho ho ho ho
chale daur par daur
saaghar uthhaao
chale daur par daur
saaghar uthhaao
zamaane ka har ek gham bhool jaao
zamaane ka har ek gham bhool jaao
hamesha jamegi ye ?? ki mehfil
zara tum bhi peena hamen bhi pilaana
zara tum bhi peena hamen bhi pilaana
ye mausam suhaana
yahin aana jaana
umangon ke din hain
khushi ka zamaana
ye mausam suhaana
yahin aana jaana

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This article is written by Sudhir, 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 : 3737 Post No. : 14689

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 26
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘भ’ – भैया रे भैया नैया छूआओ ना’ ॰ ॰ ॰

– – – –

चंदा का दिल टूट गया
के रोने लगे हैं सितारे ॰ ॰ ॰ 

कुछ ऐसा ही हुआ था उस दिन, जिस दिन तुम्हारे कूच की खबर आई थी॰ ॰ ॰

[Something as such, happened that fateful day, when the news of you departure came. . .]

– – – –

Today’s song is a wonderfully crafted song. And is euqally well performed and filmed.

The scenario is familiar – Shri Ram, accompanied by Sita ji and Lakshman, are travelling on foot, after departing from Ayodhya, for their sojourn of 14 years in the forest. They come to Shringverpur on the banks of river Ganga. To cross the river, Shri Ram requests the boatman to ferry them in a boat. Kevat, the boatman, at first refuses to ferry them. He has heard of the incident at the deserted ashram of Gautam Rishi, where by the mere touch of the dust from the feet of the Lord, Sati Ahilya who had been cast into stone by the curse of her husband, Gautam Rishi, came to life once again. Kevat cites that incident, and expresses apprehension that if by the touch of the dust from the feet of the Lord, his boat made of wood, would also come to life in the form of a lady, then what would become of him. Not just that he would lose his only source of income, and the only occupation he knows, he would have the additional burden of another member added to the family.

Much to the chagrin of Lakshman, Kevat dithers and dilly-dallies. And then he agrees on one condition – that the Lord should permit him to wash His feet, ostensibly to wash off any dust from the divine feet, and only then allow the trio to step on to his boat.

This event from the Ramayan is well known. It is so beautifully presented here in this song. The film is ‘Bharat Milap’ from 1965. The verses of this song are penned by Bharat Vyas, and the music is from the mind of Vasant Desai. The words are so beautifully crafted and the verses are embellished – अलंकृत is the word. The melodic construction is also very pleasing. It is a quick paced song, based on the folk music of the rural North India. The singing voices are of Rafi Sb and Kamal Barot.

On screen, the song is performed by Sunder, and a lady actor I am not able to identify and name. I request knowledgeable readers and friends to please help make the identification. The duo is accompanied by other members of the village community, and the song is presented as a group dance.
[Note: Thanks to Pramod ji and Prakash ji, the lady dancers are identified as Jeevankala, Manjula, Sheela Ramchandra, Aruna.]

The other main players in this scene are Shri Ram, Sita ji and Lakshman. Indrani Mukherjee plays the role of Devi Sita. As per IMDB listing of cast and crew, Anand Ashish Kumar plays the role of Ram. As far as Lakshman, I am not able to identify and name the actor playing that role.
[Note: Thanks to Pramod ji for correction to the name of he actor in the role of Ram.]

All in all, a very lilting, very pleasing and a very energetic presentation. Lovely song.

Song – Bhaiya Re Bhaiya Re Bhaiya Naiya Chhuaao Na  (Bharat Milap) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Bharat Vyas, MD – Vasant Desai
Male Chorus
Female Chorus
All Chorus

Lyrics 

dhum tak
hey tak dhum tak
dhum tak
hey tak dhum tak
ho taa naa dere naa dere naa taa naa dere naa
hoooom
ho taa naa dere naa dere naa taa naa dere naa

uhun aahoon uhun aahoon uhun aahoon uhun aahoon

bhaiya re bhaiya re bhaiya ho..oo

dhum tak
hey tak dhum tak

ho bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan se ye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
oho oho oho oho oho..oo
hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
daiya daiya daiya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
hey hey bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
hmmmmmm
arey haa..aan
bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
ehe ehe ehe..ae
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
peechhe naiya mein bithaio
peechhe naiya mein bithaio
e he he bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
dhum tak tak
dhum tak
dhum tak
o tak dhum tak

oo oo ooo ooooooo
ooooooo oooooooooo
ooooooooo ooooooooooo
hum bhi kevat prabhu
tum bhi kevat ho to
bhaichaara hum se nibhaio
prabhu ji bhaichaara hum se nibhaio
oo ooo ooo
nadiya ke paar
nadiya ke paar lagaayen tumhen tum
hum ko bhi paar lagaiyo
haaaaye hum ko bhi paar lagaiyo
bhav saagar se paar lagaiyo
ho ho
bhav saagar se paar lagaiyo
e he he bhaiya re bhaiya re bhaiya ho ho..oo
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
oo oo ooo ooooooo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

धुम तक
हे तक धुम तक
धुम तक
हे तक धुम तक
हो ता ना देरे ना देरे ना ता ना देरे ना
हूम
हो ता ना देरे ना देरे ना ता ना देरे ना

उहूं आहूँ उहूं आहूँ उहूं आहूँ उहूं आहूँ

भैया रे भैया रे भैया हो॰॰ओ

धुम तक
हे तक धुम तक

भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
ओहो ओहो ओहो ओहो ओहो॰॰ओ
हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
दैय्या दैय्या दैय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
हे हे भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
हम्ममममम
अरे हाँ॰॰आँ
भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
ऐहे ऐहे ऐहे॰॰ऐ
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
ऐ हे हे भैया रे भैया रे भैया हो॰॰ओ
धुम तक तक
धुम तक
धुम तक
ओ तक धुम तक

ओ ओs ओss ओsssssss
ओssssss ओsssssssss
ओssssssss ओssssssssss
हम भी केवट प्रभु
तुम भी केवट हो तो
भाईचारा हम से निभईओ
प्रभु जी
भाईचारा हम से निभईओ
ओ ओss ओss
नदिया के पार
नदिया के पार लगाएँ तुम्हें तुम
हम को भी पार लगईओ
हाए हम को भी पार लगईओ
भव सागर से पार लगईओ
हो हो भव सागर से पार लगईओ
ऐ हे हे भैया रे भैया रे भैया हो हो॰॰ओ
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
ओ ओs ओss ओsssssss


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 :

3737 Post No. : 14687 Movie Count :

4014

Today’s song is from a saint film, ‘Sant Sakhu’ (1941).

Out of the many saints that came from Maharashtra, like Tukaram, Ramdas, Gyaneshwar etc, Sakhu was probably the only female saint on whom a bilingual film – Hindi and Marathi – was made. Unlike other saints, Sakhu possibly was not a historical figure because no mention about her is found anywhere in any document. Nevertheless, she was extremely popular amongst the rural folks of not only Maharashtra but also was a popular name in Karnataka, Andhra, Tamilnadu and Orissa. In the pre independence era, Sakhu or Sakhubai was quite a common name in these areas. I remember that we had a maid servant named Sakhubai in our Hyderabad home. She was a Telugu woman, did not know Marathi, but knew who Sakhu was !

The film was made by Prabhat Films, which was known to make mythological, religious and social films. It started its talkie era with ‘Ayodhya Ka Raja’ – a bilingual in Hindi and Marathi, in the year 1932. This is the oldest Indian talkie film available today, based on the story of King Harishchandra and Taramati. As the time went by, Prabhat became famous for its meaningful films. Apart from V. Shantaram, other partners of Prabhat, like Keshavrao Dhaiber, Damle and Fattelal and even the assistant of Shantaram, K. Narayan Kale had directed few films. However only the films directed by Shantaram became hits and were popular, with the exception of Sant Tukaram  (1936) a Marathi film.

While forming the company, the partners had chosen their fields of activity, like Damle was expert in sound recording and engineering, Fattelal was very good in art direction, set making etc. and Dhaiber was good at cinematography. Direction was unanimously allotted to V Shantaram. In the following years when only Shantaram’s name became famous, there was envy among the other partners. Shantaram too sensed it and tried to prove that he was a team man and helped others whenever required in their directorial efforts. But the seed of envy soon became a big tree and things were made difficult for Shantaram.

Another point known only to very few and which was never elaborated by Shantaram himself, was also at work. In the early years of Prabhat Films, one of the partners – S Fattelal married the company’s heroine Gulab Bai aka Kamlabai (she was the girl who blows the tutari in Prabhat’s logo). Disturbed by this event and fearing public ire, the company made a rule that hereafter no partner of the company should get involved in any actress or employee of the company and if it does happen, he should leave the company forthwith. This rule was used when in 1937, one of the partners, Keshavrao Dhaiber married Nalini Tarkhud, heroine of film ‘Rajput Ramani’ (1936), which he had directed. Consequently, Dhaiber left Prabhat and started his own company, Jaishree Films.

During the making of film ‘Padosi’ (1941) (‘Shejari’ in Marathi), V. Shantaram fell in love with the heroine of the Marathi version, Jaishree (Kamulkar) and married her on 26-10-1941. (He already had one wife, Vimlabai and 4 children). The envious partners got this solid point against Shantaram. The pressure increased on him to quit. Finally, Shantaram left Prabhat films (for mixed reasons) on 13-4-1941. He even left Poona and took up a job in Government’s Film Division, before establishing his own Rajkamal Kalamandir.

During all these happenings, film ‘Sant Sakhu’ was released at Central Talkies on 27-9-1941. Baburao Patel, in his Film India October ‘41 issue gave a mild review of the film. He, however, made a remark in his inimitable style-’the film is suitable for the old, women and children’. The film was directed by the duo of S Fattelal and VG Damle. This pair had directed a silent film also, ‘Maharathi Karna’ in 1928. After that they were busy with their own specialty jobs. Subsequently, the pair was virtually pushed to direct film ‘Sant Tukaram’ (1936) in Marathi, by none other than Shantaram himself. This was his attempt to bring peace and harmony among the partners of Prabhat. He genuinely helped the duo and the reluctant pair flew on the seventh heaven, when ‘Sant Tukaram’ became one of the international hit films !!!

The music to film ‘Sant Sakhu’ was by the resident musician Keshavrao Bhole and the cast of the film was Hansa Wadkar, Shankar Kulkarni, Gauri, Shanta Mujumdar, Master Chhotu and many others. Lyrics were by PL Santoshi and Pt Mukhram Sharma. During the making of film Sant Sakhu, Mukhram Sharma and actress Shanta Mujumdar fell in love and got married also.

One name in the cast is that of Gauri. Her real name was Tanibai Dawari. She was with Prabhat since its inception and did small roles in silent films. She was totally illiterate and could not read or write. After the advent of the talkie films, she continued doing small roles in Prabhat films. When film ‘Sant Tukaram’ was being conceived, Shantaram started searching for an actress to do the role of Tukaram’s wife – Avali, who loved Tukaram but was sort of a shrew because she felt Vithoba Bhakti was spoiling Tukaram.

One day, Shantaram saw Gauri and he called her. Giving a copy of the script to her, he said, “You are selected to do the role of Avali. Now read the dialogues and be prepared”. Gauri was stunned. She did not know how to react. She could not read. She was sure that now she will be exposed and removed from service, as Prabhat did not employ illiterate people. She took the script and went out of the room. Music Director Keshavrao Bhole found her in a corner weeping. When he enquired repeatedly, Gauri explained everything. Bhole pacified her and said, “Dont worry”. From that day onwards he taught Gauri reading and writing for 8 hours a day for 15 days. Being a sharp student Gauri picked it up very quickly, as it was a do or die situation.

Her role in film Sant Tukaram was lauded by one and all. It was praised even in the Venice film festival. Prabhat gave her a special award also. Gauri continued with Prabhat till it was making films. Then she retired from films and settled in Poona, doing some household jobs for survival. Unfortunately the Panshet flood disaster in Poona in 1961, washed out everything she had. She returned to her hometown, Kagal, near Kolhapur. In 1964, a film on Tukaram “Tuka Zalase Kalas” in Marathi was launched. Sulochana Latkar was to do the role of Tukaram’s wife, Avali. She wanted to take blessings from Gauri – the original Avali. Sulochana went to Kagal and took her blessings. She gave her a saree and some money too. Soon after this, Gauri aka Tanibai Dawari passed away.

Here is the story of film ‘Sant Sakhu’

Sakhu Bai (Hansa Wadkar), an ardent devotee of Vithal, lives with her husband (Shankar Kulkarni) and a cruel mother-in-law – Mhalsa Kaku (Gauri). The mother thinks that her daughter-in-law will spoil her only son and then he will start neglecting his mother. Her husband also does not say anything to his mother because he thinks that since he is her only son, people will disrespect him and his wife if he takes his wife’s side. So Sakhu has to bear all the ill-treatment silently. She worships Vitthala with all her heart and forgets her daily sufferings.

One day, her husband’s sister, Kalawati (Shanta Mujumdar) returns from her home with her daughter. She tells her mother how she was beaten by her mother-in-law and her husband and how they threw her out of the house. Her mother tells her to live in her home with his brother. She also starts troubling Sakhu, because she envies how his brother loves her. One day, Sakhu’s husband falls ill and Sakhu defies her mother-in-law’s order and comforts her husband rather than doing her prescribed work. Sakhu’s mother-in-law tells her son that he has to choose between his mother and her; he chooses his mother and throws Sakhu out of the house.

A sad Sakhu sees a group of Vitthala devotees doing naam-kirtan (chanting of the Lord’s name). She joins the group and starts doing naam-kirtan. Her husband’s sister finds her and tells her mother about that. The mother-in-law arrives and drags her to her home and ties her to a pole. Sakhu starts crying and worships Vitthala and after some time, things take a different turn. God Vithal appears there and releases her, taking her place as Sakhu. Now Sakhu is free to go to Pandharpur for the darshan of Vithal, along with the Varkaris. The movie ends with two Sakhus coming face to face. People get dumbfounded by seeing two Sakhus and start thinking that she is a ghost. The movie ends by clearing everyone’s doubts.

Let us now listen to this duet by Vinodini Dikshit and Vasant Desai (who was Keshavrao Bhole’s assistant in this film). With this song, the film ‘Sant Sakhu’ makes a debut on the blog.

(Credits – Book of Isak Mujawar, Book by Bhai Bhagat, Wikipedia, HFGK, Prabhat’s website and my notes.)


Song – Roop Ye Anoop Dekh Ke Nayan (Sant Sakhu) (1941) Singers – Vasant Desai, Vinodini Dixit, Lyrics – PL Santoshi, Music – Keshav Rao Bhole
Vasant Desai + Vinodini Dixit

Lyrics (Provided by Sudhir)

roop ye anoop
dekh ke nayan
roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye
roop ke roop mein
samaa gaye
roop ye anoop
dekh ke nayan
roop ye anoop

chhaaya tera rang
mere ang ang
chhaaya tera rang
mere ang ang
mann mein bhi
chhaaya paandurang
mann mein bhi
chhaaya paandurang
roop ye anoop
dekh ke nayan
roop ye anoop
roop ye anoop
roop ye anoop
roop ye anoop

dekhe bina mohey
chain nahin aaye
dekhe bina mohey
dekhe bina mohey
chain nahin aaye
manaaye na maane
mora mann
manaaye na maane
mora mann

roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye

roop ye anoop
dekh ke nayan
roop ye anoop

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

रूप ये अनूप
देख के नयन
रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए
रूप के रूप में
समा गए
रूप ये अनूप
देख के नयन
रूप ये अनूप

छाया तेरा रंग
मेरे अंग अंग
छाया तेरा रंग
मेरे अंग अंग
मन में भी
छाया पांडुरंग
मन में भी
छाया पांडुरंग
रूप ये अनूप
देख के नयन
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप

देखे बिना मोहे
चैन नहीं आए
देखे बिना मोहे
देखे बिना मोहे
चैन नहीं आए
मनाए ना माने
मोरा मन
मनाए ना माने
मोरा मन

रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए

रूप ये अनूप
देख के नयन
रूप ये अनूप


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 : 3731 Post No. : 14675

“Narsimha Avtaar”(1949) was directed by Sohrab Modi for Minerva Movietone, Bombay. This mythological movie had Laxman, Niranjan sharma, Shobhana Samarth, Mahipal, Madan Mohan, Raj Narayan Tiwari, Hari Shivdasani, Kamal, Anant Joshi, Leela Kumari, Kanta Kumari, Sheela Kumari, Pt Amarnath, Sulochana, Saajan, Rajkumar etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the blog. All of them were discussed in 2011 !

Now, after seven years, here is the next song from “Narsimha Avtaar”(1949) to appear in the blog. The song is sung by Lalita DewoolkarLata. Pt Narendra Sharma is the lyricist. Music is composed by Vasant Desai.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

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


Song-Jagmag taare jhhalke (Narsimha Avtaar)(1949) Singer-Lata, Lyrics-Narendra Sharma, MD-Vasant Desai

Lyrics

jagmag taare jhalke ae ae
jagmag taare jhalke
jagmag taare jhalke ae ae
jagmag taare jhalke

raat andheri
dekh na dar mann
raat andheri
dekh na dar mann
jagmag taare jhalke ae ae
jagmag taare jhalke

prabhu ka dhyaan hriday mein
sir par maa ki aanchal chhaaya
dekh rahin do aankhen
das disi dhan aanand mandraaya
das disi dhan aanand mandraaya
sukh muskaata neeche maa ke
paawan charan kamal ke ae
jagmag taare jhalke

sankat to bhakton ki kasauti
gahna hai dukh sahna aa aa
gahna hai dukh sahna aa aa
hai hari naam adhar ki shobha
hai hari naam adhar ki shobha
keshav kahte rahna aa aa
keshav kahte rahna aa aa
keshav
keshav
keshav


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 : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali


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 : 3497 Post No. : 14055

“Sheesh Mahal”(1950) was produced by Sohrab Modi for Minerva Movietone. The movie had Sohrab Modi, Naseem Bano, Nigar Sultana, Pushpa Hans, Amarnath, Jawahar Kaul, Pran, Mubarak, Leela Mishra in it.

The story of the movie, as discussed by Mr Arunkumar Deshmukh, our beloved inhouse enyclopaedia, is as following:-

Thakur Jaspal Singh ( Sohrab Modi) lives in the prestigious and palatial house called the Sheesh Mahal. He is badly in debt, yet continues to live a lifestyle far over and above his means. His son and two daughters are concerned, and try to stop him from over-spending, but he disregards them. Then one day the inevitable happens, and Jaspal Singh has to leave Sheesh Mahal, which must now be sold by auction to pay off his debts.

Jaspal and his children move into a small room in the nearby slums, where they hope to spend the rest of their lives. Jaspal’s son, Vikram (Jawahar Kaul) finds employment in a mill, but unfortunately meets with an accident, and in order to save his life, the doctors amputate his leg, leaving his unemployed and dependent. Jaspal’s daughter, Ranjana ( Naseem Bano), attempts to secure employment, but proud Jaspal will not hear of this.

Ranjana gets employment, but she does not tell her father about it. Ranjana meets with a young man, Vikram (Amarnath) and both fall in love with each other. When this young man’s father, Durgaprasad ( Mubarak), comes to ask Jaspal for Ranjana’s hand, Jaspal finds out that he is the new owner of Sheesh Mahal, and that Ranjana has been working as a maid there.

Jaspal is furious, and taking his sword, he rushes over to the Sheesh Mahal with a clear intent of killing Ranjana, and anyone else who dares to stop him.

There he encounters Durgaprasad, who opens his eyes by telling him on his face the reality and that he is living in his past, which does not exist anymore. He warns him not to destroy the future and happiness of his children to pamper his false ego. Thakur realises his mistake. he drops his sword, but he too falls suffering from massive heart attack. He breathes his last accepting all his faults, but it is too late.

The movie had nine songs in it. Eight of these songs have been covered in the past. Here are the details of these songs :

Song Title

Post No.

Post Date

Aayi hai deewali 183 27-Oct-08
Jise dhoondhti phirti hai meri nazar 3820 23-Apr-11
Zehar khaanaa magar dil lagaanaa nahin 3829 28-Apr-11
Tum dekh rahe ho ke mite saare sahaare 4005 15-Jun-11
Muqaddar ke haathhon jahaan ghoomtaa hai 4139 6-Jul-11
Aadmi wo hai museebat se pareshaan na ho 6422 12-Aug-12
Ham kheton ke mahaaraaj hamen darr kaahe ka 12791 10-Jan-17
Bhoole zamaane yaad na kar 14044 11-Feb-18

Here is the ninth and final song from “Sheesh Mahal”(1950) to appear in the blog. This song is sung by Pushpa Hans and it is picturised on her as well.

Lyricist is credited as Aaziz. I wonder whether he is a new name or someone who is known to us by some other name. I request our knowledgeable readers to throw light on him.

Music is composed by Vasant Desai.

With this song, “Sheesh Mahal”(1950) joins the list of movies that have all their songs covered in the blog.


Song-Taqdeer banaane waale ne kaisi taqdeer banaayi hai (Sheesh Mahal)(1950) Singer-Pushpa Hans, Lyrics-Aziz, MD-Vasant Desai

Lyrics

taqdeer banaane waale ne
kaisi taqdeer banaayi hai
barbaadi likh di kismat mein
ye apni shaan dikhaayi hai
taqdeer banaane waale ne
kaisi takdeer banaayi hai

aashaaon ki maala toot gayi
ummeed ke moti bikhar gaye
ummeed ke moti bikhar gaye
armaan bhi jal kar khaaq huye
armaan bhi jal kar khaaq huye
ab jaan pe aafat aayi hai
taqdeer banaane waale ne
kaisi taqdeer banaayi hai

ik jhonka hawa ka aaya thha
aaya aur aa kar nikal gaya
aaya aur aa kar nikal gaya
ham thhandi saans bhi le na sake
ham thhandi saans bhi le na sake
har shaakh e chaman murjhaai hai
taqdeer banaane waale ne
kaisi taqdeer banaayi hai
taqdeer banaane waale ne


This article is written by Sudhir, 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 : 3496 Post No. : 14050

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 5
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ऊ’/

‘ए’ – एक दिल हैं एक जान हैं

तुम मुझे यूं भुला ना पाओगे
जब कभी भी सुनोगे गीत मेरे
संग संग तुम भी गुनगुनाओगे॰ ॰ ॰

क्या सच ब्यान कर गए आप, रफी साब॰ ॰ ॰

Your voice, and your songs are so imprinted on the memory, that the mind sings along the verses, every time it hears any of your songs. These memories are now lifelong; they will not be deserted till the last breath.

Moving forward with the series of duets – I am skipping ‘ऊ’ because no duet song starting with this vowel is available. So I come to ‘ए’, as the starting letter for today’s song.

This song is from the 1976 film ‘Shaque’, a taut psychological thriller starring Shabana Azmi, Vinod Khanna, Utpal Dutt, Bindu, Durga Khote, Farida Jalal, Master Atul, Arvind Deshpande, Suhas Bhalekar, Satya Kumar Patil, VP Kaale, and AK Banerjee. The film is produced and directed by the husbsand-wife team of Aruna and Vikas, under their own banner – Avikam, Bombay. The five songs in this film are penned by Gulzar (four) and Hafiz (one), and the music direction is by Vasant Desai. This was the last film that Vasant Desai composed the music for, before his unfortunate demise in an unexpected and zany lift accident.

The film deals with a slinking doubt that creeps into the lives of a happily settled couple. Doubts, that go way back into the past, when the couple were less affluent, and a criminal event had happened at the workplace of the husband. The circumstances of the event eventually left the case open, as the guilt of any specific individual could not be established. Years later, that lack of closure becomes the source of doubt and distrust between the couple. The film is very down to earth and very sensibly handled by the director’s team.

This song is one of that rare category of songs that seems to be have been created and recorded as a complete song, but then are used partially in the film, plus they re not released in any other format. So the part of the song that is included on the film’s sound track is the only part that is available. Folks will recall the unlisted song of film ‘Pyaasa’ (1957) – “Peechhe Peechhe Duniya Aage Aage Hum“, that got posted in July last year as a partial song which is available only on the film’s soundtrack. That is a similar example. Then in the 1987 film ‘Susman’, there are one or maybe two bhajans by Kabir, that play in the background, in many parts, throughout the film. They too are not available, other than from the film’s soundtrack. Another example that comes to mind is the complete ghazal “Dil Ka Bharosa To Nahin” from the 1961 film ‘Shama’ – that too is not available anywhere else other than the sound track only. I am sure there are many more such songs and partial songs sitting only in the film’s soundtrack waiting to be discovered.

The online link that is provided actually plays the song more than once. The actual length of the available snippet is just a tad over one minute. The uploader has created a longer piece by splicing and pasting together the available snippet multiple times.

Even this one minute snippet is a wonderful example of how Vasant Desai has taken the free metre verses penned by Gulzar and weaved them into a delectable song. Enjoy this minute long sojourn of beautiful sound.

Song – Ek Dil Hai Ek Jaan Hai Ek Jaan e Jaan (Shaque) (1976) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Gulzar, MD – Vasant Desai

Lyrics

aaa aaa aaa aaa
aa haa
o ho
o ho
oo oo oo
oo oooo ooo oooo

ek dil hai
ek jaan hai
ek jaan e jaan
jaan e jaan miley jahaan
wahin mera jahaan
wo mera jahaan

kahaan
hmmm
kahaan

tum zara zameen pe rakh do
paaon ke nishaan
jhuk ke choom lega
us zameen ko aasmaan
tumhaare paaon ke nishaan

wo nishaan
hain kahaan

chhaaon chhaaon chal raha hai
dhoop ka dhuaan
aaa aaaaa aaaa aaaaa
dhuaan?
haan. . . dhuaan
chhaaon chhaaon chal raha hai
dhoop ka dhuaan
dhoondhta hua tumhaare paaon ke nishaan
aaaa aaaa aaaa
aa haa
ho ho
o ho
ho oo oo oo
ho oo ooo ooo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ आ आ आ
आ हा
ओ हो
ओ हो
ओ ओ ओ
ओ ओsss ओs ओsss

एक दिल है
एक जान है
एक जान ए जान
जान ए जान मिले जहां
वहीं मेरा जहान्
वो  मेरा जहान्

कहाँ
हम्मम
कहाँ

तुम ज़रा ज़मीन पे रख दो
पाँव के निशान
झुक के चूम लेगा
उस ज़मीन को आसमान
तुम्हारे पाँव के निशान

वो निशान
हैं कहाँ

छांव छांव चल रहा है
धूप का धुआँ
आss आssss आsss आssss
धुआँ?
हाँ॰॰॰ धुआँ
छांव छांव चल रहा है
धूप का धुआँ
ढूँढता हुआ तुम्हारे पाँव के निशान
आ आ आ
आ हा
हो हो
ओ हो
हो ओ ओ ओ
हो ओ ओ ओss

 


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 : 3495 Post No. : 14044

Today (11 february 2018) is the birth anniversary of Thomas Alva Edison (February 11, 1847 – October 18, 1931). People may argue that he has nothing to do with HFM, but I would argue back that there would be no HFM but for Edison. One out of Edison’s countless inventions was the invention of phonograph, which made it possible to record sound. All the HFM music that we are listening to now owe their existence to this paradigm shifting invention in human existence. We have no way of knowing how the great personalities of the past sounded like, but thanks to Edison, we got a device that could record the voices of people for posterity. That way the contemporaries of Edison and those who came later has their lives enriched to a degree that is beyond our imagination.

Of course, motion picture camera and light bulb are also his inventions. One can safely say that the modern life that we take for granted these days owes a lot to the inventions of Edison. All these inventions led to creation of major industries !

Lots and lots of other discoveries and inventions by lots and lots of other people have taken place since then. In the past, there was no way to preserve voice for postrity. Now it can not only be preserved, but now it can be shared with others easily with people that may be living on the other side of the globe, without leaving the comforts of our own homes ! What is more, these recordings can even be edited, enhanced etc. For instance, there are quite a few recordings that are of poor quality. But tchnology is now available that enables us to improve their quality quite dramatically.

It goes without saying that our blog makes use of lots of technologies that Thomas Edison and many others have created over that last 150 years or so.

Take the song under discussion for example. This song is from “Sheesh Mahal”(1950). Sheesh Mahal had nine nine songs in it. Seven songs have been covered in the blog. Out of the remaining two songs, one song is available in good audio quality (even video is available). But there is one song which seems to be missing from the movie and its audio, as available leave much to be desired.

But as noted above, technology comes to the rescue. There are audio softwares available that can help reduce noise and enhance audio quality. I am not much experienced in such matters but still I have been able to reduce the noise in this audio to an extent where the audio quality is bearable. May be with experience, I will become better.

So, on the occasion of Thomas Alva Edison’s 171st birth anniversary, here is this rare song from “Sheesha Mahal”(1950). This song is sung by Pushpa Hans. She had acted in it as well, so assuming that this song was picturised, it was picturised on herself.

Shams Lucknowi is the lyricist. Music is composed by Vasant Desai.

This song becomes the 500th song of 1950 to appear in the blog. That way, 1950 becomes the second year, after 1949, to have 500 songs in the blog. 1959 and 1960 are two years that are waiting in the wings to join this group.


Song-Bhoole zamaane yaad na kar (Sheesh Mahal)(1950) Singer-Pushpa Hans, Lyrics-Shams Lucknowi, MD-Vasant Desai

Lyrics

bhoole zamaane yaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

duniya ki yahi baaten hain
duniya ki yahi baaten hain
din hain to phir kabhi raaten hain
din hain to phir kabhi raaten hain
dil ko tu naashaad na kar
naashaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

zaalimon ki ye basti hai
zaalimon ki ye basti hai
rone pe duniya hansti hai
rone pe duniya hansti hai
aansuon se fariyaad na kar
fariyaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

ae dost hamen gham sahne de
ae dost hamen gham sahne de
kisi(?) ki nishaani rahne de
kisi(?) ki nishaani rahne de
shaad na kar
barbaad na kar
barbaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar


This article is written by Sudhir, 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 : 3478 Post No. : 13975

Missing Films of 1960s – 52
– – – – – – – – – – – – – – –

A bit of a coincidence here that the song of this series posted yesterday “O Chanda. . . Aaj Ki Raat Na Dhalna”, and today’s next song in this series, both are ‘chaand’ songs. Yesterday’s song got posted early in the morning, and later I was thinking – posting a ‘chaand’ song at sunrise time is wholly inappropriate. And so, today’s ‘chaand’ song I am bringing to you at an appropriate time in the evening – a waxing moon is in the skies.

Today’s film is ‘Bharat Milap’ from 1965. The film was produced under the banner of KP Productiond, Bombay, and the director’s name is Babubhai Mistry. The cast of actors includes Sohrab Modi, Sulochana, Ashish Kumar, Indrani Mukherjee, Leela Misra, Anand Kumar, and Mridula amongst others.

The film has seven songs, all from the pen of Bharat Vyas. Music is by Vasant Desai. Today’s song is a duet in the voices of Lata Mangeshkar and Mahendra Kapoor. Unless I am mistaken, the actors performing this song on screen are Ashish Kumar and Indrani Mukherjee. I request other knowledgeable readers to correct me in case I am in error.

The storyline of the epic ‘Ramayan’ is quite well known. After Shri Ram departs from Ayodhya to spend fourteen years as an ascetic in the woods, Bharat ji makes one attempt to bring him back. He goes to meet him at Chitrakoot. The entire portrayal in this epic is a guidance for the right things to do in life. The meeting at Chitrakoot is very significant. The various dialogues that happen here are so full of deep learnings for mortal humans, on how to conduct themselves in real life. The decision at this juncture is that Bharat ji will return to Ayodhya, and continue look after the administration of the kingdom, and take care of the family and the people. Shri Ram along with Sita ji and Lakshman ji will continue his stay away from Ayodhya, till the specified time.

Bharat ji returns with the ‘charan paduka’ (sandals) of Shri Ram, and places them on the throne of Ayodhya. And he places himself on the ground next to the throne, while administering the kingdom, asking for inspiration and guidance at every step, from the ‘charan paduka’. He further resolves that he will not stay in the palace, for the duration that Shri Ram is traveling in the woods. He also has a hut made for himself in a small village, Nandigram, next to Ayodhya, and stays there only. Even inside the hut, he does not sleep on the ground. He digs a cavity or a trench in the ground, a couple of feet deep, and he sleeps at that level. He says he will not sleep on the same ground on which Shri Ram is walking bare footed for fourteen years. He forsakes all the comforts and luxuries, and also all the pleasures and shared nearness in his own personal life. His spouse, Mandavi, stays in the palaces, but they do not share any proximity.

The tale and the teachings of ‘Ramayan’ are the best examples of personal sacrifices that individuals make for the sake of their dear ones, and for the sake of moral and uprightness in life. I may be digressing here, but I would like to briefly tell about the role of Shatrughan, the youngest of the four brothers, in these complex circumstances.

It is stated that Lakshman ji had taken a vow that he would not sleep for all the time that Shri Ram is away from home, and that he would always be standing guard for the safety and well being of his elder brother and bhabhi (sister in law). What is not well known is that even Shatrughan ji followed a similar stringent regime. All during the day, he would be assisting Bharat ji with the matters of the kingdom. And in the night, he would make one round of the kingdom, and then come and sit on a stone at the gates of the kingdom, keeping vigil, till dawn.

Taken in the right spirit, this tale is the pinnacle of a visionary and inspirational lesson. To keep the honor of a promise, all the four brothers make unparalleled sacrifices. One leaves home with the resolve to live like an ascetic in the woods, for fourteen years. Another resolves to accompany him to secure the comfort and safety of his elder brother, forsaking even sleep. The third brother declines to sit on the throne, gives up his own comforts and resolves to also live like an ascetic for the same period, albeit in his own kingdom. He also resolves to sleep in a pit below the ground, and not on the ground on which his elder brother walks barefoot. And the fourth brother, also forsakes his comforts, and sleep, keeping vigil over a kingdom which all acknowledge belongs to the eldest brother. All the four brothers forsook family life for the duration of this exile. A tale like this has no parallels anywhere in the annals of world history or literature.

This is a wonderfully crafted song, that is simultaneously moving at two levels. Both the levels are expressions of love. But one level is expressing love for a beloved spouse, and at the other level, the love being expressed is for a beloved elder brother. The expression of love in the second level is amounting to love for God Himself. Mandvi, the wife of Bharat ji, is calling out to her husband, expressing her emotions of missing him, and feeling incomplete within herself. Bharat ji is singing the same song at the same time, only that his call is directed towards Shri Ram, reminding Him that his (Bharat ji’s) life is in a precarious balance, if He does not return on time, as promised.

A lovely melody created by Vasant Desai, and a memorable song this one is.

Video (Some skipped words)

Audio (Complete)

Song – Chandrama Ja Un Se Keh De  (Bharat Milap) (1965) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Bharat Vyas, MD – Vasant Desai

Lyrics

chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de

kehna tujh bin adhkhila
maathe ka tika hai
kehna tujh bin ye mera
sansaar pheeka hai
oo oo oo
chandrama ja un se keh de

kehna ab na seh sakoongi
vireh ki jwaala..aa
toot jaaye na kahin
meri saans ki maala
oo oo oo
chandrama ja un se keh de

ye basanti raat kaate se
nahin kat’ti
ye ghadi nishthur
ghadi bhar bhi nahin ghat’ti
un charan ki raah mein
ye nain bhatke hain
un ke darshan ke liye
ye praan atke hain

oo oo oo
chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे

कहना तुझ बिन अधखिला
माथे का टीका है
कहना तुझ बिन ये मेरा
संसार फीका है
ओ ओ ओ
चंद्रमा जा उनसे कह दे

कहना अब ना सेह सकूँगी
विरह की ज्वाला॰॰आ
टूट जाये ना कहीं
मेरी सांस की माला
ओ ओ ओ
चंद्रमा जा उनसे कह दे

ये बसंती रात
काटे से नहीं कटती
ये घड़ी निष्ठुर
घड़ी भर नहीं घटती
उन चरण की राह में
ये नैन भटके हैं
उनके दर्शन के लिए
ये प्राण अटके हैं

ओ ओ ओ
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे


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.

“Mausi”(1958) was directed by Prabhat Kumar for Rajkamal Kala mandir, Bombay. The movie had Sumati gupte, Vandana, Baburao Pendharkar, Reshma, Ranjana Shukla, Asha Devi, Ramesh Deo, Rajkamal, R V Rane, Putlibai, Baby Mumtaz, Rajguru Deshmukh, Roohi, K Date etc in it.
Read more on this topic…


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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 TEN years. This blog has exactly 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14800

Number of movies covered in the blog

Movies with all their songs covered =1155
Total Number of movies covered =4046

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