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

Posts Tagged ‘Vasant Desai


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

Blog Day :

4801 Post No. : 16567

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video Clip:

Audio Clip:

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

Lyrics

aaa aa aa aa
aa aa aa
aa aa aa aaa

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

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

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

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


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

Blog Day :

4746 Post No. : 16473

Sixty-five years have passed since ‘Jhanak Jhanak Paayal Baaje’ (1955) -JJPB for short – was released. I had seen the film in a theatre in South Mumbai either in 1955 or 1956 (this film had run for nearly 2 years in a single theatre in Mumbai). But I had no recollection of much of the film. It was only after I watched some parts of the film on the video sharing platforms over a period of time, I could connect some scenes from the film I saw in my childhood. The film still evokes interest of the cinema lovers especially of those who relish the classical dance/music.

I am now in a better position the appreciate a bold and somewhat adventurous decision Shantaram took to produce and direct JJPB with the classical dance as a theme. If not handled properly, the theme could have turned the film into a documentary rather than a feature film. It was a high budget film in a technicolour extravaganza. Shantaram’s bold and daring decision to make JJPB has be admired in the backdrop of the following handicaps he faced:

(1) The successive failures at the box office of ‘Surang’ (1953) and ‘Subah Ka Taara’ (1954), both directed by V Shantaram had already put a financial strain on his banner, Rajkamal Kala Mandir. Under the circumstances, producing a film with a classical dance theme which Shantaram had never handled in the past, that too in technicolour was fraught with a huge financial risk.

(2) There were examples in the 1940s when Sagar Movietone made ‘Kumkum The Dancer’ (1940) and Wadia Movietone made ‘Court Dancer/Raj Nartaki’ (1941) with classical dance theme. The results were not encouraging. Both these films failed at the box office putting the financial strains on the respective banners. Eventually, Sagar Movietone had to be merged with National Studio and Wadia Movietone got split between Wadia Brothers and the Wadia Studio was sold to V Shantaram.

(3) It was a high budget film but the lead actors in the film were non-stars – a handicap for the box office collections. The lead actor, Gopi Krishna was just emerging as a choreographer in a couple of films while the lead actress, Sandhya had acted in two Hindi films prior to getting the lead role of a dancer in JJPB. Moreover, she was not a trained classical dancer like Vyjayantimala who had already became a star actor-dancer and had the capacity to attract the crowd in the theatres much higher than that of Sandhya.

Despite these handicaps, going ahead with JJPB showed the confidence level of Shantaram as a director and a master craftsman of the cinema medium. Probably, Shantaram may have felt that with his technicolour film, he was in a better postion to present the classical dance theme than what Sagar Movietone and Wadia Movietone had made in 1940-41. He put Sandhya under Gopikrishna for the intensive dance training for over a year which included training during the shooting of the film as well.

Shantaram was very successful in winning over the audience who had rejected his previous two films. He made the Indian classical dances visually appealing to the audience by presenting them in a hybrid choreography, coupled with the lavish settings. The visuals in Technicolour appealed to the audience. The film became Shantaram’s most successful films on the box office front. More than the commercial success of the film, it was personal satisfaction for Shantaram as a producer-director when JJPB won the National Award and the Filmfare Award for the Best Film for 1955.

Since JJPB was all about Indian classical dances, it was apparent that the songs need to be based on the Hindustani classical music. It is said that some well-wishers of Shantaram including Vasant Desai had suggested him to entrust the music direction of the film to Naushad who had emerged as a star music director in the classical genre after the phenomenal success of his songs in ‘Baiju Bawra’ (1952). But Shantaram entrusted the music direction to Vasant Desai. It is interesting to note that after ‘Dahej’ (1950), as a music director, Vasant Desai was not associated with Shantaram’s subsequent films, ‘Parchhaain’ (1952), ‘Surang’ (1953), ‘Teen Batti Chaar Raasta’ (1953) and ‘Subah Ka Taara’ (1954).

In his zeal to prove the confidence reposed on him by his mentor, Vasant Desai travelled all over India to pick up the best musicians for his music team for JJPB. In Jammu, he picked up Shiv Kumar Sharma, an upcoming Santoor player who was still in his teen at that time. From Banaras, he picked up Pandit Samta Prasad, the renowned Tabla player. Ustad Abdul Halim Jaffer Khan of Indore played sitar for Vasant Desai. In JJPB, Santoor as a musical instrument was used for the first time which later became a part of many Hindi film songs and background music.

After almost all the songs had been recorded, Vasant Desai had composed the title song in raga ‘Darbari’ for which he persuaded Ustad Amir Khan to sing. Ustad Amir Khan arrived at the recording studio for the final rehearsal and recording. At the last moment, Vasant Desai felt that he should get consent of Shantaram before the recording. So, he invited him to the recording studio to listen to the final rehearsal. Upon listening to the rehearsal, Shantaram was unhappy. He called Vasant Desai to an adjoining room and advised him to cancel the recording and suggested to either change the tune or the singer or both. Somehow Vasant Desai, on some pretext, persuaded Ustad Amir Khan to come for the recording the next day.

A nervous Vasant Desai reached home and sat down quietly. He did not know what was wrong with the composition and could not sleep that night. Early morning, it dawned to him that all the dances in the film had very fast tempo and rhythm whereas his tune was in very slow tempo and so were the aalaaps. Vasant Desai composed the same song in Raga Adana in very fast tempo and aalaaps. He rehearsed the new tune with Ustad Amir Khan in the presence of Shantaram who was pleased with the new composition. [Source of this triva on title song -”Journal of SIRC”, Annual 2012].

I am presenting here the much talked about title song, ‘jhanak jhanak paayal baaje’ rendered by Ustad Amir Khan. The words are of Hasrat Jaipuri and the music composition is of Vasant Desai.

The title song became so popular that Ustad Amir Khan used to get ‘farmaish’ in his public concerts to sing the title song. Later, Ustad Amir Khan started singing a much-elongated version of this song (nearly 9 minutes) in his concerts and the gramophone record for the same was released. Ustad Amir Khan sang live the title song of the film on the occasion of the diamond jubilee (60th week) celebration of the film in the presence of the distinguished guests at the Liberty cinema in Mumbai.

Audio Clip:

Video Clip:

Audio Clip (Concert Verson):

Song-Jhanak jhanak paayal baaje (Jhanak Jhanak Paayal Baaje)(1955) Singer-Ustad Amir Khan, Lyrics-Hasrat Jaipuri, MD-Vasant Desai

Chorus

Lyrics: (Based on Audio Clip)

jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

paayaliya ki runak jhunak par
paayaliya ki runak jhunak par
chham chham manwa naa..che
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

neel gagan bhi sunkar jhoome
madhur madhur jhanka…ar
madhur madhur jhankaar
soyi dharti jaag uthhi hai
soyi dharti jaag uthhi hai
goonj uthha sansaar
raag rang bhi saa…je
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

jhanak jhanak paa…yal baaje
jhanak jhanak paayal baaje

[sargam]
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

(aaaaaaaaaaaa)

jhanak jhanak paayal baaje
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
paayal baa..je
jhanak jhanak paayal baaje
paayal baa….je
jhanak jhanak paayal baaje
aaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
paayal aaa baa..je ae
jhanak jhanak paayal baaje
aaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaaa
paayal baa…je
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
(aaaaaaaaaaaaaa)
jhanak-jhanak paayal baaje
(aaaaaaaaaaaaaa)
jhanak-jhanak paayal baaje


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

Blog Day :

4732 Post No. : 16452

After leaving Prabhat Film Company in May 1942, V. Shantaram had announced his new film, ‘Shakuntala’ (1943) under his own banner, Rajkamal Kala Mandir. He was looking for a reputed writer who could write screen-play and dialogues for the film. Baburao Patel, the editor of ‘Filmindia’ magazine who had business relations with Prabhat Film Company (through its printing press) and with V Shantaram, suggested the name of Dewan Sharar, author, playwright, poet and journalist of the international repute. In those days, Dewan Sharar used to publish his short stories every month in ‘Filmindia’ magazine after returning to India sometime in 1941 from London where he had been staying for many years.

Around the same time, D R D Productions of D R D Wadia had announced its maiden film, ‘Ishaara’ (1943) based on the Dewan Sharar’s famous novel, ‘The Gong of Siva’ (1935). With this film as well as ‘Shakuntala’ (1943), Dewan Sharar had shifted from Delhi to Mumbai and had made Cricket Club of India (CCI) as his temporary abode to write screen-play and dialogues for both these films. Since V Shantaram, after leaving Prabhat Films, did not have his own office, it was at CCI where he and Dewan Sharar met frequently to finalise the screen-play and dialogues for ‘Shakuntala’ (1943).

‘Ishaara’ (1943) was released in June 1943 and after couple of months, ‘Shakuntala’ (1943) was released. Both these films were box office success. Dewan Sharar had a long partnership with Rajkamal Kala Mandir as a story, screen-play, dialogue, song writer and sometime as an actor until ‘Jhanak Jhanak Paayal Baaje’ (1955).

Shantaram was to direct ‘Omar Khayyam’ under the banner of Prabhat Films in 1941 and the screen-play of the film written by Baburao Patel was ready. However, at that time, Shantaram did not go ahead with the film as his relationship with other directors of Prabhat Films was strained. After leaving Prabhat Films and the successful run of his maiden film, ‘Shakuntala’ (1943), Shantaram toyed the idea of reviving ‘Omar Khayyam’. He entrusted Khwaja Ahmed Abbas to rewrite the screen-play of ‘Omar Khayyam’. However, due to the fear of copyright issue that may crop up with Prabhat Films, Shantaram once again abandoned the plan to direct ‘Omar Khayyam’. It is quite possible that during this period, Khwaja Ahmed Abbas might have brought to the notice of Shantaram his novella, ‘And One Did Not Come Back’ which was based on the life of Dr. Dwarkanath Kotnis who spent 4 years in China during 1938-42 on a medical mission.

The story of Dr, Dwarkanath Kotnis impressed Shantaram so much that he not only decided to make a film as a biopic but also decided to act in the title role of Dr. Kotnis. The film took nearly 2 years to complete at a total cost of Rs.20 lakhs. The delay was mainly due to reshooting of some sequences which Shantaram was not happy when viewing the film at the editing table. For the sake of authenticity, Dr. B K Basu, one of the doctors who accompanied Dr. Kotnis to China and a Chinese lady was part of the production team to supervise during the shooting of the film [Source; from the advertisement which appeared in ‘Film Pictorial’, April 1946].

‘Dr. Kotnis Ki Amar Kahaani’ (1946) was made in Hindi and English with the title ‘The Eternal Tale of Dr. Kotnis’. The film had V Shantaram in the title role of Dr. Kotnis and Jayshree as Chinese nurse, Ching Lan. Other actors in the film were Keshavrao Date, Pratima Devi, Ulhas, Janaki Das, Dewan Sharar, Salvi, Hudlikar, Baburao Pendharkar, Master Vinayak etc. The screen-play was jointly written by Khwaja Ahmed Abbas and V P Sathe, the writer and publicist. Dialogues and songs were written by Dewan Sharar. The film was released on March 16, 1946 at Swastik Theatre, Mumbai.

I am not sure whether the English version of film was released. But there is a mention in one of the issues of ‘Filmindia’ magazine of 1946 that Shantaram along with Jayshree and Dewan Sharar sailed to London in July 1946 on their way to New York taking with them the English version of ‘Shakuntala’ (1943) and ‘Dr. Kotnis Ki Amar Kahaani’ (1946) for release in the USA.

‘Dr. Kotnis Ki Amar Kahaani’ (1946) had 7 songs – all written by Dewan Sharar which were set to music by Vasant Desai. Three songs have been covered on the Blog. I am presenting the 4th song, ‘chit doley nit doley subah shaam prabhu ji’ a lullaby from the film sung by Jayshree on whom the song is picturised along with V Shantaram. Dewan Sharar makes a brief presence in the song picturisation. The child in the cradle is Rajshree, the reel and the real daughter of V Shantaram and Jayshree.

Lyrics of the song were sent to me by Prakashchandra.

Video Clip:

Audio Clip:

Song-Chit doley nit doley (Dr Kotnis Ki Amar Kahaani)(1946) Singer-Jayshree, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra):

chit doley
nit doley
chit doley
nit doley
subah shaam prabhu ji ee
chit doley
nit doley
chit doley
nit doley
subah shaam
ho shaam savera
subah shaam
ho shaam savera
mann preetam kaa ho dera
aa aa
mann preetam kaa ho dera
iss dere kar bhi le
iss dere kar bhi le
vishraam prabhu ji
chit doley
nit doley

neele parvat khet sunahre
neele parvat khet sunahre
neeli nadiyaan gahre gahre
neeli nadiyaan gahre gahre
chanda taare lete saare
chanda taare lete saare
ae ae
teraa naam prabhu ji ee
chit doley nit doley

pyaare nazaare
pyaare nazaare hain pyaare pyaare
pyaare nazaare
pyaare nazaare hain pyaare pyaare
aaankhon hi aankhon mein
ae ae ae ae
aankhon hi aankhon mein karte ishaare
nain tere
nain mere
nain tere
nain mere
ae ae ae
din rain prabhu ji
chit doley
nit doley
subah shaam prabhu ji
chit doley
nit doley


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

Blog Day :

4726 Post No. : 16441

Blog 10-Year Challenge (2011-2021) – Song No.28
——————————————————————-

After the successful release of Prabhat Film’s ‘Padosi’ (1941) on January 25. 1941, V Shantaram, the director, remained inactive for more than one year in Prabhat Films which was unusual for him. His next directorial venture was ‘Shakuntala’ (1943) under his own banner which was released sometime in the second half of 1943. Apparently, there was something unusual happening in Prabhat Films.

To know what was going on in Prabhat Films in general and with V Shantaram in particular, I browsed through the available issues of ‘Filmindia’ magazine of the yeas 1941 and 1942 wherever there were references to Prabhat Films and V Shantaram. What I gathered from the various columns of the magazine is summarized below which explanins as to why V Shantaram got sidelined in Prabhat Films:

(1) The grapevine was that all was not well among the 5 partners of Prabhat Film Company after the release of ‘Padosi’ (1941). It was speculated that some of the partners were not on the speaking terms and they rarely met to discuss the future plans. This discontentment was evident from the fact that in January 1941, there was an announcement that V Shantaram will direct Prabhat’s next film, ‘Omar Khayyam’ with Jayshree in the lead role. The screen-play and dialogue writing were completed and film was to go on shooting floor in April 1941. But no progress was made beyond screen-play and dialogue writing. Eventually, the film was shleved.

(2) Sometime in the middle of the year 1941, Prabhat Film Company had spared the services of V Shantaram to Government of India as the Chief Producer for its Film Advisory Board (later called as Film Division) at a remuneration of Rs.2500/- per month. He was the first Indian to head the Film Advisory Board of the Government of India. Although he was allowed to work for Prabhat Films whenever his services were required, Prabhat Films did not give him any assignment.

(3) Around the same time, V Shantaram married Jayshree Kamulkar who was the lead actress in Prabhat Film’s Marathi version of ‘Padosi’ (1941), titled as ‘Shejari’. Earlier, one of the partners of Prabhat Films, Keshavrao Dhaiber had married actress Nalini Tarkhud who was the heroine in Prabhat’s ‘Rajput Ramani’ (1936). For this, he was made to exit from the partnership of Prabhat Films. Since then, there was a rule in Prabhat Films that any partner marrying the actress in the payroll of the Company would have to leave the partnership. This rule would also apply to V Shantaram.

Since V Shantaram did not immediately exit from the partnership of Prabhat Films after the marriage, it is quite possible that sparing his services to the Film Advisory Board was a way out to keep V Shantaram out of Prabhat Films. This arrangement may have also suited V Shantaram as he got the time to plan for his future film ventures before he finally exited from his partnership in Prabhat Films.

V Shantaram exited from the partnership of Prabhat Films in May 1942. He continued with his new assignments with Film Advisory Board until September 1942 when he resigned his post as the Chief Producer. By this time, he had set up Silver Screen Exchange, his film distribution company for Western India and was in advance stage of setting up of his film production company. He had already announced ‘Shakuntala’ (1943) as the first film under his newly set up banner, Rajkamal Kala Mandir. He had almost finalised buying National Studio for Rs.7 lakhs and he had already made the announcement to this effect.

But unlike doing business in Kolhapur and Pune, Mumbai was highly competitive. When the news of his buying National Studio became known in the film industry, Keki Mody, the Chief of Western India Theatres put his bid for National Studio at much higher price and snatched away the deal from V Shantaram. It was a setback for V Shantaram as he had planned to start the shooting of ‘Shakuntala’ (1943) soon after the acquisition of the National Studio.

The necessity of buying a studio become a prestige issue for V Shantaram more than for the immediate requirement for the commencement of shooting for his first film. So, he immediately bought Wadia Movietone’s studio for Rs.2 lakhs – much lower price than his bid for National Studio. But it had a hidden cost – the cost of renovation and the resultant delay of about 3 months to commence the shooting of ‘Shakuntala’ (1943).

The shooting of ‘Shakuntala’ (1943) started in January 1943 and got completed in July 1943. Therafter the film was released. It ran for 104 weeks in a single theatre in Mumbai. Thus the two years of inactivity of V Shantaram in commercial cinema was rewarded with a grand success of ‘Shakuntala’ (1943).

10 years ago on this date (26 June 2011), one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 10 songs (out of 13) from the film have been posted on the Blog, details of which are as under

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019
10 Ek prem ki pyaasi bani banwaasi 25/06/2021

I am presenting the 11th song, ‘meri biraha ki rain thhi ek to badi’ from the film ‘Shakuntala’ (1943). The song is rendered by Amirbai Karnataki. There were two lyricists – Diwan Sharar and Ratan Piya for the film. However, for the song under discussion, individual accreditation is not available.

The song is picturised on a dancer whom I am not able to identify. The situation of the song is that as soon as King Dushyant gets to see the ring which he had presented to Shakuntala after his marriage with her, his memories of the time he spent with Shakuntala is restored. He becomes restless and is eager to see Shakuntala. This song is the reflections of what is going in the mind of King Dushyant.

Lyrics of the song were sent to me by Prakashchandra.

Audio Clip:

Video


Song-Mere birha ki rain thhi ik to badi (Shakuntala)(1943) Singer-Amirbai Karnataki, MD-Vasant Desai

Lyrics (provided by Prakashchandra)

mere birha ki rain thhi ik to badi
dooje badhti ee gayi
aur badhti gayi
mere birha ki rain thhi ik to badi
uthhi rang(?) ki siyaahi se kaali ghataa
kaali raat ke chadhti ee
chadhti ee gayi
mere birhaa ki rain thhi ik to badi

hai biyog ki lambi kahaani meri
kabhi ant main uska likh naa saki ee
kabhi likhti rahi
kabhi padhti gayi ee
phir likh likh
likh kar
padhti gayi
mere birha ki rain thhi ik to badi


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

Blog Day :

4725 Post No. : 16438

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Blog 10-Year Challenge (2011-2021) – Song No.27
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The story of Shakuntala which is based on a classic Sanskrit play ‘Abjijanashakuntalam’ written by Kalidas has been one of the favourites of film makers. Two silent films with the title ‘Shakuntala’ were made in 1920 – one directed by Suchet Singh and the other by Shrinath Patankar. In 1929, Fatma Begum also directed a silent film with the same title. With the advent of sound film in 1931, two films were released with the same title in 1931 – one directed by Mohan Bhavnani and the other by J J Madan. Sarvottam Badami of Sagar Movietone directed ‘Shakuntala’ (1932) in Telugu. Jyotish Banerjee directed ‘Shakuntala’ (1941) in Bengali.

When V Shantaram set up his own Rajkamal Kala Mandir in 1942, he produced and directed ‘Shakuntala’ (1943) as his first film under his banner. He remade the film in 1961 with the title ‘Stree’. Bhupen Hazarika made the film in Assamese in 1961 and Kunchako directed the film in 1965 in Malayalam. The list is not exhaustive but the number of films made so far shows the popularity of the story of Shakuntala.

Since Prabaht Films did not make film on ‘Shakuntala, probably, V Shantaram thought of making Shakuntala as his first film after leaving Prabhat Films in May 1942, V Shantaram set up his own film production company, Rajkamal Kala Mandir. In October 1942, he acquired Wadia Movietone’s studio and renovated the same which took about 3 months. Simultaneously, he was also busy with the preparatory work for his maiden film, ‘Shakuntala’ (1943). When the studio was ready after renovation, he signed Chandramohan for the role of Dushyant opposite Jayshree in the role of Shakuntala. The shooting of Shakuntala started in January 1943 and it took about six months to complete the shooting. The film was released tereafter.

‘Shakuntala’ (1943) was a big box office hit which laid a strong foundation for Rajkamal Kala Mandir. In Mumbai, the film ran for 104 weeks in Swastik theatre. In 1947, the film was released in the USA with English sub-titles. The New York Times carried the review of the film in its issue dated December 26, 1947. Among other things, the review has said:

Shakuntala has charm entirely of its own. The story – call it a fairy tale or just plain Hollywood – is strictly boy-meet-girl, forest version with inevitable reunion. The lovely background, the unabashed naivete of acting of the entire cast, the crudely rich musical score and above all the expertly flavoursome English subtitles all blend together to make Shakuntala a sturdy screen promises from our Indian friends.

Almost all the songs of the film became very popular. I recall that my mother used to often sing at least 3 songs from the film, one of which I am presenting with this article. She was singing despite the fact that she did not speak and understand Hindi at that time (in the late 1940s) in my native place. Of course, I heard her singing in my childhood only when we shifted to Mumbai in early 1950s and realised after about six decades that the songs she was singing were from ‘Shakuntala’ (1943).

‘Shakuntala’(1943) was the beginning of a long association of V Shantaram with Vasant Desai as a music director which continued till ‘Mausi’ (1958). It is said that during the making of ‘Navrang’ (1959), their relations sour leading to the separation. But his respect to his mentor, V Shantaram was so great that he did not reveal the reasons of his separation even to his family members. Later, he was recalled by V Shantaram to provide background music for ‘Geet Gaya Patharon Ne’ (1964) and as a music director for ‘Ladki Sahyadri Ki’ (1966).

10 years back, one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 9 songs (out of 13) from the film have been posted on the Blog, details of which are as under:

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019

I am presenting the 10th song, ‘ek prem ki pyaasi bani banwaasi’ from the film, sung by Amirbai Karnataki. The song is written by Ratan Piya which is set to music by Vasant Desai.

The song is picturised on Zohrabai (not to be confused with Zohrabai Ambalewaali), in the role of Menaka to seduce sage Vishwamitra to break his meditation. The song can be regarded as one of the earliest attempts of ‘honey trap’ which Lord Indra laid, fearing that with his deep ascetic practice and meditation, sage Vishwamitra would acquire enormous power to challenge the gods.

Audio

Video


Song-Ek prem ki pyaasi bani banwaasi (Shakuntala)(1943) Singer-Amirbai Karnataki, Lyrics-Ratan Piya, MD-Vasant Desai

Lyrics

aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aa aaa
ek prem ki pyaasi
ek prem ki pyaasi
bani banwaasi
ban mein tumhaare aayi
ban mein tumhaare aayi
nain khol dekh o bairaagi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaa
aa aa aaa

main roopmayi
tum gyaanjayee
main vilaasi tum banwaasi ee
prem bina sab gyaan adhoora
prem bina sab gyaan adhoora aa
mat bhoolo sanyaasi
mat bhoolo sanyaasi
aa aa aaa
aa aa aa aa
aa aa aaa
aa aa aa aa
ek prem ki pyaasi bani banwaasi
ban mein tumhaare aayi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaaaaa


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.

Blog Day:

4698 Post No. : 16390

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This Week, That Year – 6
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23May – 29May, 2011

The seven days in May 2011, from 23rd to 29th. I am sure the world was extremely busy, as it always is, and there would be no dearth of info about what the then current trends and news were. Seems like this week was kind of low key and ordinary in terms of world events. But let us not go there. 🙂

Let us take on the story of that week, on our blog. Let us do the numbers first, and then I will take the readers through some very interesting details about the films that featured during that week.

It was kind of a slow week, by the then current standards. We had two dot days and just 21 posts. A super number comparing to what we are going through at current times. But with the then norm of 40+ posts in a normal week, this week was definitely slow. An average of 3 posts per day, or 4 posts in case we discount the dot days.

20 films got showcased that week, which means that in 21 posts, there is only one case of a film appearing twice. So 20 films and 21 posts, with the 1977 film ‘Aakhiri Sajda’ contributing two songs. Of the 20 films, no less than 9 were debut songs – films making their first appearance on the blog. The films making their debut that week are

Kaarwaan e Hayaat (1935)
Wahaan (1937)
Dr Kotnis Ki Amar Kahaani (1946)
Pagle (1950)
Geet Gaaya Pattharon Ne (1964)
Baawarchi (1972)
Sankalp (1974)
Faaslaa (1974)
Aakhri Sajdaa (197)7

As far has completion report is concerned, we had one film celebrate its entry into the Yippeee club. The 1957 film ‘Do Aankhen Barah Haath’ completed its list of songs contributed to the blog.

Also, in the 21 posts, total of 23 songs were included. This happens with we have a multi version song, and both (or all) versions of the song are accommodated in the same post. In this week, we had two posts that had 2 songs each, making a total of 23.

In terms of the decades covered, the data is as follows,

1930s   4
1940s   6
1950s   4
1960s   1
1970s   6

Yes, me too, am surprised to see just one film appearing for 1960s. But well, it is what it is.

No milestones got breached this week. In the previous week on 17th May, the blog had celebrated its 3900th song. So this week remained quiet uneventful on the milestones front.

Here is the week’s data in table form.

Blog Ten Year Challenge (2011-2021) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
23-May-11
1 Shama 1946 10 8 1 Pending-c 1 + 1 UT
2 Wahaan 1937 7 1 D Pending 6
3 Baawarchi 1972 6 5 D Pending 1
4 Sankalp 1974 4 4 D Yippeee’d
5 Faaslaa 1974 4 1 D Pending 3
24-May-11
1 Dhoop Chhaaon 1935 10 9 Pending 1
2 Haatim Tai 1956 9 6 Pending 3
3 Paakeezah 1971 10 9 Pending 1
4 Aakhri Sajdaa 1977 5 5 D Yippeee’d
25-May-11
1 Kaarwaan e Hayaat 1935 10 7 D Pending 3
2 Dr Kotnis Ki Amar Kahaani 1946 7 3 D Pending 4
3 Do Aankhen Baarah Haath 1957 6 6 Y Yippeee’d
4 Geet Gaaya Pattharon Ne 1964 9 6 D Pending 3
26-May-11
[No Posts]
27-May-11
1 Bhakt Soordas 1942 15 14 1 Yc 1 UT
2 Pagle 1950 9 7 D Pending 2
3 Afsaanaa 1951 9 9 Yippeee’d
4 Narsinh Avtaar 1949 11 4 1 Pending-c 6+ 1 UT
5 Aakhri Sajdaa 1977 5 5 Yippeee’d
28-May-11
1 Street Singer 1938 13 12 1 Yc 1 UT
2 Uddhaar 1949 9 4 1 Pending-c 4+ 1 UT
3 Laila Majnu 1953 13 13 Yippeee’d
29-May-11
[No Posts]

In one of he earlier episodes of this series, I have introduce the idea of ‘Ut’ songs, or possibly untraceable songs. Let us review the status and implications of this idea, for this week’s posts.

On 23rd May 2011, the first film in order of posting is ‘Shama’ of 1946. As I check the status of the songs of this film, it has total of 10 songs listed. 8 of these 10 are already on our blog. However, 1 song can be termed as untraceable. The film is available in public domain. The song at serial no. 9 – “Wo Chal Diye Phir Aag Kaleje Mein Laga Kar” was not released on gramophone record, and neither it is contained in the film that is available. That leaves one more song available for posting, after which was will be in a position to declare this film conditionally Yippeee’d.

The films ‘Wahaan’ of 1937 and ‘Faasla’ of 1974, both made their debut on 23rd May 2011. And have never been heard of again. Their tally stands at 1 song, even after a passage of one decade. Then we have ‘Sankalp’ from 1974, which has since been Yippeee’d. And the film ‘Baawarchi’ from 1972 – after accounting for the song posted earlier today, the film’s tally is now at 5 out of a total of 6 song, with just one more song remaining for the film to be declared as Yippeee’d.

The first film in the order of posting, on 24th May 2011 is ‘Dhoop Chhaon’ from 1935. This film is just one shy of reaching the Yippeee status. The last remaining song is available in public domain – “Aaj Mero Ghar Mohan Aayo”, sung by KC Dey. The second film, ‘Hatim Tai’ of 1956 has 3 songs more to be posted, and all are available. The fourth film that day – ‘Aakhiri Sajda’, had made its debut that day, and it has since been Yippeee’d.

Now we come to an interesting and difficult film to discuss – ‘Paakeezah’ of 1971. Geet Kosh lists 9 songs for this film. Of these, 6 are full songs in their individual capacity. All these songs are composed by music director Ghulam Mohammed. The remaining three songs, composed by Naushad Sb, are actually thumris that appear in the film as background songs. And they do not appear fully. The problem we face is that actually in the film there are many more of these background thumris. On the blog Nahm ji has already posted one such unlisted thumri – “Dekh To Dil Ke Jaan Se Uthhta Hai“. Checking on the internet, there are articles available that list many thumris, all of which are partially played in the film, in background. A good article is “The Lost Thumris of Paakeezah“.

There is another interesting aspect to this film. It is now known that actually, many more songs were recorded than are present in the film. In fact, the erstwhile HMV company has also released another LP titled ‘Paakeezah Rang Barang’ in 1977, which contains 9 additional songs, all composed by Ghulam Mohammed, all recorded for the film, and later were not included in the film. It has many interesting tracks including the female solo version of the song “Chalo Dildar Chalo” in the voice of Lata Mangeshkar. None of these have as yet made their appearance on the blog.

If we consider all the above, then the total songs that were recorded for ‘Paakezah’ is more than 20. It is going to be a very interesting follow up on how to handle this film, moving forward. Decidedly, this film has not yet been Yippeee’s in the true sense.

Also on 24th May 2011, the film ‘Aakhiri Sajda’ made its debut. This is technically the last film for which music director Sajjad Husain has composed the music. The five songs of this film were posted in quick succession between 24th May and 9th June. In just about two weeks, this film got Yippeee’d. I need to check whether this is a record of some sort.

25th May 2011 is an interesting day in blog history. On this day, four films were featured. Three of these films made their debut and one film got Yippeee’d. The first film listed on this day is ‘Kaarwaan e Hayaat’ (1935), which is followed by three films of actor director V Shantaram viz.’Dr. Kotnis Ki Amar Kahaani’ (1948), ‘Do Aankhen Barah Haath’ (1957), and ‘Geet Gaya Patharon Ne’ (1964). Of these, ‘Do Aankhen Barah Haath’ was Yippeee’d that day, and the other three made their debut.  For the three films pending, all songs are available. And possibly for ‘Kaarwaan e Hayaat’ we may have more than the 10 songs listed in GK, after the film itself has been discovered and made available in public domain.

After a dot day on 26th May 2011, 5 songs are posted on 27th May. Of the five films that are featured that day, ‘Pagle’ (1950) made its debut. Further, we have an interesting situation for two films – ‘Bhakt Surdas’ (1942) and ‘Narsinh Avtar’ (1949). Both have one song each that is not traceable, at least not yet. In fact, the film ‘Bhakt Surdas’ can already be declared conditionally Yippeee’d – all available songs (14 out of the listed 15) are now posted on the blog. There have been rumors abound for some years now that copy of this film has surfaced, and it might be available with a collector in Canada. This info has not been confirmed so far, and the film itself has not yet surfaced in public domain.

An interesting side note for the 1951 film ‘Afsaana’, already Yippeee’d. Three films by this title were released – in 1938, 1951 and 1966. The 1938 film ‘Madhur Milan’ has an alternate title ‘Afsaana’. No songs of this film are listed as available. The interesting thing is that there is one more film by the same title, that is listed in Geet Kosh, in the unreleased films category. It has a whopping 12 songs listed as recorded, and all are available in public domain. This film has not yet made debut on our blog.

Then we come to 28th May 2011. Three songs are posted. The film ‘Laila Majnu’ of 1953 is already Yippeee’d. The other two films are in the same situation – both films have one song that is untraceable in public domain. By the same yardstick, the 1938 film ‘Street Singer’ may be declared conditionally Yippeee’d – 12 of the 13 songs are already posted.

29th May 2011 is a dot day.

That completed the week’s posts.

A day late, maybe. I am using one pending song from the 1949 film ‘Uddhaar’ for today’s post. The film has a total of 9 songs, of which 4 are posted. Here is the fifth song of this film, in the voice of Lata Mangeshkar. The song is penned by Narendra Sharma and the music is by Vasant Desai. I desist from giving more details about the film and the song here, as the article already has become quite long. Maybe in another later post of one of the songs of this film.

All in all, a very interesting week it has been. We have identified two films that can already qualify for conditional Yippeee status. And have raised a few interesting questions about the film ‘Paakeezah’.

Let us now get going with the song from ‘Udhhaar’. The lyrics for this song have been provided by Prakash ji.

Song – Rangeen Gagan Peeche Chhoota  (Uddhaar) (1949) Singer – Lata Mangeshkar, Lyrics – Narendra Sharma, MD – Vasant Desai

Lyrics (Provided by Prakashchandra)

rangeen gagan peechey ae chhoota
rangeen gagan peechhey ae chhoota
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey ae chhoota
o saaqi
raaj hansini kaa..aa
o saaqi
raaj hansini kaa..aa
sukh sapnon se naataa tootaa
rangeen gagan peechhey ae chhoota

beh gaye ashq reh gayee aag
beh gaye ashq reh gayee aag
shabnam se sholay uthey jaag
naahak apne hi haathon se
hamne naseeb apnaa lootaa
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey chhoota

kachchi tehni aur nanhi kali
kachchi tehni aur nanhi kali
gul heen ke haathon gayee..ee chhali
dil naazuk phool ke pyaaley sa
dil naazuk phool ke pyaaley sa
ek thokar lagte hi tootaa
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey ae chhoota
o saaqi
raaj hansini kaa..aa
sukh sapnon se naataa toota
rangeen gagan peechhey chhoota

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
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रंगीन गगन पीछे छूटा
रंगीन गगन पीछे छूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा
ओ साक़ी
राज हंसिनी का
ओ साक़ी
राज हंसिनी का
सुख सपनों से नाता टूटा
रंगीन गगन पीछे छूटा

बह गए अश्क़ रह गई आग
बह गए अश्क़ रह गई आग
शबनम से शोले उठे जाग
नाहक अपने ही हाथों से
हमने नसीब अपना लूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा

कच्ची टहनी और नई कली
कच्ची टहनी और नई कली
गुल हीं के हाथों गई छली
दिल नाज़ुक फूल के प्याले सा
दिल नाज़ुक फूल के प्याले सा
एक ठोकर लगते ही टूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा
ओ साक़ी
राज हंसिनी का
सुख सपनों से नाता टूटा
रंगीन गगन पीछे छूटा


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4696 Post No. : 16385

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Blog 10-Year Challenge (2011-2021) – Song No. 24
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This day ten years ago(27 May 2011) saw five songs getting covered in the blog. Here are the details:-

Blog Post number Song Movie (Year) Remarks
3931 Chaandni raat aur taare khile hon Bhakt Surdas(1942) Movie YIPPEED by now
3922 Kyun shiqwaa karen kyun aah bharen Pagle(1950) 7 songs covered out of 9 by now
3933 Kahaan hai tu mere sapnon ke raajaa Afsaanaa(1951) Movie YIPPEED by now
3934 Hari ko bisaaro naa Hari na bisaarenge Narsimha Avtaar(1949) 4 songs covered out of 9 by now
3955 Kisi se mili hai nazar be iraadaa Aakhri Sajdaa(1977) Movie YIPPEED by now

Three movies (out of five) whose songs were covered ten years ago have been YIPPEED by now. That leaves us with two movies whose songs are eligible for Blog Ten Year Challenge today (27 May 2021).

“Narsinh Avtaar”(1949) was produced and directed by Sohrab Modi for Minerva Pictures, Bombay. This movie had Lakshman, Niranjan Sharma,Shobhana Samarth, Mahipal, Madan Mohan, Raj Narayan Tiwari, Hari Shivdasani, Kamal, Anant Joshi, Leela Kumari, Kanta Kumari, Sheela Kumari, Pandit Amarnath, Sulochana, Saajan, Rajkumar etc in it.

The movie had 9 songs in it. Four songs have been covered so far.

As Blog Ten year challenge, here is the fifth song from “Narsinh Avtaar”(1949) to appear in the blog. This song is a bhajan which is sung by Lata Mangeshkar and chorus. Pt Narendra Sharma is the lyricist. Music is composed by Vasant Desai.

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

Lyrics of this song and other details were sent to me by Prakashchandra.


Song-Hey mangalmay bhagwaan (Narsingh Avtaar)(1949) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Vasant Desai
Chorus

Lyrics(Provided by Prakashchandra)

hey mangalmayay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan

tum jag ki pati tum karunaayan
tum jag ki pati tum karunaayan
naam anek ek naarayaan
naraayan naraayan naarayan
naam anek ek naraayan

bhakti atal ho shree charanon mein
bhakti atal ho shree charanon mein
do hamko vardaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan

naath neech ko uchch banaao
naath neech ko uchch banaao
bhatkey huoo`on ko path dikhlaao
paani aur phool par barsen
paani aur phool par barsen
amrit boond samaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan

ghar ghar banen tumhaarey mandir
ghar ghar banen tumhaarey mandir
aayen bhakt bhajan ko ghir ghir
aayen bhakt bhajan ko ghir ghir
charan kamal ko o o o
charan kamal ko bhakti bhanwar bann
tooney nayan sujaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
bhagwaan bhagwaan bhagwaan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4640 Post No. : 16299

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Blog 10-Year Challenge (2011-2021) – Song No. 20
———————————————————————————–

This day ten years ago (viz on 1 april 2011), five songs from five different movies were covered in the blog. Here are thge details:-

Blog post number Song Movie (Year) Remarks
3717 Pareshaan hoon ki kyun apni pareshaani nahin jaati Parbat Pe Apna Deraa(1944) 5 songs covered out of 9
3718 Yaad aane lagee Daman(1951) 8 songs covered out of 10
3719 Dekho dekho jee gori sasuraal chali Shagoon(1964) Movie YIPPEED by now
3720 Naach re man badkamma Rajkumar(1964) Movie YIPPEED by now
3721 Gori ke haath mein jaise ye chhallaa Mela(1971) Movie YIPPEED by now

One can notice that three movies out of five have since been YIPPEED in the blog.

“Parbat Pe Apna Dera”(1944) is one of the two movies not yet YIPPEED. This movie was directed by V.Shantaram for Rajkamal Kala Mandir Limited, Bombay. The movie had Vanmala, Ulhas,Shantarin, Madan Mohan, Kantakumari, P L Samant, Baby Nalini, Vijaya, Suman, Kamal etc in it.

Five songs from the movie (out of 9) have been covered so far.

As blog ten year challenge today, here is a song from “Parbat Pe Apna Dera”(1944). This song is sung by Vasant Desai and Naseem Akhtar. Dewan Sharar is the lyricist. Music is composed by Vasant Desai. The song is picturised as a romantic song on Madan Mohan (later he would make his mark as a music director) and Shantarin. Ulhas is also seen in the picturisation serving as a peeping Tom.

Lyrics of this song were sent to me by Prakashchandra.

video link:

Song-Aa niklo guinyaan meri gali se (Parbat Pe Apna Dera)(1944) Singers-Vasant Desai, Naseem Akhtar, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra)

aa niklo guinyyaan meri gali se
aa niklo guinyaan meri gali se
raatein guzaari maine
bekali se
raatein nahin ratiyaan
ratiyaan guzaarin maine bekali se
aa niklo guinyaan
aa niklo guinyaan meri gali se

sunn lo jee..eee..eee..ee..eee
sunn lo jee baatein
batiyaan
sunn lo jee batiyaan mori..ee..ee
paas bhi aao gori..eee
aao aa khelo holi
aao aa khelo holi bali se
aa niklo guinyaan meri gali se

baali
baali umariyaa mori..eee..ee
baali umariyaa mori
kheloon main tujhse hori..ee..eee
kheloon main tujhse hori
guzroongi chori chori
guzroongi chori chori
gali se

chori se kyon ?
bijuri ..eee giraati aao aao
bijuri giraati aao
teer chalaati aao
o teer chalaati aao
aankhein
ankhiyaan ladaati aao gali se
aa niklo guinyaan aan aan aan
aa niklo guinyyaan meri gali se

aaoon..oon oon oon oon
aaoon oon
aaoon bahaanaa kar ke ae ae
dil ka nishaanaa karke
dil ka nishaanaa kar ke ae ae
jaaoon
jaaoon thhikaanaa kar ke
jaaoon thhikaanaa kar ke
gali se

hhaa. hhaa…ha..haa..aaa…aaaa
niklo guiyiyyaan meri gali
meri gali se


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

Blog Day :

4590 Post No. : 16214

Rafi Sahab’s legendary associations: 01
————————————————————-

Rafi sahab’s association with Vasant Desai started in 1949 with ‘Nai Ta’aleem” and “Narsimha Avtar” and continued till the very last music score by Vasant Desai in Shaque (1976)(Ek dil hai ek jaan hai (Shaque)). Vasant Desai’s active career as a music director is just a bit longer, from 1942 to 1976.

I think this is the first time I am writing a post for a song composed by Vasant Desai. I heard of Vasant Desai in childhood, when my mother used to talk about how he had died in an accident caused by faulty lift, whenever a song from films like Goonj Uthhi Shehnai, Jhanak Jhanak Paayal baaje or Guddi, would play on radio.

This particular song I am presenting is a Rafi solo, only such song in the film ‘Amar Jyoti’ 1965. I was not familiar with it earlier, but it sounded so familiar and sweet on first hearing that I wanted to do the post for it immediately. I had thought of including it in the series of ‘Mohammed Rafi: The incomparable (II)”, but on checking I found that the series is nicely poised at song no. 20 with this song.

So I will conclude that series there, and not have any more songs in that series.

I will start a new series, on various associations of Rafi Sahab with different music directors and singers and lyricist, which left a mark on the hindi film music of the golden era.

Two such collaborations are covered in this song, where music director Vasant Desai, is composing a song with Rafi sahab’s phenomenal singing capabilities, his variations, and Bharat Vyas has written the lyrics. Bharat Vyas is a veteran of mythological films, for which Rafi sahab has sung countless songs under different music directors. I could count 36 songs by Vasant Desai in the excel sheet, many of which are not yet posted in the blog. There are 154 songs written by Bharat Vyas in the excel sheet. Keeping a margin of errors, 150 songs can be taken as written by Bharat Vyas from 1949 to 1982.

The data in our blog and the excel sheet maintained by Atul ji would be a lot accurate in this regard, as we complete the tally of these artist in the blog.
We are a long way away from doing this, judging by the total stats of these three artists in the blog:

Artist Songs in the blog Career tally of songs in HFM
Vasant Desai 181 390
Bharat Vyas 408 1246
Mohammed Rafi 3110 4846

The following 5 songs of Amar Jyoti (1965) are posted in the blog so far:

Song Date of posting
Kalpana ke ghan baraste 9 June 2012
Mera pyaar tadapta hai 3 May 2014
Sambhaal ke qadam rakhna 25 Decmber 2018
Jeewan bhar ham tum saath rahe 22 January 2020
Jhan jhan jhan jhan baaje paayaliyaa 1 February 2021

This solo Rafi song is a classic study of how Rafi Sahab is a legend. Saying it for the umpteenth time is just not enough, as his voice and some inner aura of purity comes oozing out of the words being uttered. The song is composition for Rafi Sahab and him alone. I have no qualms in stating that only Rafi sahab could have elevated this simple and sweet composition to the level that he takes, and makes it an example of how singing could be, from the soul.


Song-Wo phoole phoole phirte hain (Amar Jyoti)(1965) Singer-Mohammed Rafi, Lyrics-Bharat Vyas, MD-Vasant Desai
Chorus

Lyrics

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

Wo phoole phoole phirte hain
jin ki qismat ko phool mile
ham kis qismat par naaz karen en
ham kis qismat par naaz Karen
jin ko thokar ki dhool mile
wo phoole phoole phirte hain

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

ham ne bhi sitaare ae maange thhe
kaliyon ki tamanna ki ham ne
khushiyon se sahaaraa maangaa jab
khushiyon se sahaaraa maangaa jab
to haathh diyaa ham ko gham ne
unn ke sehre pe moti tange
ham ko sehraa ke babool mile
ham kis qismat par naaz karen
jin ko thokar ki dhool mile
wo phoole phoole phirte hain

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

unn se kya shikaayat hai ham ko
jin ki taqdeer mein tu bhi hai
apni to kinaare par aa kar
apni to kinaare par aa kar
har baar ye kashti doobi hai
manzil ki meharbaani unn par
jin ko raahen anukool mile
ham kis qismat par naaz Karen
jin ko thokar ki dhool mile
wo phoole phoole phirte hain


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.

Blog Day :

4585 Post No. : 16204

“Samrat Prithviraaj Chauhaan”(1959) was directed by Harsukh Bhatt for ‘Dinesh Film, Bombay’. It had Jairaj, Anita Guha, Ulhas, Sapru, B.M. Vyas, Prem Adib, Chand Usmani, Sundar, Ramesh Sinha, Umakant, Shri Bhagwan, Rajkumar, Neelofar, Heera, Anand Joshi, Sudarshan Sethi, Shah, R.S. Dubey, Pinchoo, Sheila Vaaz and others. Leela Mishra and Sulochana made guest appearance in this movie.

This movie had nine songs (including one dance music). Two lyricists viz. Bharat Vyas (seven songs) and Anant Shyam (one song) penned the lyrics. Music was composed by Vasant Desai.

So far, the following six songs (in alphabetical order) from this movie have been posted on the blog;

S.No. Song Title Posted on
01 Aapas ki phoot se baar baar badly rajdhaani hai 20.06.2011
02 Chhup chhup ke hamse na nainaa milaao jee 18.04.2011
03 Janani janmbhoomi swarg se mahaan hai 07.07.2011
04 Lo kaamna pooran hui 20.04.2011
05 Maajhi re himmat na haar 27.12.2012
06 Naa naa naa barso baadal 28.08.2009

Today’s song is the seventh song from this movie to be posted on the blog.

We are going to listen to this song today, which is in the voice of Mohd Rafi. Lyrics are by Anant Shyam and music is composed by Vasant Desai.

Let us listen to the song now …

Video (Partial)


Audio

Song-Dhanyvaad kavichand pukaare (Samrat Prithviraj Chauhan) (1959) Singer: Mohd. Rafi, Lyrics-Anant Shyam, MD-Vasant Desai

Lyrics

arey kahaan ke ae
dhanyawaad
kavichand pukaare ae
jug jug jiyo kanojirai
manokaamnaa pooran huyi hai
kari hai kripaa
sharda maay

gajbhar chhaati
jaichanda ki ee ee
kaaya singh baran jo suhaay

arey moonchhen chaat rahin gaalon ko
ah ahaa ha
moonchhe chaat rahin gaalon ko o
choli badle wohi rahi jaaye

kya kehna hai raajneeti ko
raja Ramchandra sharmaat
arrey dushman ke ghar se main aaya
swaagat kiyo mitr ki bhaant

kilaa banaaya hai lohe ka
rakshaa kare kang ki dhaar
arrey kya majaal jo praan bachaa kar
panchhi nikal jaaye us paar h
chauthhe parkote ke andar
banaa swayamwar laal kamaal

arrey bade bade raajaa ha aa
ahaa haa haa
bade bade raaja
chadhhi chadhhi aayen
dekhen kise milat jaimaal
arey gajab dhaak jaychand rai ki
dhamke saaraa hindustan

arrey baat karoon kyaa
baat karoon kyaa
baat karoon kyaa
baat karoon kya auran ki
jab
kaanpe
kaanpe
kaanpe
ho jab kaanpe
dilli ka Chauhan ….


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 THIRTEEN years. This blog has over 16500 song posts by now.

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

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16587

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

Total visits so far

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Active for more than 4000 days.

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