Posts Tagged ‘Vasant Desai’
Mera phool badan kumhlaaye re
Posted on: November 15, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5598 | Post No. : | 18073 | Movie Count : |
4848 |
In Hindi film industry, there are some well-known cinematographers who have turned directors. Some of them had a successful stint as director while some had to revert to cinematography. A few of the names who graduated from cinematographer to director were Nitin Bose, Bimal Roy, Fali Mistry, Ravi Nagaich, Govind Nihalani, Santosh Sivan etc. Some of them worked simultaneously as a cinematographer and a director in some films.
I guess, it must be a challenging for a cinematographer to be a director and a cinematographer at the same time in a film. While a cinematographer is mainly concern with light, the composition of shots, the camera movements etc, a director is mainly concerned with the performances of the actors facing the camera as detailed in the screenplay written in consultation with him. The scenes conceived by the director have wider perspective through his eyes while the cinematographer sees them performing through his camera lenses. Sometime the coverage area of performances as watched by the director may not fit in the camera frames. Hence it becomes necessaity for a director-cinematographer to have an experienced chief assistant director to assist him.
I find from the online sources that Ravi Nagaich, the Cinematographer and Director has a good number of films in which he was director-cinematographer. And he had a good success ratio in such films in terms of box office results. Most of his films belonged to the genre of spy thriller/action which required some trick photography and the special effects.
I came to know about Ravi Nagaich for the first time when I watched his first Hindi film as a director, ‘Farz’ (1967) in the theatre. I was attracted to this film because it was a spy thriller in the format of James Bond films. I had already watched two James Bond films, ‘Dr. No’ (1962) and ‘From Russia With Love’ (1963). I was curious as to how the film was adapted to the Indian setting. With ‘Jigri Dost’ (1969), ‘Himmat’ (1970), ‘Keemat’ (1973 and ‘Kaala Sona’ (1975), Ravi Nagaich’s name had become synonymous with action/thriller films providing pure entertainment for the audience.
Born in Atruali (Aligarh district), Ravikant Nagaich (05/07/1931 – 06/01/1991) was regarded as a wizard of the special effects cinematography. Unfortunately, he is one of the least discussed film personalities on the internet. I did not find a detailed profile on him except a couple of short articles which did not give any background as to how he landed in the Telugu film industry in early 1960s. The earliest reference to his association with the film was in Wadia Brothers’ ‘Zimbo’ (1958) where his name appeared as an assistant to photography. So, his initial training in cinematography and special effects may be from the Wadia Brothers under their regular, Babubhai Mistry, a wizard in special effects.
Those days, Telugu film producers used to prefer mythological films, mostly with N T Rama Rao as the lead actor. Ravi Nagaich with his experience in trick photography and special effects got an early opportunity to become an independent cinematographer for Telugu film, ‘Seetha Ram Kalyanam’ (1961). After working as cinematographer in about half-a dozen Telugu films, Ravi Nagaich directed his first Hindi film, ‘Farz’ (1967) which was based on a Telugu hit film, ‘Gudachari 116’ (1966) for which he was the cinematographer. The film became a runway hit making Jeetendra in the role of a ‘deshi’ James Bond, a star and Ravi Nagaich, his successful foray in the film direction.
Ravi Nagaich’s subsequent Hindi films such as ‘Jigri Dost’ (1969), ‘Himmat’ (1970), ‘The Train’ (1970), ‘Haseenon Ka Devta’ (1971), ‘Keemat’ (1973), ‘Kaala Sona’ (1975), ‘Surakasha’ (1979), ‘Waardaat’ (1981), ‘Saahas’ (1981), ‘Raksha’ (1981) and ’Shapath’ (1984) followed his trade-mark genre of action-thriller with fast paced narratives. He had also directed a few films in the genre of romantic dramas such as ‘Pyaaar Ki Kahaani’ (1971), ‘Mere Jeevan Saathhi’ (1972) etc. While in the 1970s, most of his films became box office hit, in the 1980s, his preferred genre of films was becoming out of date resulting in a series of flop films for him. ‘Duty’ (1986) with Govinda was his last Hindi film as a director which failed at the box office. Probably Govinda in the role of a tough cop in the film was not what the audience expected to watch him. He directed his last film in Kannada, a 3D children’s film, ‘Super Boy’ (1986).
During his filmy career, Ravi Nagaich directed 25 Hindi films. His films followed the format of mainstream cinema with emphasis on pure entertainment for the audience. Ravi Nagaich had groomed Teja, his assistant in Cinematography while in Mumbai. Unfortunately, Ravi Nagaich passed away on January 6, 1991, depriving him of watching the success of his protégé, who has now become one of the top most producer-director-cinematographer in Telugu film industry.
‘Rani Aur Lalpari’ (1975) was Ravi Nagaich’s only film in the genre of children’s musical fantasy (one can also tag the film as ‘Fairy Tale’) for which he was the director and the cinematographer. The film was produced under the banner of Guru Enterprising Movies, Madras (now Chennai). Baby Rani was in the lead role with Reena Roy in the role of Lalpari. Rest of the cast was star-studded which included Rajendra Kumar, Asha Parekh, Jeetendra, Neetu Singh, Prem Nath, Feroz Khan, Agha, Ramesh Deo, Seema Deo, Aruna Irani, Mahipal, Padma Khanna, Jagdeep, Janakidas, Lalita Kumari, Narendra Nath, Preeti Ganguly, Deny Denzongpa etc. The film’s story and screenplay were written by the well-known Marathi poet, lyricist and writer, G D Madgulkar.
The story of the film is as under:
Rajendra (Rajendra Kumar) and his wife, Kamla (Asha Parekh) live with their daughter Rani (Baby Rani), her maternal uncle, Ramlal (Satyen Kappu) and the aunt (Lalita Kumari). Rajendra leaves for a long business tour leaving Kamla and Rani with her selfish uncle, Ramlal and his cruel wife. After the completion of his business trip, Rajendra is on his way back home when the family gets the news that he has died in a plane accident. Shortly thereafter, Rani’s mother, Kamla goes into coma, and she is almost clinically dead. This leaves Rani to face the cruelty of her aunt and the uncle Ramlal.
Pappu (Master Abbas) is Rani’s best friend with whom she shares her problems with him about the aunt who treats her cruely. After listening her, Pappu tells her that her story is the same that of Cinderella. He tells her the story of Cinderella in which Lalpari takes Cinderella to heaven. He suggests Rani to meet Lalpari (Reena Roy) who will take her to heaven to bring her mother to life. From here onwards, Rani is in her imaginary travel to heaven.
Lalpari takes Rani to heaven, and she pleads with Yamaraj (Prem Nath) to make her mother alive so that she can take her back to the earth. Yamaraj says that those who come here cannot go back. He says that other than this, he can give her any boon. She asks Yamaraj to give her a younger brother. He gives her that boon and asks her as to where her younger brother is. She says that he is yet to be born. By asking this boon, Rani has actually tricked Yamaraj to make her mother live. Thus, Rani succeeds in bringing back alive her mother. She also meets her father who is also alive, as he was only injured in the plane accidents.
The film had 8 songs written by Balkavi Bairagi and set to music by Vasant Desai. Two of the songs are very longish in duration. The first one is the song depicting the story of Cinderella which is of nearly 20 minutes duration. It is picturised mainly on Jeetendra, Neetu Singh and Reena Roy. The second longish song depicts the story of Gullivar (Feroz Khan) which is of nearly 8 minutes duration. In this song, there is a lot of trick photography and special effects.
I am presenting the first song from the film which is a different song than the two longish songs discussed above. The song is ‘mera phool badan kumhlaaye re’, rendered by Asha Bhosle. The song is picturised on Aruna Irani in the role of Menaka, the celestial nymph to seduce Chitragupt (Jagdeep) to get information on whereabouts of Rani’s mother and father from his records.
Video Clip:
Song-Mera phool badan kumhlaaye re (Raani aur Laalpari)(1975) Singer-Asha Bhonsle, Lyrics-Balkavi Bairaagi, MD-Vasant Desai
Chorus
Lyrics
hmmhmmhmm
hmmhmmhmm
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
mera phool badan kumhlaaye re
mera phool badan kumhlaaye re
o piya baadal banke barso
o piya baadal banke barso
o mera phool badan kumhlaaye re
mera phool badan kumhlaaye re
o o o
o o o o
meri kanak chhadi si kamar
kamar mein bhanwar
bhanwar bhi gehra aa aa aa
mera sone jaisa rang
rang mein racha basa har ang
ang pe kaamdev ka pehra aa aa aa
bin maali baag sukhaaye ae ae ae
o mera phool badan kumhlaaye re
mera phool badan kumhlaaye re
o o o
o o o o
main chandan van ki gandh
gandh mein palken karli band
adhar par rasbheeje angaare
anoothi aag kare manoharee
kahaan hai ras ki madhur phuhaar
baras ja ek nahin sau baar
ye tapan sahi na jaaye ae ae ae
o mera phool badan kumhlaaye re
mera phool badan kumhlaaye re
o piya baadal banke barso
o piya baadal banke barso
mera phool badan kumhlaaye re
mera phool badan kumhlaaye re
O jee teree chithhiyon se sharmaaun
Posted on: July 1, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5461 | Post No. : | 17878 |
Today’s song is from the film Hindustan Hamara (1950).
The film had music by Vasant Desai. The film had 6 songs written by Dewan Sharar, S.R. Saaz and Dr. Iqbal. The film’s cast consisted of Prithviraj, Dev Anand, Jairaj, Surendra, Prem Nath, K.N.Singh, Durga Khote, Nalini Jaywant, Tripti mitra, Shambhu Mitra, Yashodhara Katju, Sheela Nayak, Wast and many more.
The film was made by Paul Zils Productions and the film was directed by Paul Zils himself.
Now who was this Paul Zils ? Sounds like a foreign name. Yes, he was a German who came to India during the II World War period. Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines ! It was at this time that several of its men left the studio and arrived in India, and contributed during the Indian cinema’s formative years.
The foremost among them was Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany. In 1934, he came to India and the next year, after Rai founded ‘ Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins, Osten directed its first film.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhut Kanya (1936), without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members from Germany, who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of Second WW while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).
Then there was Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka. Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society. Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint). Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion.
Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay. Kauffman is also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).
The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.
After his release, because of his film experiences, the leadership of the sales department where Ezra Mir led a government documentary production company, called him to join Information films of India. End of October 1945, he came to Bombay and started his work. In March 1959 he returned to Germany.
As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists. Josph Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few Hindi films too.
Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name. ( Information adapted from the book ” Walter Koffman” by Amit Gangar, with thanks and my notes).
(Incidentally, another foreigner – an American – named Ellis Roderick Dungan was in the Madras film industry from 1935 to 1950 and he directed over 20 Tamil films, not knowing a single word of Tamil language till the end. He went back to the USA but kept visiting India, making Hollywood films and Documentaries etc, till 1994. Just for extra information.)
One of the lyricists and actors was Dewan Sharar. he was one of the most educated and famous literary persons in the Western World, before joining Hindi film industry. 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 a few generations. His name was Atmanand Sharar. He was born (3-1-1899 to 28-4-1969) 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 the 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 into 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.
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.
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. ”
Hindustan Hamara was one of those films which was made on the philosophies espoused by Gandhi and Nehru. India had just got Independence and their influence on the Janata was heavy. They used to say that India lives in villages. Gandhi had even started a campaign ” Chalo Gaon ki ore (चलो गांव की ओर )”. Many filmmakers were influenced by Gandhi-Nehru’s Socialism and the first 10 years after independence, films glorifying Nehruvian Socialism were made in large numbers. Today’s film, Hindustan Hamara was also one such film which advocated living in the villages. The story of this film was….
” Ram is a farmer, who ploughs his land in a village. He lives with his wife Ganga and son Laxman. Due to poverty, his brother Bala goes to the city, works in a factory and becomes a Union Leader. His beloved Usha stays in the village with her widowed mother. Mahadev, the Zamindar has a bad eye on Usha. One year the crop fails and all farmers become panicky. The farmers are united by a social worker – Shaikh saheb to start co-operative farming, which becomes successful and all farmers are happy. Ram comes to know that his brother Bala is coming to the village for a few days. Everyone is happy and Usha’s marriage with Bala is on the cards. Bala comes and meets usha.
The jealous Zamindar brings Police to take away Ram’s land as he had failed to repay his loan in time. The zamindar puts a condition that he should get his money within 2 days or he should be married to Usha on the third day. Ram and other farmers of the cooperative society join together. The society gives him the loan to repay the zamindar. Bala decides to leave the city job and settle in the village to improve the condition of the farmers.”
One can see that the story had shades of Nehru Philosophy, Gandhi principles and Russian farming concepts. In reality all these proved to be useless while the world moved forward. Russians themselves gave up their ideas and the world became modern with industries and technologies. The old ways of farming changed drastically. This, ofcourse is a different point !
I have not seen the film. It would be a great sight to see Dev Anand working as a farmer ! This was much before he decided to make himself ” The Romantic heartthrob of India” in the times to come !!
Today’s song is a duet by Nalini Jaywant and Balakram. This is only the second song of this film to be discussed here.
Song- O jee teri chitthiyon se sharmaaun (Hindustan Hamaara)(1950) Singers- Nalini Jaywant, Balakram, Lyrics-S R Saaz, MD-Vasant Desai
Lyrics
aa aa aa ra ree ree raa
raa ree raa
o jee teri chitthiyon se sharmaaun
o jee teri chitthiyon se sharmaaun
khat choom choom rah jaaun
khat choom choom rah jaaun
ki padh nahin paaun main
chhup chhup ke hamne sunaai
aji chhup chhup ke hamne sunaai
la re la re hamaari mithaai
la re la re hamaari mithaai
aji jaao
jaao jaao munh dho aao
jaao jaao munh dho aao
dekho gussa na mohe chadhhaao
dekho gussa na mohe chadhhaao
ki bin sajan jaaun main
aa aa aa
aa aa aa aa
aa aa aa
arre tu hai mast kalandar
o o
chaacha tera hai bandar
chaacha tera hai bandar
isi liye khat unke rakhti
isi liye khat unke rakhti
tum is takiye ke andar
da da da da da da da
ab naach naach
meri gudiya gudiya gudiya
ab naach naach
haan naach naach
haan naach
aur bol kaun hai bandar
naachan mein dhoom machaaun main
hmm
aa aa
aa aa aa aa
aa aa aa
abhi khat likhta hoon Bambai
abhi khat likhta hoon Bambai
wahaan se laayenge dulhan nayi
haan haan dulhan nayi
wahaan kuchh ek nahin hain kayi
kisi aur ko jaa ke sataao
kisi aur ko jaa ke sataao
ki sat nahin paaun main
aa aa aa
aa aa aa aa
aa aa aa
o jee teri chitthiyon se sharmaaun
o jee teri chitthiyon se sharmaaun
khat choom choom rah jaaun
ke padh nahin paaun main
aa aa aa
aa aa aa aa
aa aa aa
Sunaaun haal e dil kaise
Posted on: January 20, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5299 | Post No. : | 17353 |
#the Decade of Fifties – 1941 – 1950 #
————————————————————————
“Andhon Ki Duniya-1947” was directed by Keshav Rao Daate for ‘Rajkamal Kalamandir Ltd.’.It had Leela Chitnis, Manmohan Krishna, Munawwar Sultana, Mahipal, Professor Hudlikar, Vikas, Gulab, Parshuram and others.
This movie has ten songs written by Behzad Lucknowi, Deewan Sharar, and Khumar. Music for this movie was composed by Vasant Desai.
In the information provided in HFGK Vol-II (1941-1950) for this movie page lyricist’s name for one song is not mentioned. (And the singer’s name for only two songs has been provided on the movie page i.e. song no.1 &2. But for song number one the correct names are again mentioned in the ‘Corrigenda’.).
In the ‘addenda’ HFGK has mentioned the singers’ name for song no.4, 5, 8, 10, 6, 7 and 9 which I have provided in the below table.
| SNo | Song Title | Lyricist | Singer/s |
|---|---|---|---|
| 01 | Is ishq ke daaman mein phoolon ka khazaana | Behzad Lucknowi | Shailesh Mukherjee, Zohrabai Ambalewali |
| 02 | Tujhe aap beetana hai apna jeewan | Deewan Sharar | Manmohan Krishna, chorus |
| 03 | Nigaahon ka sadkaa nigaah karte jaan | Deewan Sharar | Not known |
| 04 | Ghareebon ke daata, ghareebon ke waali | Not known | Zohrabai Ambalewali, chorus |
| 05 | Sunaaun haal e dil kaise | Deewan Sharar | Zohrabai Ambalewali |
| 06 | Gaana –gaana sakhi koi gaana | Deewan Sharar | Various artistes |
| 07 | Mere jeewan ka tu ujiyaara | Deewan Sharar | Manmohan Krishna |
| 08 | Koyal kyon shor machaaye preetam | Khumar | Zohrabai Ambalewali |
| 09 | Hamko sazaayein dete ho sarkaar kisliye | Deewan Sharar | Manmohan Krishna |
| 10 | Koyi batlaa de mujhe, dard-e-muhabbat kyon …. | Deewan Sharar | Zohrabai Ambalewali |
One song (the first song in the above table) has been posted on the blog earlier on 24.08.2014. That was a LONG time ago. 🙂
Today we present the second song from this movie. It is written by Deewan Sharar (as per HFGK. The up-loaders on ‘YouTube’ mention the lyricist as Behzad Lucknowi).
Music is composed by Vasant Desai.
Let us now listen to today’s song…
I would request knowledgeable readers to throw more light on this movie and its songs.
Editor’s note:- With this song, Vasant Desai reaches 200 songs as a music director in the blog.
song-Sunaaun haal e dil kaise (Andhon Ki Duniya)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Dewan Sharar, MD-Vasant Desai
Lyrics
sunaaun haal e dil kaise
sunaaun haal e dil kaise
ye ik mushqil si
mushqil hai
ye ik mushqil si ee
mushqil hai ae
mera dil to wo hai
haan
mera dil to wohi hai
par
zaraa badlaa huaa dil hai
sunaaun haal e dil kaise
sunaaun un un un un
o o o o
o o o o o
ham apne ghar ko dil
aur dil ko apna ghar samajhte thhe
ham apne ghar ko dil
aur dil ko apna ghar samajhte thhe
ye ab jaana ke ghar to
zindagi ki pehli manzil hai
sunaaun un un un un
kabhi dil shaad thha
khush thha
patang aur dor ke peechhe ae
kabhi dil shaad thha
khush thha
patang aur dor ke peechhe ae
samajh mein ab lagaa aane
wo kya dil thha
ye kya dil hai
wo kya dil thha
ye kya dil hai
sunaaun un un un un
o o o o o o o
o ho o o
wo mere dil mein bastey hain
ae
wo mere dil mein bastey hain
to samjho mere bas mein hain
to samjho mere bas mein hain
mera dil unke qaaboo mein
to jaano unke qaabil hai
to jaano unke qaabil hai
sunaaun haal e dil kaise
sunaaun un un un un
Bikhre taar miley phir mann ke
Posted on: December 22, 2022
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | Lyricist-MD | Post by Avinash Scrapwala | Rare song | Semi Classical song | Songs of 1970s (1971 to 1980) | Songs of 1973 | Vani Jairam solo songs | Vani Jairam songs | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5270 | Post No. : | 17279 | Movie Count : |
4653 |
#the Decade of Seventies – 1981 – 1990 #
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#Bhoole-Bisre Geet # (missing movies of 1973 – A tribute to Vasant Desai)
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Today, 22nd December 2022 is forty-seventh remembrance anniversary of yesteryear’s legendary music composer Vasant Desai. He was born on 9th June 1912 and passed away on 22nd December 1975 at the age of 63 years.
For me, Vasant Desai is one of the great names which I am admirer of and have always been fascinated by his wonderful musical creations. I have been listening to the songs he composed for Hindi Film Music. There is a long list of my favorites of him from Hindi as well as Marathi film music. Today as a tribute to him I am presenting a song from a movie ‘Grahan’ (1973). Some sources also mention this movie as from the year 1976. I think this was an obscure movie of its time. No video of this movie is available on online platform, I guess.
‘Grahan’ (alias ‘The Acceptance’) was directed by Manjul Prabhat for AK Films, Bombay. It had Nutan, Basant Choudhary, Suhasini Muley, Subhash Ghai, Ajay, Vaishali, Shashi Puri, BB Bhalla and others. This movie was passed by Censor Board on 29.12.1973.
This movie has two songs composed by Vasant Desai. Lyrics for one song are taken from a ‘traditional folk song’. The song being presented today is penned by Vasant Desai himself. Mahendra Kapoor and Vani Jairam are the voices used for the songs in this movie. Today’s song is sung by Vani Jairam.
As mentioned above only the audio of this song is available.
I would request knowledgeable readers who have any information about this movie or have watched this movie in those years to share as possible here.
Let us now listen to today’s song and pay our tributes to Vasant Desai.
With this song this movie ‘Grahan’ makes its debut on the blog.
Song-Bikhre taar miley phir mann ke (Grahan)(1973) Singer-Vani Jairam, Lyrics-Vasant Desai, MD-Vasant Desai
Lyrics
bikhre taar miley
phir mann ke ae
bikhre taar miley
phir mann ke ae
bikhre taar miley
aa aa aa aa aa
sur saje ae jeewan ke ae ae
bikhre taar miley ae
phir mann ke ae
bikhre taar miley ae
aa aa aa aa aa
prem raagini ee ee
sargam chhede ae ae ae
prem raagini ee ee
sargam chhede ae
gaaye geet milan ke ae ae ae ae ae
prem raagini ee ee
sargam chhede ae ae ae
ae ae ae ae
ae ae ae ae
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
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
aa aa aa aa aa
prem raagini ee ee
sargam chhede ae ae ae
gaaye geet milan ke ae ae ae ae
gaaye geet milan ke ae ae ae ae
bikhre taar miley
phir mann ke
bikhre taar miley ae
aa aa aa aa aa
aa aa aa aa aa
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Hindi script lyrics (Provided by Sudhir Kapur)
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बिखरे तार मिले
फिर मन के
बिखरे तार मिले
फिर मन के
बिखरे तार मिले
आ आ आ आ आ
सुर सजे॰॰ जीवन के॰॰
बिखरे तार मिले फिर मन के
बिखरे तार मिले
आ आ आ आ आ
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
बिखरे तार मिले
फिर मन के
बिखरे तार मिले॰॰ए॰॰ए
आ आ आ आ आ
आ आ आ आ आ
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4990 | Post No. : | 16882 |
Today’s song is from the film Do Behnen-1959.
The film was made by Brij kala Mandir, Bombay. Produced by J P Sehgal and Kailash Kapoor, it was directed by Kedar Kapoor. Music was composed by Vasant Desai and all the 7 songs were written by Kavi Pradeep. The cast of the film was Shyama, Rajendra Kumar, Chand Usmani, Radha Kishen, Tiwari, Ram Mohan, Leela Mishra and many more.
The director Kedar Kapoor (2.9.1927-5.6.1987) directed 35 films from 1954 to 1983. In his career he was branded as Dara Singh Specialist, because he directed as many as 19 films of Dara Singh. His daughter Madhu kapoor was also an actress, in those days. The pair of composer Vasant Desai and Kavi Pradeep was unusual. They came together only in 2 films of 1959, namely south made School master and Do Behnen. Kavi pradeep was not acceptable to many well known Music Directors of those times, because Pradeep insisted on singing at least one song in every film and he used to force the composer to use the tunes he made for his songs. Due to this, MDs who were famous, could afford to deny working with him, like Naushad for example. Even Vasant Desai had to give one song from both his films to Pradeep to sing.
The story of Do behnen-59 was a story of twin sisters who were poles apart in nature. Shyama did a double role for both sisters. Earlier K.A.Abbas’ story in film ” Anhonee’-1952 had handled such a story. But that too was not the first one. In 1942, the film “Muqabala” depicted 2 sisters having different natures. In that film the Stunt Queen Fearless Nadia did the double role of sisters.
Having a double role in films was not a new thing. Let us take a brief look at the history of Double roles in films. As far back as into the initial era of making silent films, a male actor, Anna Salunke, had done the double role of Shri Ram and Seeta in film ” Lanka Dahan”-1917, made by Dadasaheb Phalke. Later on actress Patience Cooper did double roles of Twin sisters in silent film “Patni Pratap”-1923 and then again as Mother and daughter in silent film “Kashmiri Sundari”-1925. Master Vithal did a double role in the film Raj Tarang-1927.
When Talkie films started, the first film to have a double role was “Awara Shehzada”-1933.The Hero was Shahu Modak. The film was based on Mark Twain’s popular novel “The prince and the pauper’ in 1881. With this film India had beaten Hollywood in this race, because the first Talkie film on this novel was made in Hollywood only in 1937, with the same title of novel. The film featured the handsome Erol Flynn. Another popular film was ” The prisoner of Zenda’ based on the novel of same name by Anthony Hope in 1894 in 1937 and 1952.
In Hindi, a major hit film on double roles was Geeta-1940. In this film the hero-Chandramohan did a role of Father and son and the Heroine Durga Khote did the double role of Mother and wife. The film advocated the principle for the first time in films that ” Crime never pays”. This theme was later used in many films like “Kismat”-43 and “Sangram”-50. Film Geeta became so popular that it was remade as “Ustad’-1957 and “Karmayogi”-1978. Ashok kumar and Raaj Kumar did double roles in these films.
In the south made film “Chandralekha’-1948, the Hero Ranjan had a double role as twin brothers. The trend of making films with double roles went on increasing steadily. I have the statistics of such films from 1931 to 2014. As per this, the double role films were 3 in the 40’s, 11 in 50’s, 37 in 60’s, 63 in 70’s, 62 in 80’s, 81 in 90’s, 45 in 2000 and 17 till 2014.
Leading actors did double roles in films thus –
Amitabh-15 films
Rajesh K. – 11 films
Mithun Ch. -11
Govinda -10
Jeetendra -9
6 films each by Akshay kr., Hema M., Rishi K., Sanjeev kr.,and Shri Devi
5 films by Anupam K., Dilip kr., Mehmood and SRKhan
4 films by Ajay D, Anil k., J.Shroff, KK, Rekha, Sadhana, Salman Khan, Shashi K.
3 films by 15 actors. 2 and 1 by many actors. I have all the names but it will be too long a list.
So much for films with double roles.
The story of Do Behnen-59 was written by eminent writer Pt. Mukhram Sharma ( 29-5-1909 to 25-4-2000): The most famous writer of stories with social themes in the fifties, Pandit Mukhram Sharma had a long association with B. R. Chopra. He had written stories for many of his hit films. Some of his notable films are Ek Hi Raasta, Aulad, Sadhna and Dhool Ka Phool. Pt. Sharma had also won Filmfare awards for Sadhna, Vachan and Aulad. His other hit films include Santaan, Do Kalian, Jeene Ki Raah, Raja Aur Rank, Dadi Maa, Gharana and Talaq. Pt. Mukhram Sharma won Sangeet Natak Academy Award (1961).
Before coming to Bombay, he was a teacher in Meerut. In 1939, he came to Bombay, but could not get any job. He moved to Poona and joined Prabhat films as a Tutor for Marathi and Hindi. In Poona, he married a Marathi actress Shanta Mujumdar.He was with Marathi films till 1952, then he came to Bombay and got the first Filmfare award for Best story for his film Aulad-54.
Then there was no looking back. After winning Filmfare awards 3 times, Academy Award and Lifetime achievement Zee award, Sharma retired in 1980 and went back to Meerut.
The story of Do Behnen-59 was……….
Bombay-based look-alike twin sisters, Vasanti and Malti ( Shyama ), live a wealthy lifestyle with their parents. Their father, Raghunath ( S.K.Prem), arranges devout Vasanti’s marriage with Ramesh ( Rajendra Kumar), who lives with his widower father, a doctor ( Tiwari), and a sister, Rekha ( Chand Usmani). After the wedding, Raghunath is shocked to find Malti singing and dancing with a male named Anokhey( Ram Mohan) in a nightclub.
He brings her home, admonishes her severely and forbids her to leave the home. In response, she elopes with Anokhey, travels to Poona and books a room in Paramount Hotel. Shortly thereafter Anokhey shows his true colors, squanders her money, starts drinking, and frequenting prostitutes. He then takes her jewelry and walks out of her life. In order to recover the rent, the Hotel Manager contacts the Mathurs, and Vasanti and her mom ( Mumtaz Begum) attend to take Malti back home.
While traveling home, the train meets with an accident and Vasanti passes away. Her mother tells everyone that it is Malti who has passed away, and compels Malti to take over as Vasanti, which she does reluctantly.
After going to her house, she finds it very difficult to adjust to the sati savitri type behaviour. However, slowly she starts loving the new house and also her husband. Ramesh many times gets puzzled with her behaviour, but ignores it.
Finally the truth is out one day, but by that time Ramesh starts liking her and so a New Malti takes over her dead sister’s place officially.
Today’s song is the 7th and the final song of this film. It makes the film ” YIPPIED ” ! It is a good song too. Enjoy….
Song-Chhum chananan nanan chhum chananan nanan bichhua bole (Do Behnen)(1959) Singer-Lata, Lyrics-Kavi Pradeep, MD-Vasant Desai
Chorus
Lata + Chorus
Lyrics
ho ho ho
papapapapa
papapapa
hahahahaha
aa aa aa aa
aa aa aa aa
aa aa aa
sa re sa re ma ha ma dha pa
pa ma ga re ma ga re sa
sa sa sa
ma pa dha
dha ni re sa
sa sa
chhum chananan nanan chhum chananan nanan chhum chananan nanan
bichhuwa bole re
tan dole
man dole
chhum chananan nanan chhum chananan nanan chhum chananan nanan
bichhuwa bole re
tan dole
man dole
sakhi dekho jawaani aayi ban thhan ke
aayi ban thhan ke/font>
jeevan mein madhu ras ghole
tan dole
man dole
chhum chananan nanan chhum chananan nanan chhum chananan nanan
bichhuwa bole re
tan dole
man dole
o o
kis manzil pe aaj hum aaye
aaj hum aaye
dekho naazuk badan lahraaye
ho lahraye balkhaye
dekho nas nas mein hai bijli tadapti
nas nas mein hai bijli tadapti
ang mein bhadke shole
tan dole
man dole
chhum chananan nanan chhum chananan nanan chhum chananan nanan
bichhuwa bole re
tan dole
man dole
badal gaya sab roop rang
sakhi badal gayi hai chaal ree
chaal ree
dhak dhak dhak mere dil ki dhadkan
dene lagi hai taal re
taal re
o o
nain nachaa le gori teer chala le
nain nachaa le gori teer chala le
aaye khushi ke jhakole ae
tan dole
man dole
chhum chananan nanan chhum chananan nanan chhum chananan nanan
bichhuwa bole re tan dole man dole
chhum chananan nanan chhum chananan nanan chhum chananan nanan
Sukh bhara sukh bhara
Posted on: December 4, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4887 | Post No. : | 16683 |
Songs from Artiste Name Films….Second Season….No. 6
Today’s song is from the film Shakuntala-1943.
After leaving Prabhat Film Co. in 1942, V.Shantaram came to Bombay. He had definite plans for his future. But till the right time ( read-arrangement for finance) was ripe, he joined the Films Division of the Government. Later, when the arrangements were in place, he bought a studio with extra land to start his own Rajkamal Kala Mandir. He selected this name to keep his parents’ names with him. Father was RAJaram and Mother was KAMALabai. The first film he made here was “Shakuntala” The film was based on ” अभिज्ञान शाकुन्तलम ” written by Kavi Kalidas in the 3rd century. It depicts the story of Shakuntala- daughter of sage Vishwamitra and apsara Menaka. It is about her love with king Dushyant.
Dewan Sharar had adapted the story from the original ” अभिज्ञान शाकुंतलम ” by Mahakavi Kalidas written in the 3rd century. He wrote the story, dialogues and Lyrics ( some lyrics were by Ratan Piya ) 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.
The cast of the film was Jayashree ( for whom Shantaram had to leave Prabhat), Chandramohan, Zohra, Ameena, Nimbalkar, Nana Palshikar etc etc. For actress Zohra Jaan, this was her last film in India, before Partition. Actually, she was already selected as the Heroine of Shantaram’s next film ‘ Parbat pe apna dera”, but when some communal riots erupted in Bombay for Partition, she got scared and left immediately for Lahore, Pakistan.
One interesting actor in the cast was Madan Mohan (not the Music Director). He had come from Punjab and he stuck with Shantaram’s films He was in Parbat pe apna dera-44 and he became a regular in most films of Shantaram, after that. Likewise another interesting actor was Indurao T. Nimbalkar, a veteran actor from marathi films. He too became almost a regular with Shantaram. In film Shakuntala-43 he played the role of sage Kanva Muni, the foster father of Shakuntala.
Film Shakuntala was a successful film. It not only ran for 104 weeks in Bombay, but it became the first ever Hindi film to be shown in the USA. The New York Times had given a favourable review of the film in its editions. The film was also nominated for the Grand International Award at the 1947 Venice Film Festival.
This was Vasant Desai’s first independent assignment with his mentor-V.Shantaram. he had a long associationwith Rajkamal filmsn subsequently. So, one can see major landmarks were associated with this film.
Now, coming to our point. There were two actresses in Hindi films, named Shakuntala. One was Baby Shakuntala to start with , but later on she became Heroine in many Hit films. She paired with well known heroes, like Kishore Kumar,Bharat Bhooshan,Karan Dewan, Amarnath, Anant marathe, master Bhagwan, Abhi Bhattacharya etc etc. She was a well known actress.
The other Shakuntala was not so well known, because she acted only in the 30’s and 40’s films. Her last film was Paisa-1941 after which she went out of Hindi films.
None of these two Shakunatalas had acted in this film. However, we will see the information on the less known Shakuntala. Her full name was Shakuntala Paranjpye (शकुंतला परांजपे ) She had a very bright career before and after her sojourn into the film world of Hindi and Marathi cinemas. Very few people can match her achievements in films, social work, politics and education. She was the mother of Sai Paranjpye, famous director of offbeat films like Katha, Chashme Baddur, Sparsh etc.
Shakuntalā Parānjpye (17 January 1906 – 3 May 2000) was a writer and a prominent social worker. She was a member of Maharashtra Legislative Council during 1958–64, and was a nominated member of Indian Rajya Sabha (Upper House of Parliament) during 1964–70. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her pioneering work in the field of family planning since 1938.
Shakuntala Paranjpye was the daughter of Sir R.P.Paranjpye the first Indian to be Senior Wrangler at the University of Cambridge, an educationist, and India’s High Commissioner to Australia during 1944–1947Shakuntala studied for the Mathematical Tripos at Newnham College, Cambridge. She graduated there in 1929. She received a Diploma in Education from London University the next year.
Shakuntala worked in the 1930s with the International Labour Organization in Geneva, Switzerland. In the same decade and in the 1940s,, she also acted in some Marathi and Hindi movies. Shakuntala wrote many plays, sketches, and novels in Marathi. Some of her work was in English.
A Hindi children’s movie, Yeh Hai Chakkad Bakkad Bumbe Bo, which was based on a Marathi story by Shakuntala was released in 2003.
Shakuntala was married for a short time to a Russian painter, Youra Sleptzoff. She had a daughter, Sai Paranjpye, by him in 1938. Soon after Sai’s birth, she divorced Youra, and brought up Sai in her own father’s household. Sai Paranjpye is a noted Hindi movie director and screenwriter. She is known for her comedies and children’s movies. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her artistic talents.
Shakuntala wrote many books. Some of them are….
1.Three years in Australia
2. Sense and Non sense
3. Kahi ambat kahi goad (Marathi)
4.Desh Videshichya Lok katha (Marathi)
She acted in 13 films- Sairandhri-33, Parth Kumar-34, Bhedi Rajkumar-34,Bhakta Prahlad-34, Typist Girl-35, Sone ka Shahar-35, Kali Waghan-35, Bahadur Beti-35, Duniya na maane-37, Sultana Chand Bibi-38, Jeevan Jyoti-38, Stree-38 and Paisa-41. She sang 9 songs in 4 films-Typist Girl,Sone ka shahar, Stree and Paisa.
Though she ended her Hindi film career in 1941 itself, she is often credited with the films till 1955- films which were actually done by the other (Baby) Shakuntala. This is what I call as “Same Name Confusion”. In fact, (Baby) Shakuntala started her career with film Dus Baje in 1942, so there was no scope for mixing up their filmographies. But wiki as well as most of the film related sites do this mistake.
Today’s song is a short one, with video showing the final departure of Shakuntala, Dushyant and their son-Bharat. It is sung by Amirbai and a chorus with a male voice. The story of film Shakuntala -1943 was –
Shakuntala (Jayshree) is the daughter of sage Vishwamitra and Menaka, but is brought up by the sage Kanva, and stays with him in a forest dwelling. She meets King Dushyanta (Chandra Mohan), when he comes there for a hunt. The two fall in love and get married, with Dushyanta staying with her. Soon he has to leave and he promises to come back for her. Before leaving he gives her a ring as a token of their marriage. Shakuntala passes her days waiting for Dushyanta. She is so lost in his thoughts that she doesn’t hear a sage asking for water. He then leaves her with a curse that the one she is thinking about will forget her. She gives birth to a son, Bharata and several years pass without the return of Dushyanta who has lost his memory and has no recollection of Shakuntala. The ring he has given her is lost in the river and swallowed by a fish. Dushyanta turns her away when Shakuntala goes to the court. Later when Dushyanta recovers his memory Shakuntala refuses to go with him but both are finally united.
Song- Sukh bhara, sukh bhara (Shakuntala)(1943) Singers- Amirbai Karnataki, Unknown male voice, Lyricist- Ratan Piya, MD- Vasant Desai
Lyrics
Sukh bhara
sukh bhara
Sukh bhara
sukh bhara
kare jeevan bharat ye tumhaara
?? varshon ke viyogi
nikla sukh ka taara
Sukh bhara
sukh bhara
kare jeevan bharat ye tumhaara
?? apne praan badhaaye
jai jai kaare
jag mein paaye
rajyawansh(?) ho Bharat naam se
Bhaarat ye pyaara hamaara
bhaarat ye pyaara hamaara
Sukh bhara
sukh bhara
bhaarat ye pyaara hamaara
Dim Dim Dim Dim Digo
Posted on: November 14, 2021
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4867 | Post No. : | 16661 | Movie Count : |
4540 |
Missing Films of 1960s – 118
– – – – – – – – – – – – – – –
All changes with time. Does everything? There is a counter quote to this one – the more things change, the more they remain the same.
Do dreams change with time, across generations? Maybe some do. Does love change with time? I feel not. The basic understanding of emotions probably remains the same across generations, and maybe across geographies too.
Does life change? Yes, in a context, life does change with passage of time and as per the changing social and economic environment. But do the passages of life change? I believe not. Birth, growth, old age and death – all these passages visit everyone invariably.
And so does childhood – visits everyone invariably. Childhood, and its dreams – that is an experience that visits all of us immediately as we arrive in this creation. Of course the duration of this experience varies from person to person. And not to discount the fact that for some strange souls, this experience lasts a lifetime.
14th November today. Birth anniversary of Pt. Jawaharlal Nehru, the first Prime Minister of independent India. Traditionally, this day is designated as and has been celebrated as the day of Children for decades. With changing political and administrative priorities, the celebration associated with this day seems to have disappeared from our calendars. Sad to see that a child’s fun and happiness is overshadowed by political idiosyncrasies.
I cannot speak of the digital media – I do not watch TV, period. I get three newspapers at home. Today morning I felt good in my heart that two of them carry special sections of four pages each, devoted to Children’s Day. These pages carry short stories and other material for children. I feel happy that all is not changed, all is not forgotten.
Looking back into our blog, for this date of 14th November across the 13+ years of our musical journey, I find the following about this celebration.
In 2008, there was no mention of Children’s Day on the blog, on this date. In 2009 this day was a dot day, no posts. 2010 saw 6 posts, but no mention of children. 2011 turned out to be a redeeming bonanza, with the entire set of 5 posts that day were assigned to children’s songs.
2012 was again a dot day. In 2013 there were seven posts, with one for this celebration. In 2014 we had 2 celebratory posts devoted to children, out of 5. In 2015 it was 1 out of 2 and 2016 saw 2 posts out of 6. This day in 2017 had only one post, not a children’s song. 2018 had one out of two posts, 2019 had just one post and it was a children’s song. Last year, we had two songs, one of which is the celebration for the day.
So a total of 14 posts in the past 13 years. In all fairness to the blog, I must state we otherwise have 115 children’s songs already posted + many more in other categories like ‘Lullabies’, ‘Parent Child Songs’ etc.
A friend sent a greeting today that carries these words,
“Childhood is all about being wild,”
“having fun and enjoying a carefree life”
“Enjoy your childhood till it lasts.”
“Happy Children’s Day”
I liked the phrase in here – “Enjoy your childhood till it lasts.”. Of course, till it lasts, but then making it last is in our own hands. One can grow up, and take care of everything in life that needs to be taken care of, and still continue to nourish and nurture a child within. You may think it is not feasible, but I do know some people who manage to do just this.
Coming to this song for today. I must share that this song has been sitting with me for over two years now, waiting to be written for. If I remember correctly, it is Sadanand ji who sent me the link to this rare song.
So let’s talk about the rarity factor of this song. The film ‘Rahul’ is a 1964 film by Children’s Film Society, Bombay. Although it is listed in the Geet Kosh, search by me and other friends had turned up a nought, and we had lost all hope that anything about this film will ever turn up. Scarce as they are, the films of Children Film Society are anyway a rarity, and more so the songs contained within. Geet Kosh lists two songs in the film, with the footnote that the film has just two songs.
About the film now. This is a film of devotional genre. The film is directed by Ram Gabaale. The songs are written by Madhukar Rajasthani. Music for this film is by the venerated Vasant Desai. The singing voice is of Asha Bhosle accompanied by chorus.
The star cast of this film is listed as Sandeep, Achla Sachdev, Arun, Ratnamala, Jagdish Sethi, Chaman Puri, Daya Devi, Leela Chaukhaani.
This is a very interesting fun song. The accompanying image on the YouTube clip appears to be of this song itself. It seems to be a song performed by children plus a main lady dancer, all dressed as tribal folk. The song is full of animal sounds and animal references, indicating a forest ambiance having been created for this song. And the singing by Asha Bhosle is just superb. A really enjoyable children’s song.
For the child inside all of us – “Dim Dim Dim Dim Digo”.
Song – Dim Dim Dim Dim Digo (Rahul) (1964) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Vasant Desai
Chorus
Lyrics
[animal sounds]
aha ha ha aha
aha ha ha aha
aaa haaa
aaaa aaaa aaaa aaaa
aaaa aaaaa
aaaa aaaa aaaa aaaa
aaaa aaaaa
dim dim dim dim digo
aha ha ha ha
dim dim dim dim digo
o ooo
khamba sa gabru igo
ooo oooo
oo oooo
dim dim dim dim digo
aaaa aaaa
dim dim dim dim digo
aaha ha haa haa haa
ha haa haa haa
ho ho ho
aaha ha haa haa haa
ha haa haa haa
ho ho ho
log kahen chaahe junglee
junglee
log kahen chaahe junglee
dafli pe pade jab ungli
dafli pe pade jab ungli
sher dabaa ke
dum ko bhaage
sher dabaa ke
dum ko bhaage
apne aage chigo
ha ha ha ha ha haaa
haaaa
dim dim dim dim digo
o ho oo
dim dim dim dim digo
hum parvat parvat ghoomen
aaa aaaa
aaaaaaaaaaa aaaa aa
hum parvat parvat ghoomen
mushqil ka daaman choomen
mushqil ka daaman choomen
ho sardi garmi
barkha jhelen
sardi garmi
barkha jhelen
maut se khelen pico
aa haa haa haa
oo oo oooo
o oo o
dim dim digo
ha ha ha ha haaa
dim dim digo
bade ajab hain apne saathi
apne saathi
bade ajab hain apne saathi
bhaalu
(bear sound)
geedad
(jackal sound)
bandar
(monkey sound)
haathi
(elephant sound)
bade ajab hain apne saathi
bhaalu geedad bandar haathi
kab ye ladaai hum se thaanen
kab ye ladaai hum se thaanen
koi na jaane jhigo
oo oo oo oooo
oooo ooooo
ho oo oo
dim dim digo
ho ho oo
dim dim digo
hoo oo
khamba sa gabru igo
oooo
ooooo
oooo
dim dim digo
ha ha ha ha haaa
dim dim digo
[animal sounds]
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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