This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

She was 74 years when she passed away in 2004. And by then, she had spent the last four decades of her life in a self imposed seclusion. The separation from the public domain was so complete that many took her to have already departed from this world. When the tidings of her demise came, many were surprised.

Remembering Suraiya on the day of her passing away (31^st January).

A closed and limited life, and a curtailed singing career – that is the essence of her life story. She was only 34 years when she imposed a retirement upon herself. And in the active years prior to that, she steadfastly declined to sing playback to other actresses. In an era that decidedly has been the golden period in the history of Hindi film music, but it was also past the singer-actor era of the likes of Saigal Sb and Kanan Devi.  The decade of 1950s also witnessed the near valiant stands taken by two other stalwart singer-actor crusaders, namely Mukesh and Talat, and saw them vanquished as such. Or maybe it was the lost love of her life that dared her to embark on this doomed expedition.

Majority of her songs already showcased here. There are maybe less than ten songs that are known, but yet to find their place in the public domain.  Today, I bring online a rare gem from 1955. The film is ‘Inaam’. The music is by SN Tripathi and the words are from the pen of Raja Mehdi Ali Khan.

Listening to this song gives a goosebumpy feeling of déjà-vu. Such is the striking resemblance of the intent, the words, and even to some extent, the melody and the rendition. The ‘tadbeer’ and the ‘taqdeer’ are the giveaways, as I am sure the readers would immediately identify the iconic song that came four years earlier than this one, and served to be its pre-cursor.

But hey, we are getting on a rarely heard song of Suraiya, which is the reward in as of itself. It may be left to wonder what would have passed through the minds of the team that created this song, when they were creating it. And wonder and speculate we may, however it would be most nearly be just speculations at this juncture.

Let us listen and savor nonetheless, this heretofore obscure melody. And remember the great artist and her artistry – Suraiya.

Song – Tadbeer Ka Ho Teer Aur Taqdeer Nishaana (Inaam) (1955) Singer – Suraiya, Lyrics – Raja Mehdi Ali Khan, MD – SN Tripathi

Lyrics

tadbeer ka ho teer
aur taqdeer nishaana
tadbeer ka ho teer
aur taqdeer nishaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana

o ooo ooo
ooo oo oo oo

soye hain tere bhaag to thokar se jaga le
tu chaahe to akaash bhi kadmon par gira le
kadmon par gira le
mashhoor hoga door tak jab tera fasaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana
tadbeer ka ho teer
aur taqdeer nishaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana

o ooo ooo
ooo oo oo oo

jeetega tu duniya mein gar kismet se ladega
peechhe chalega ye jahaan tu aage badhega
tu aage badhega
aa dekh le tadbeer ki shamsheer chalaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana
tadbeer ka ho teer
aur taqdeer nishaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana

o ooo ooo
ooo oo oo oo

naiyyaa teri majdhaar ki maujon mein khudi ho
aise mein bhi bas meethi tere lab pe hansi ho
tere lab pe hansi ho
fariyaad na karna kabhi aansoo na bahaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana
tadbeer ka ho teer
aur taqdeer nishaana
phir dekhna kadmon pe jhukega ye zamaana
jhukega ye zamaana

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

तदबीर का हो तीर
और तक़दीर निशाना
तदबीर का हो तीर
और तक़दीर निशाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना

ओ ओsss ओss
ओsss ओs ओs ओs

सोये हैं तेरे भाग तो ठोकर से जगा दे
तू चाहे तो आकाश को कदमों पे गिरा दे
कदमों पे गिरा दे
मशहूर होगा दूर तक जब तेरा निशाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना
तदबीर का हो तीर
और तक़दीर निशाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना

ओ ओsss ओss
ओsss ओs ओs ओs

जीतेगा तू दुनिया में गर क़िस्मत से लड़ेगा
पीछे चलेगा ये जहां तू आगे बढ़ेगा
तू आगे बढ़ेगा
आ देख ले तदबीर की शमशीर चलाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना
तदबीर का हो तीर
और तक़दीर निशाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना

ओ ओsss ओss
ओsss ओs ओs ओs

नैय्या तेरी मझधार की मौजों में खुदी हो
ऐसे में भी बस मीठी तेरे लब पे हंसी हो
तेरे लब पे हंसी हो
फरियाद ना करना कभी आँसू न बहाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना
तदबीर का हो तीर
और तक़दीर निशाना
फिर देखना कदमों पे झुकेगा ये ज़माना
झुकेगा ये ज़माना

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is unique. It is from the film Laadlaa-54.

One would like to know what is so unique about this song. The answer is that this is the only song in Hindi film music history which is sung by the combination of these four great singers. They are Mohd. Rafi, Talat Mehmood, Shamshad Begum and Asha Bhonsle. As far as I know, It was for the first and last time that these four singers came together to sing a song. Mohd. Rafi features in few songs combining four singers, but not these our four singers. I am amazed how composer Vinod thought of this combination in the first place !

The song is a typical hindi film ‘Nok-Jhonk’ between two pairs of lovers. Karan Dewan and his servant-cum-friend-cum-philosopher-cum-guide Agha and Shyama and her maid-cum-saheli Krishnakumari are the actors involved in this song. I am reminded of film “Angoor”-81, where there were the pairs of Sanjeev Kumar and Deven Verma and Maushumi Chatterjee and Aruna Irani. Of course the stories of these two films are different. ‘Angoor’-81 was based on Shakespeare’s ‘comedy of errors’, while this film “Laadla”(1954) has a different story.

Actually, the film’s title “Laadlaa” is a misnomer. What is generally understood by the adjective Laadlaa is that it is about a lovable child in a family. In reality, there is no such child or anything in this film. The cast of the film was Shyama, Karan Dewan, Agha, Krishnakumari, S.Nazeer, Dar Kashmiri ( Jeevan), Maruti, Sunder etc etc. The Music Director was Vinod. The story of the film is like this-

Prakash ( Karan Dewan) is a son of a very rich person. He has all the pleasures of life at his beck and call. This is what bothers him too much and he decided to venture into the world as a nobody to get its experience. In this his companion was Johnny (Agha)- his servant by job, but actually his friend Philosopher and Guide in life.

They come to Bombay and Prakash takes up a job. Here these two meet Nilu(Shyama) and Sheelu(Krishnakumari) and they fall in each other’s love. After a few love songs and scenes etc., one day Prakash meets Motilal(S.Nazeer) and they become thick friends. When Prakash goes to his home, seeing the photographs etc, he realises that Motilal is his long lost brother. Now the usual hitch appears. Both Prakash and Motilal love Nilu. Motilal falls sick in her love and Prakash is in a dilemma whether to opt for Love or Brother ?

Finally, he decides to go away and forget Nilu, so that Motilal gets Nilu. But Nilu makes it clear that she only loves Prakash and NOT Motilal. Motilal hears this and his eyes open wide. He decides to go away to Africa and the problem is thus solved.

LAADLA was a Verma film production and was Directed by Suryakumar.

Yes, he is the same Suryakumar-the famous Choreographer and Dance Director in several hit films of the 50s and 60s. He had a penchant for appearing in the dances on the screen in many films. During our college days it was our favourite past time to locate Suryakumar in a dance item.

Dancer Azuri picked up two boys from an orphanage in the 1940s. Their names were Tony and Robert. She trained them to become professional dancers. Later on Tony was known as Krishna Kumar. He did a number of films in the 1940s and early 1950s. One of his famous and popular song was “o janewale balamva laut ke aa” from the film Rattan-44. In this song Krishnakumar and Azuri had danced. Unfortunately he was murdered by his rivals.

Robert came to be known as Suryakumar. originally a dancer, he became Dance master or Choreographer. He was active from 1951 to 1985, working in more than 100 films.

Suryakumar started his film career as assistant in the sound department in Saigal’s last film,’Parwaana’-1947. In those days the term ‘Chorographer’ was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.

Actress Azurie had a German father and an Indian mother. She is considered as a pioneer in Film dancing in India. She was so famous in films that Cuckoo modelled herself on her dancing and succeeded. Azurie(1907-1998) trained Suryakumar in dancing.

Suryakumar then assisted Madame Simka(a disciple of Uday Shankar) in the film “Awaara”-1951, when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films. Their last film together was Bombay 405 Miles(1980).

Suryakumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.

Suryakumar had acted in 4 films, Singar-49, Aankh Michauli-49, Har Har Mahadev-74 and Shravankumar-88. He then worked as a Production assistant and as an editor too, before retiring. Laadla was the only film he ever directed.

Normally Choreographers/Dance Directors remain unknown, that is why I have written about him here. ( some information used here is from the book,”Edwina”by prof. Surjit Singh ji-with thanks.)

Today’s song has a lovely tune. It is written by Raja Mehdi ali Khan.

Song-Bura hua jo inse hamaare naina lad gaye ji (Laadla)(1954) Singers- Shamshad Begam, Talat Mehmood, Rafi, Asha Bhonsle,Lyrics- Raja Mehdi Ali Khan, MD-Vinod
Shamshad Begam + Asha Bhonsle
Rafi + Talat Mehmood
All

Lyrics

bura hua jo inse hamaare
naina lad gaye ji
bura hua jo inse hamaare
naina lad gaye ji
haan
banke museebat ye to hamaare
peechhe pad gaye ji

mistar bhanwre sambhal ke rehna
kaliyaan chubhoyen kaante
dheere se bolo moti malaniya
munh pe degi chaante
dheere se bolo moti malaniya
munh pe degi chaante
baag mein rehna mushkil hai
saiyyad bigad gaye ji
ho o o o
ho
hey
bura hua jo inse hamaare
naina lad gaye ji
ho o
banke museebat ye to hamaare
peeche pad gaye ji
ho
bura hua jo inse hamaare
naina lad gaye ji

bhanwron gulshan khaali kar do
aur kahin tum jaa ke raho
sar pe peti rakh ke bhaago
boriya bistar gol karo
arre baap re baap
sar pe peti rakh ke bhaago
boriya bistar gol karo
tumko dil ki kholi dekar
hum to rakhad gaye ji
haaye ae ae ae ae ae
rabba
haaye
bura hua jo inse hamaare
naina lad gaye ji

ham budhhu vyopari
ghar se aaye nafa kamaane
arre waah beta waah
ham budhhu vyopaari
ghar se aaye nafa kamaane
sawa rupaiye ki sheeshi tumko
de di chhe chhe aane
kisne kaha thha
sawa rupaiye ki sheeshi tumko
de di chhe chhe aane
ab ye dhandha hum na karenge
kaan pakad gaye ji
ho ho ho
hey hee haa
ho
hey
bura hua jo inse hamaare
naina lad gaye ji

jyotishiyon kya toone
apne haathon ko bhi dekha
jyotishiyon kya toone
apne haathon ko bhi dekha
in haathon mein nazar na aayi
hamko pyaar ki rekha
haaye
in hathon mein najar na aayi
hamko pyar ki rekha
kya tumpe shani ka saaya hai
aji ketu beech mein aaya hai
raahu ne rang jamaaya hai
mangal ne naach nachaaya hai
ye antar dasha ki maaya hai
ham to mar gaye lagan sthhaan mein
milenge tumse ham shamshaan se
haan
aaj hamaare oonche sitaare
khaddon mein pad gaye ji
hu hu
ho o o o
ho
hey
bura hua jo inse hamaare
naina lad gaye ji

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Indian film industry is one of the biggest film industries of the world-by way of number of films produced(together in all languages) and the number of people involved in this industry. There was some kind of a survey data published on an Internet site ( now defunct)a few years ago, which published a list of 7000+ names of actors and actresses in Hindi films from 1931 to 2000 AD. Dr Surjit singh ji put the list on RMIM forum and I copied it from there.

Come to think of it, if only the actors’ list contained more than 7000 names, how many more names would have been there if names from other departments like singers, composers,lyricists,story and screenplay writers, cinematographers and other technical staffs was also added to it ? Just think, Music Directors alone were more than 2000 for the period of 1931 to 2010 ( as per Harmandir ji). The figure may run into Lakhs, I suppose. Of course not all the names will be known to all the people. Just try writing down the names of Music Directors you remember, on a paper. I bet that most people would not go beyond the number 50 ! Some will be the case with actors or actresses. Directors names would be even less.

At any given point of time, there were about 10 to 20 major composers operating at a time period. A bigger number was of less known composers or composers who did just 3 or 4 films or even one film. Amongst these composers, there were some pairs of two composers. There have always been pairs of composers operating in the Hindi films from the beginning of Talkie films. Of course there were more pairs who did just one or two films and then disappeared.

It is generally believed that Husnlal- Bhagatram was the first pair of composers or at least they started the trend. However, it is NOT really true. In the early era, when the Talkie films started in 1931, as early as 1932 itself a pair of 2 composers worked for a film- Indrasabha-1932, which had a record 71 songs. Composer Vazir Khan made the tunes and composer Nagardas Nayak played them on Harmonium. Though only Nagardas Nayak’s name is mentioned as its Music Director, HFGK has put up a footnote giving this information, quoting the name of composer Fida Hussain. OK, forget them.

Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as film Raat ki Raani-35. Forget them also. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matalabi Duniya-36, Lehri lala-36, Gaazi Diler-36 and Mitti ka putla-37 ). In my opinion, they, and not Husnlal Bhagatram, should be considered the first pair of Music Directors as well as Trend setters. Of course the number of films that Husnlal Bhagatram team did was more ( 52), but that is because the speed of making films increased after 1935. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in late 40s, so more films were available for less composers.

Numbers aside, lack of enough knowledge about the early films and artistes has led to much injustice to the Pioneers, for sure !

Pairs of composers kept on appearing on and off with lot of variations and different periods of sustenance in the competition. There was even one Trio of composers comprising of Lala- Asar- Sattar, but it lasted just one film- Sangram-65. One member dropped out and the remaining pair of Lala-Sattar continued to give music in about 10 films.

Today’s song is from a film Chaubees Ghante-58, which too had a pair of composers called BIPIN-BABUL.

Bipin Dutta ( born 17-8-1930) and Babul ( born 22-1-1923) worked as a pair and gave music to 12 films. Bipin Dutta had started working as an assistant first to Khayyam and then to Madan Mohan, where he met Babul, who too was assistant to Madan Mohan for quite some time. In 1955 they decided to separate from Madan Mohan and became a composer team for film Salaam E Mohabbat ( original name Diler ). This Costume film made by Kohinoor Films, Bombay was not completed. Its 4 songs were recorded in 1955. The singers were Talat Mehmood, Sudha Malhotra, Shamshad Begum and Madhubala Jhaveri.

After this inauspicious beginning, they gave music to another 11 films….Shahi mehmaan-55, Sultana Daku-56, Baadal aur Bijli-56, Taaj Poshi-57, Silver King-57, Chandu-58, Chaubees Ghante-58, Jungle King-59, Raat ke Raahi-59, Bus Conductor-59 and Daawat-74. Film Jungle King, though censored in 1959 was released in 1969 and film Daawat was Censored and released in 1974. By this time, not only had the pair separated but Babul had already migrated to Pakistan in 1963 itself.

After splitting they did not have any better luck as independent composers. Bipin Dutt gave music to ‘Kya ye Bambai hai’-59, Alam Ara ki beti-60, Diamond king-61 and Baghi Shehzada-64.

Babul gave music to Forty days-59, Reshmi Roomal-61, Sara jahan hamara-61, Naqli Nawab-62 and Mujrim kaun khooni kaun-65.

As one can see, from the 30s to the latest era of films so many pairs of composers came and went. Only few were successful, only few remained together for long times and few split halfway- either overly or covertly !

When I loo at these pairs, my heart goes to Shanker- Jaikishen and Husnlal-Bhagatram for quality, melody and sheer entertainment and I look in awe at Laxmikant- Pyarelal for a long and quantitative team effort. I also pity and feel sorry at Roy-Frank- the most unfit and most unlikely combination pair of composers. Frank was from music industry and Roy ( Mukund Rai Trivedi) was a partner in a Mining family of Madhya Pradesh, having only a passion for music but no knowledge. They did only one film Gogolaa- 66 and disappeared in thin air !

Today’s song sounds like a song that Rafi would sing for Johnny Walker in that period, but Johnny Walker was not in the film. Since I have not seen this film, I do not know on whom the song has been filmed. Nevertheless, it is a reasonably good song, and let us enjoy it.

Song-Ik dil hamaare paas hai neelaam karega(Chaubees Ghante)(1958) Singer-Rafi, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul

Lyrics

ik dil
ek dil hamaare paas hai
neelam karega
phir apne ghar mein baithh ke aaraam karega
ik dil hamaare paas hai
neelaam karega
phir apne ghar mein baithh ke aaraam karega

samjha raha hoon pyaar se
isko maheenon se
phir bhi ye naadaan
phir bhi ye naadaan jaa ulajhta hai haseenon se
hum abhi abhi
hum abhi abhi iska intezaam karega
phir apne ghar mein baithh ke aaraam karega
ik dil hamaare paas hai
neelaam karega
phir apne ghar mein baithh ke aaraam karega

achcha nahin hai
dil kisi ka le ke mukarna aa
hamre galey mein hans ke baahen daal do warna aa aa
achha nahin hai
dil kisi ka le ke mukarna aa
hamre galey mein
hey
hanske baahen daal do warna
haaye
ham gali gali
ham gali gali aap ko badnaam karega
phir apne ghar mein baithh ke aaraam karega
ik dil hamaare paas hai
neelaam karega
phir apne ghar mein baithh ke aaraam karega

ye dil mohabbat waala hai
ye dil to bhola bhaala hai
ye dil do hi ka gaala(?) hai
ye dil to sabse aala hai
le lo
ye jaane waala hai
jaane waala hai
jaane waala hai
haa
haa
haa
haa
jo lega ise dunia mein naam karega
phir apne ghar mein baithh ke aaraam karega
ik dil hamaare paas hai
neelaam karega
phir apne ghar mein baith ke aaraam karega
ik dil
ik dil
ik dil
dil
dil
dil

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

We in this blog has an anniversary page when anniversaries of HFM related personalities are mentioned. We often discuss songs related to personalities whose anniversaries fall on a particular day.

In addition, we also discuss songs on special days, viz. Independence day, republic day, Gandhi Jayanti etc and also on festival days.

Then there have been occasions when we have celebrated anniversaries that were rather unexpected. For instance, we celebrated birth anniversary of Mughal emperor Akbar with (a song ) that was actually created to celebrate this very occasion.

Today (1 june 2016) is another “far fetched” anniversary. It was on this day that the train now called “Punjab Mail” was flagged off for the first time 104 years ago on 1 june 1912. It was initially called “Punjab Limited” and it used to run between Ballard Pier to Peshawar. This train was meants especially for British people who would get down from their ships and would then board the train to go to Delhi and to the then north west frontier of India.

From 1914, this train began to originate from Bombay VT (now CSTM). After partition of India, this train began to run between VT and Ferozpur.

“Punjab Mail” is a name thatb has caught the fancy of people and movie makers alike. A movie called “Punjab Mail” starring feraless Nadia was released in 1939. Songs of this movie do not seem to be avaiable. Another film called “Miss Punjab Mail” was released in 1958.

“Toofan Mail” is another train whose name has caught the fancy of people. A movie called “Toofaan Mail” was released in 1941 whereas “Miss Toofaan Mail” was released in 1958.

To commemorate the occasion of “Punjab Mail completing 104 year of its running, here is a song from “Miss Punjab Mail”(1958). This by now forgotten movie was directed by V Vakil. The movie had Nishi, Daljit K, Shammi, Hiralal etc in it.

This rare song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by B N Bali.

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

Song-Ho baabu gentleman (Miss Punjab Mail) (1958) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-B N Bali

Lyrics

Ho baabu gentleman
dekh ke teekhe teekhe nain
main ho gayi baawariya haaye
main ho gayi baawariya hoy
tadpoongi din rain
kiya mujhko kaisa bechain
main ho gayi baawariya haaye
main ho gayi baawariya aa
main ho gayi baawariya haaye
main ho gayi baawariya hoy

man nagri pe raaj karo tum
raaja mere man ke ae
man nagri pe raaj karo tum
raaja mere man ke
pyaar ka sehra baandhhoon tujhko
teri raani ban ke
pyaar ka sehra baandhhoon tujhko
teri raani ban ke
ho o o
o o o
baabu gentleman
dekh ke teekhe teekhe nain
main ho gayi baawariya haaye
main ho gayi baawariya aa
main ho gayi baawariya haaye
main ho gayi baawariya hoy

main bijli main baad e saba main
shola main chingaari ee
main bijli main baad e saba main
shola main chingaari
kisi ko maine dil na diya par
ho gayi tujh pe waari
kisi ko maine dil na diya par
ho gayi tujh pe waari
ho o o
o o o o
baabu gentleman
dekh ke teekhe teekhe nain
main ho gayi baawariya haaye
main ho gayi baawariya aa
main ho gayi baawariya haaye
main ho gayi baawariya hoy

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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Question-Answer (Sawaal-Jawaab) songs and its variant, teasing (Ched-Chaad) songs have a special place in Hindi films. These songs are generally duets of male and female voices and are my favourites in the genre of light songs. These songs are sometimes also composed in qawaali style. One can enjoy these songs doubly when the video clips of such songs are available and directors like Guru Dutt, Vijay Anand etc were involved in the picturisation of these songs.

I have not done much research on this genre of songs. So I am not sure as to when these types of songs were introduced. But one can safely conclude that with the advent of social and romantic films in the late 30s and early 40s, scope for such duet songs did exist. From late 40s/early 50s, these songs got included in the genre of social films with romantic situations in some films. These genres of songs continued to be in vogue in the 60s, 70s and 80s and I guess, even thereafter.

Apart from the requirement of a good director for making ‘sawaal-jawaab’ and ‘ched-chaad’ songs interesting to watch, the lyricists of these songs have an important role to play in weaving words skilfully in the lyrics so that they become interesting for listeners. Whenever I listen to these type of songs, I find that a majority of such songs turns out to be from the pen of Majrooh Sultanpuri whom I regard as a Master of ‘sawaal-jawaab’ and ‘ched-chaad’ songs. Of many such songs of his, I have given below, as a teaser, a few songs:

Dekho qasam se kahte hain tum se(Tumsa nahin dekha)(1957)

O o aajaa panchhi akela hai (Nau Do Gyaarah)(1957)

Accha jee main haari chalo maan jaao naa(Kaala Paani)(1958)

Hamse hoti muhabbat jo tumko (Mohabbat Isho Kahte Hain) (1965)

Other lyricists like Sahir Ludhianvi, Jaan Nisar Akhtar, Anand Bakhsi etc have also written ‘sawaal-jawaab’ and ‘ched-chaad’ songs but their output may not compare with that of Majrooh Sultanpuri in this genre who, I guess, must have written close to a century or even more. Among other lyricists, off hand, I recall a couple of songs written by Sahir Ludhianvi:

Ham aapki aankhon mein is dil ko basaa den to (Pyaasa)(1957)

Phir na keeje meri gustaakh nigaahi ka gilaa (Phir Subah Hogi)(1958)

With these examples of songs, an interesting comparison may be made about the style of writing this genre of songs by Majrooh Sultanpuri and Sahir Ludhianvi. While the former’s lyrics are out and out naughty, the latter has a subtle hint of teasing. Just note four lines of the first song of Sahir Ludhianvi:

Rafi : ham aapko khwaabon mein, laa laa ke sataayenge
Geeta : ham aap ki aankhon se, neenden hi udaa den to

Rafi : ham aapke kadmon par, gir jaayenge gash khaa kar
Geeta : is par bhi na ham apne, aanchal ki hawaa den to

I will call these four lines as ‘intelligent teasing’.

In case of the second song of Sahir Ludhianvi, the subtle hint of teasing has been confined only to the lyrics assigned to Mukesh while lyrics for Asha Bhonsle have no hint of counter teasing but only the expression of love. This is great poetry indeed.

This subject came to my mind because I came across a similar genre of a rare song from the film IZZAT (1952). After knowing the name of the film, my first reaction was that it must be ‘Apni Izzat’ (1952) which was a known film for me. But after checking on the internet, I came to know that the film ‘Izzat’ (1952) was indeed released in 1952. The film was produced under the banner of Taimur Art Productions and was directed by Taimur Behram Shah. The cast included Nirupa Roy, Amarnath, Agha, Jeevan, Manorama, Rajni, Veera, Pesi Patel, Nazira, Baby Kalpana etc.

There were 8 songs in the film written by Raja Mehdi Ali Khan (7) and Buta Ram Sharma (1) which were set to music by Bulo C Rani. I am presenting first song ‘tera jhoomta shabaab jaise baaghon mein gulaab’ to appear on the Blog. The song is sung by G M Durrani and Sandhya Mukherjee. This song is written by Raja Mehdi Ali Khan.

As I mentioned in my last post, this song is one more example of the knack G M Durrani had of making his duet songs pleasing to the ears. The voice of Sandhya Mukherjee adds charm to this duet. After all, she has been trained in Hindustani classical music by none other than Ustad Bade Ghulam Ali Khan and later his son, Ustad Munnawar Ali Khan.

Incidentally, as far as I know, this was the only duet G M Durrani sang with Sandhya Mukherjee.

Atul’s note- This movie “Izzat”(1952) becomes the 3400th movie that finds representation in the blog. So it is yet another far fetched century for the blog.

Song-Tera jhoomta shabaab jaise baaghon mein gulaab (Izzat)(1952) Singers-G M Durrani, Sandhya Mukherjee, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Both

Lyrics

tera jhoomta shabaab
jaise baaghon mein gulaab
tera jhoomta shabaab
jaise baaghon mein gulaab
teri ankhiyaan to ras ki hain pyaaliyaan
teri ankhiyaan to ras ki hain pyaaliyaan
teri ankhiyaan to ras ki hain pyaaliyaan
aisi baaton ka jawaab
nahin doongi main janaab
aisi baaton ka jawaab
nahin doongi main janaab
mere gaalon pe
mere gaalon pe sharam ki hain laaliyaan aan
mere gaalon pe sharam ki hain laaliyaan aan
aisi baaton ka jawaab
nahin doongi main janaab

bholi bhaali ankhiyon mein shokhiyaan hain jhoomti ee ee ee
shokiyaan hain jhoomti
bholi bhaali ankhiyon mein shokhiyaan hain jhoomti ee ee ee
shokiyaan hain jhoomti
yoon teri gustaakhiyaan hain aankhon ko hain choomti
yoon teri gustaakhiyaan aankhon se hain aankhon ko hain choomti
aayi aayi hai bahaar
dil bada bekaraar
aayi aayi hai bahaar
dil bada bekaraar
dekho phoolon se bhari huyi hain daaliyaan aan
dekho phoolon se bhari huyi hain daaliyaan aan
teri ankhiyaan to ras ki hain pyaaliyaan
aisi baaton ka jawaab
nahin doongi main janaab

zindagi mein ek baar
baat meri maan lo
maan lo ji maan lo ji
maan lo ji maan lo ji
zindagi mein ek baar
baat meri maan lo
maan lo ji maan lo ji
maan lo ji maan lo ji
pyaar ka nateeja bhi to achhi tarah jaan lo
pyaar ka nateeja bhi to achhi tarah jaan lo o
meri ankhiyon se door
kahin jaana na huzoor
meri ankhiyon se door
kahin jaana na huzoor
raat birha ki badi hain dukhwaaliyaan
raat birha ki badi hai dukhwaaliyaan
teri ankhiyaan to ras ki hain pyaaliyaan
tera jhoomta shabaab
jaise baaghon mein gulaab

This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In the last few weeks, I’ve been watching some old Hindi films on Youtube. These are films which I’ve been wanting to watch for a long time, but somehow (mainly due to time constraints), I never managed to get around to watching.

I started with Munimji (1955) – which I’d last watched on Doordarshan in May 1978 when I’d visited my aunt in Delhi. This also happened to be the first film I ever watched on TV, because till I visited Delhi that time, I’d never seen a TV in my life. I’d completely forgotten the storyline, so it was worth re-visiting.

I followed it up with Sharaabi (1964) – which I found somewhat “dragging on”. Besides, this film gets an award from me for the most ridiculous ending I’ve ever seen in a Hindi film. But most of its songs are pretty good – the saving grace of the film.

Then Poonam Ki Raat (1965) – a film with a lot of potential that doesn’t deliver on it. Also, by Salil Chaudhary standards, the music, except for the odd song, was a bit of a letdown.

I followed this up with Jaal (1952) – a film I quite liked. Uncomplicated story, lovely songs, Guru Dutt direction – and I do like Geeta Bali anyway. And Dev Anand too.

So what is common between all these movies?

They have all been YIPPEEED on this blog. That means, all their songs have already been covered on this blog.

The reason this is relevant is that everytime I choose a film to watch, one of the first things I do is, check this blog. To see if there are any songs of the film still to be posted. If so, I feel I can bridge the gap – with not just the song but also knowledge of its context in the film. Always nice to be able to do do so.

None of these films gave me that opportunity.

But then I saw Naqli Nawab (1962). And it has only 4 songs posted so far on this blog, with 3 yet to be posted.

So I thought, great, I need to start bridging the gap and moving this towards YIPPEEE status. Ergo, this post.

First, about the film.

I absolutely loved the film. As it is, I am a sucker for Muslim socials. I can watch any Muslim social without even caring about the cast. Just the Urdu (the “mohtarma” and “qibla”), the sets, the dresses (achkan, shararas and all that) – that is enough for me. Throw in a mushaira or qawwali – and I’ll melt within seconds. For once, the storyline becomes less important ( otherwise this is usually my No.1 criterion for liking or not liking a film).

Naqli Nawab ticks all these boxes. It has a mushaira AND a qawwali (not yet posted on the blog, by the way). And a few doses of Urdu (though for me, it’s always a case of “ye dil maange more”). When Manoj Kumar says “Parvardigaar, mujhe taufeeq de”, I smiled. (And kicked myself for not having taken Urdu lessons).

Apart from all this, the other big reasons I liked this film are:
1) The storyline. It’s a light plot, no heavy-duty melodrama that one often sees in Muslim socials. So just good entertainment, happy ending and all that.
2) There’s a high degree of “goodness” in the characters. Yes, there are baddies too – but that’s to have SOME sort of plot. But even the baddies aren’t really bad – they’re just weak. (I remember liking Bimal Roy’s Prem Patra for this very reason. Lot of “goodness”).
3) A fast-paced film. This is surprising because those were the times when films would drag on. With a Comic Side Plot (CSP) featuring say, a Mehmood-Shobha Khote or Rajendranath. This film stays focussed on its storyline and keeps moving. Things happen fast.
4) Shakila, Manoj Kumar and Ashok Kumar.
I’ve seen a few films of Shakila (top of head: CID, Shreeman Satyawaadi, China Town) and have always liked her. She is just gorgeous in this film.
Manoj Kumar is also pretty good – not just handsome but also acts well, especially as the street ruffian / pickpocket. In fact, I’ve always liked Manoj Kumar in his B/W days, before he got into “Mr.Bharat” mode (let’s say, pre-Upkaar). After that, his long preachy dialogues could be a pain at times.
Ashok Kumar – no need to say anything about him. As usual, terrific to watch.
Besides these, there are Maruti, Shammi, Mirza Musharraf and KN Singh. All actors I like. In fact, Maruti impressed me quite a bit in this film. I’ve seen him in many so-called B-films – he deserves to be better-known.
5) The songs. They really deserve to be better-known too. They are composed by Babul – who I know nothing about. Hopefully a knowledgeable reader will provide more info on him. I just got a hint of Roshan in his composition style – or maybe I am imagining it.

So, all in all, several reasons to enjoy the film. The last 20 minutes become somewhat melodramatic (and a bit unrealistic) – as in many Hindi films. But even this isn’t so much that it becomes unbearable. Overall, the film was a pleasant watch for me, especially because I started with no expectations at all.

I must emphasise that these are purely my views. Tastes differ – so others might not find this quite as watchable as I did. Am not sure how the film fared at the box-office – maybe somebody can enlighten us on this?

Ok, moving onto the song for today.

It’s by Asha Bhosle. The situation is this. Shakila is Ashok Kumar’s sister. She is madly in love with a poor Manoj Kumar who is actually staying in their haveli (Ashok is a Nawab), but has decided to stay away from her because he owes Ashok Kumar bigtime and “khandaan pe kalank nahin lagne doonga” logic. The catch is, he hasn’t ever seen her face. To entice him, she goes over to her saheli’s place (Shammi’s place) and somehow manages to bring him over there. He doesn’t know this is Ashok’s sister – so he engages with her, starts up a conversation, and asks her to sing a song.

This is that song. I quite like it – the picturisation, showing how crazy in love Shakila is, is quite sweet. The lyrics reflect it too.

By the way, what is the musical instrument Shammi is playing?

Song-Ham jispe hain fidaa (Naqli Nawaab)(1962) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Baabul

Lyrics

Aa aa aa aa
aa aa aa aa

Hum jispe hain fida
wo kahin
Aap to nahin
Wo kahin
Aap to nahin
Dil jispe mar mita
wo kahin
Aap to hain
Wo kahin
Aap to nahin
Hum jispe hain fidaaa aa aa

Raaton ko jisne humko jagaaya
wo kaun hai
Ulfat pe
jisko reham na aaya
wo kaun hai ae
Raaton ko jisne humko jagaaya
wo kaun hai
Ulfat pe
jisko reham na aaya
wo kaun hai
Ae jaan-e-muddah wo kahin aap to nahin
Wo kahin
Aap to nahin
Hum jispe hain fidaaa aa

Chilman ke peechhe machle
koi beqaraar dil
Pehloo se
ud ke jaaye
haaye ae
Pehloo se
ud ke jaaye kidhar
baar baar dil
Chilman ke peechhe machle
koi beqaraar dil
Pehloo se ud ke jaaye kidhar
baar baar dil
Ye jiska ho gaya
wo kahin aap to nahin
Wo kahin
Aap to nahin
Hum jispe hain fidaaa aa

Aankhen wo tauba tauba
bahut hi shareer hain
Allah re
Haaye ae
Allah re
Nazren unki mohabbat ke teer hain aen
Aankhen wo tauba tauba
bahut hi shareer hain
Allah re nazren unki mohabbat ke teer hain
Tadpaaye jo sadaa wo kahin aap to nahin
Wo kahin
Aap to nahin
Hum jispe hain fida
wo kahin
Aap to nahin
Wo kahin
Aap to nahin
Hum jispe hain fidaaaaaa

This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, with this post, we arrive at the 12,100th post on this blog. That’s 121 centuries that this blog has clocked so far. The mind continues to boggle.

As a person who’s seen this blog from day one (from the time “mile na phool” was posted as the very first song on this blog), I feel elated everytime we reach a milestone. I still remember when Atul posted the 100th and then 200th and so on. Each one was an occasion for celebration. Because each one was a marker of progress on a journey that we knew would be a long (and highly enjoyable) one. We have done that 121 times now – and I think I speak for many of us when I say, ye dil maange more..

But as I always say when I talk about a numerical milestone, it’s NOT just about the number. If it was only about numbers, we could have easily done a quick job, churning out posts in a matter of a few minutes. All we would have to do is write a few lines, copy lyrics from some other site – and we’d be done.

I can assure you, if we had done that, we would have been an “also-ran” site, not the go-to site that we have become over the years. We would have carried the same mistakes we find elsewhere. We wouldn’t have had so many connoisseurs of old Hindi cinema visiting our blog to read our posts and share their knowledge. The community grows by the day.

Increasingly, this blog is where people come together to discover and enjoy Hindi film music as a community. It is like an online “nukkad mein chai ki dukaan”. You have the regulars who land up everyday, they have a chai (song) served by Atul, they discuss the song – there is bonhomie all around. Every day you get taazi chai. But there are also others who join in, like at that nukkad dukaan. Everybody is welcome – the more the merrier.

So while it gives us great satisfaction to hit milestones, it is the journey that is just as important and enjoyable than the milestone itself.

And we must always remember that every song is compiled with great care. I always say, in a cricket game, you can hit a 4 or a 6, and your score jumps. Here, on the blog, there are no shortcuts. Every song adds just one to the counter. And I think, that’s a good thing. Tea is best savoured, sip by sip. Tabhi zaike ka mazaa aata hai. One should never rush good things in life.

Ok, now onto the post for today.

In my last post, I had talked about Naqli Nawab (1962) at length. It is a film I happened to see recently – and liked a lot. I have mentioned the reasons in that post and will not repeat them here.

I also mentioned that of the 7 songs in the film, 4 had been posted earlier by Atul, so there were 3 remaining to be posted. That post contained the first of these 3.

This song is the second in the trilogy.

I must admit when you use the word “trilogy”, it looks like you’re onto something big. Film-makers, especially in Hollywood, are very much into this. Maybe it took off in a big way with The Godfather, which (the first part at least) was the mother of all hits in its time. It was made as a trilogy. Then we had the Jaws trilogy (the original was followed by the trilogy, so there were 4 films in all) – another huge hit. Then the Star Wars trilogy (Star Wars, The Empire Strikes Back, Return of the Jedi). And many others, I am sure.

More recently, we had the Lord Of The Rings trilogy. And the Matrix trilogy.

In India too, not to be outdone, we have have Dhoom, Dhoom 2 and Dhoom 3 in recent times. From an earlier era, one hears of the Raj Khosla thriller trilogy (Woh Kaun Thi, Mera Saaya and Anita, all starring Sadhana) though I’m not sure the director quite marketed it that way.

Even the author Amish has a Shiva trilogy.

Since I don’t have the aukaat to make even one film or write even one book, let alone a trilogy, I have to take pride in smaller pleasures. Like writing 3 blogposts in a row of the same film’s songs and calling it a trilogy.

Anyway, trilogy or no trilogy, one of my goals after seeing Naqli Nawab was to YIPPEEE it at the earliest. In other words, to cover the remaining songs of the film on this blog so that the film could be marked as completed here.

The song for today is a fabulous qawwali. I absolutely love qawwalis – there’s hardly a qawwali out there that I have not liked. Just the rhythmic clapping and music is wonderful in itself. And then you have the lyrics, which are usually also fun. Often loaded, with some mocking or hidden meaning.

As I was writing down the lyrics of today’s qawwali, I kept falling more and more in love with it. Usually you replay to catch a word or line you missed. Today I did that, of course – but also kept replaying just to keep listening to the song. As I listened, I just marveled at the composition – and this is from a composer, Babul, who I know nothing about. Bahut na-insaafi hai.

The occasion for the qawwali is a celebration at Eid. Gifts are being given by the Nawab, KN Singh to others. Everyone is having a wonderful time. Love is in the air, as is evidenced by Manoj Kumar and Shakila.

But there is also something sinister beginning to brew. We see Indira Billi (and Kamal Kapoor) in this qawaali, singing to KN Singh “hum deewane ter dar de nahin talne waale” and “saamne baithe hain taqdeer badalne waale”. They are there to stake a claim on KN Singh. Indira wants him to acknowledge and accept her as his wife – she is supported by Kamal Kapoor, her brother, in this effort. The Nawab has no intention whatsoever of obliging them. So Indira intends to stay put.

This is also a song where one can see Edwina. She is a familiar face in many films of the late 50s upto the mid/late-60s, usually seen in dance sequences like “o haseena zulfon waali”, “sooku sooku” and “duniya paagal hai”. She is a friend for some of us who got to know her just a few years ago , thanks to memsaab (Greta). In this song, she has an uncharacteristic role in the support team of Shakila, singing the qawwali.

A word of mention for the person who has uploaded this video to youtube.

His youtube handle is Tommydan22 (the number keeps changing but the essence is Tommydan…). He is an American who, much like memsaab, is also a keen lover of old Indian cinema. But his interest (and skillset) also extends to reviving videos of old Hindi films and songs (we know what condition many of these videos are in!). He does it as a hobby. You will find a lot of his videos on youtube (check out his channels) – you can be assured his video will be the cleanest, clearest and most viewable. Often with subtitles, for those who don’t understand Hindi. It takes a lot of effort to do this, frame by frame – and we must appreciate his work.

So many people, in their own ways, are doing so much voluntarily to preserve and popularize old Indian cinema – it makes me feel humble to be part of this community. Sometimes I think, this is the only way old Indian cinema will survive.

I will leave you with these thoughts – and this wonderful qawwali. Lyrics are by Raja Mehdi Ali Khan.

Song-Ham deewaane tere (Naqli Nawab)(1962)Singers- Mohammad Rafi, Asha Bhonsle,Lyrics-Raja Mehdi Ali Khan, MD-Baabul
Unknown male voice,Unknown female voice
Male Chorus, Female Chorus, Joint Chorus

Lyrics

Hum deewaane tere
Aaa aaa aaa aaa aaa
aa aa aa aa
Hum deewaane tere
dar se nahin talne waale ae ae
Hum deewaane tere
dar se nahin talne waale ae ae
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane ae
Haaye
Hum deewaane tere ae
Hum deewaane tere
dar se nahin talne waale
Aaa aaa aaa
aa aa aa
aaa aaaa
Aur machlenge abhi tujhpe machalne waale ae ae ae
Aur machlenge abhi tujhpe machalne waale ae
Aur machlenge Arre machlenge
Aji machlenge machlenge
Aur machlenge abhi tujhpe machalne waale ae
Hum deewaane tere
dar se nahin talne waale

Phool sa rang bhi hai
husn bhi hai
roop bhi hai
Arrey phool sa rang bhi hi
Aur husn bhi hi
Roop bhi hai
Aaa aaa aaa aaaa
Phir mere ishq ka sooraj bhi hai aur dhoop bhi hai
Phir mere ishq ka
Sooraj bhi hai
Aur dhoop bhi hai
Haaaaa
Ab to ye pyaar ke saaye nahin dhalne waale
Aaahey
Ab to ye pyaar ke saaye nahin dhalne waale
Ab to ye pyaar ke saaye nahin dhalne waale
Aur machlenge abhi tujhpe machalne waale ae ae ae ae
Aur machlenge abhi tujhpe machalne waale ae ae
Hum deewane tere
dar se nahin talne waale

berukhi ne teri zaalim hamen barbaad kiya
berukhi ne teri zaalim hamen barbaad kiya
Aise bhoole ke na bhoole se hamen yaad kiya
Aise bhoole ke na bhoole se hamen yaad kiya
yaad kiya
yaad kiya
Phool se dil ko nigaahon se machalne waale
Aeji phool se dil ko nigaahon se machalne waale
Phool se dil ko nigaahon se machalne waale
Hum deewaane tere
Aaa aaaa aaa aaa
aa aa aa
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane tere
dar se nahin talne waale ae
Aur machlenge abhi tujhpe machalne waale

Na falak ki hamen parvaah
Na zamaane ka khayaal
Arrey na falak ki hamen parvaah
Na zamaane ka khayaal
O o o
o o o
o o o
Laakh duniya ke hon dukh
Humko nahin kuchh bhi malaal
Laakh duniya ke hon dukh
aeji
humko nahin kuchh bhi malaal
Saamne baithe hain
Baithe hain
Baithe hain aen
Saamne baithe hain
Taqdeer badalne waale
Aeji saamne baithe hain
Taqdeer badalne waale
Saamne baithe hain
Taqdeer badalne waale
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane
Haaye
Hum deewane tere
Hum deewaane
Tere dar se
Nahin talne waale waale
Aaaaaaaaaa
Hum deewane
Tere dar se
Nahin talne waale waale
Hum deewane tere

This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Let me start with a confession.

In my childhood – and for many years thereafter – whenever there was a “mujra” song in a Hindi film, I wouldn’t pay much attention to it.

Unless of course, it was a well-known song. Like songs of Pakeezah. Then I would sit through and enjoy the song.

But otherwise, that would be the time I’d take a break, go pick up refreshments, or (if I’m watching on video), fast forward the song.

The reason for this is simple. It had nothing to do with the mujra as such. But what I used to feel was that , most of the time, the story doesn’t move forward at all during a mujra. So, if you’re focussed on the story and you need a break (or are short of time), the mujra becomes the casualty.

Now, as I’ve grown older, and my grey hairs suggest (rather deceptively) an increase in wisdom, I think I might have missed out on something.

I think I might have missed out on some very good music. A mujra song doesn’t need to be as famous as Pakeezah songs to be of a high quality by itself.

If you are a true music lover, you will care about the music side of a song, not whether it moves the story forward or not. You will care about the composition, the instruments, the lyrics, the vocals and so on. After all, a LOT of effort – of a LOT of people – goes into making ONE song. That alone needs to be appreciated and respected, regardless of other factors.

So just as a song might be incidental to a storyline (my thought process in my early years), the storyline can be incidental to a song. It depends on what your perspective is – what angle you are approaching the song from.

In addition, a mujra involves dance skills too. So the dance director would have spent time training the dancer(s). Whether the song is a hit or not, whether it moves the story forward or not, this effort cannot be denied.

Also, if you really look at it, hero-heroine running around trees does not move the story forward either. Yet, I used to watch these songs. Maybe because of the outdoor scenes, the scenery. A mujra is within the confines of four walls of a room, giving an impression that things are stagnant.

All this was perception, nothing else. But as a youngster, I wasn’t thinking too much.

Today, I can claim to be wiser in this respect.

And as evidence of this enlightenment, today I present the third (and final) song of my Naqli Nawab trilogy.

This is a mujra where the dancer is Indira Billi and the patron-in-chief is the Nawab, K N Singh. Such a scene was extremely common in films in the past. Nawabs (or aristocrats in general) would be shown as “aiyaash”, spending their wealth on “vices like wine and women”. Depending on whether this is important in the storyline, there would be somebody trying to exploit the situation. In Mere Huzoor, we had this same Indira Billi playing a similar role. In that film her partner-in-crime is Ram Mohan, here it is Kamal Kapoor.

As I was listening to the song to note down the lyrics, I realized I quite liked the song. The more I listened to it, the more I liked it. Just validated my point about all the songs of Naqli Nawab being very pleasant on the ear. So full marks to Babul, the composer.

That reminds me. In my previous post, I’d expressed a desire to know more about Babul. Arunji has promptly sent me an e-mail with some information – I am sharing it below. Thank you, Arunji.

“There was a pair of composers called BIPIN-BABUL.

Bipin Dutta ( born 17-8-1930) and Babul ( born 22-1-1923) worked as a pair and gave music to 12 films. Bipin Dutta had started working as an assistant first to Khayyam and then to Madan Mohan, where he met Babul, who too was assistant to Madan Mohan for quite some time. In 1955 they decided to separate from madan Mohan and became a composer team for film Salaam E Mohabbat ( original name Diler ). This Costume film made by Kohinoor Films, Bombay was not completed. Its 4 songs were recorded in 1955. The singers were Talat mehmood, Sudha Malhotra, Shamshad Begum and Madhubala Jhaveri.

With this inauspicious beginning, they gave music to another 11 films….Shahi mehmaan-55, Sultana Daku-56, Baadal aur Bijli-56, Taaj Poshi-57, Silver King-57, Chandu-58, Chaubees Ghante-58, Jungle King-59, Raat ke Raahi-59, Bus Conductor-59 and Daawat-74. Film Jungle King, though censored in 1959 was released in 1969 and film Daawat was Censored and released in 1974. By this time, not only the pair had separated but Babul had already migrated to Pakistan, in 1963 itself.

After splitting they did not have any better luck as independent composers. Bipin Dutt gave music to ‘Kya ye Bambai hai’-59, Alam Ara ki beti-60, Diamond king-61 and Baghi Shehzada-64.

Babul gave music to Forty days-59, Reshmi Roomal-61, Sara jahan hamara-61, Naqli Nawab-62 and Mujrim kaun khooni kaun-65.”

With this, I end this trilogy. I trust you will listen to the song and enjoy it like I did.

With this, all songs of Naqli Nawab (1962) have been posted on the blog. In other words, it’s a YIPPEEE moment for this film on this blog.

Song-Nazar teri kaise badal gayi re (Naqli Nawaab)(1962) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Baabul

Lyrics

Nazar teri kaise badal gayi re
Nazar teri kaise badal gayi re
Main ulfat ke sholon mein jal gayi re
Allah
Main jal gayi re ae
Nazar teri kaise badal gayi re
Nazar teri kaise badal gayi re ae
Nazar teri kaise badal gayi re

Tere ishq mein is tarah kho gayi
Zamaana kahe baawri ho gayi ee
Tere ishq mein is tarah kho gayi
Zamaana kahe baawri ho gayi ee
Zamaana kahe baawri ho gayi
Nazar ki chhuri dil pe chal gayi re
Main ulfat ke sholon mein jal gayi re
Allah
Main jal gayi re ae
Nazar teri kaise badal gayi re

Aji kya ye ulfat mein dhokha nahin
Main badhti gayi toone roka nahin een
Aji kya ye ulfat mein dhokha nahin
Main badhti gayi toone roka nahin een
Main badhti gayi toone roka nahin
Ab to manzil se aage nikal gayi re
Main ulfat ke sholon mein jal gayi re
Allah
Main jal gayi re ae
Nazar teri kaise badal gayi re

Arrey sangdil kya kahoon tujhe
Nigaahon se aisi pila de mujhe ae
Arrey sangdil kya kahoon tujhe
Nigaahon se aisi pila de mujhe
Nigaahon se aisi pila de mujhe
Ki main girte girte sambhal gayi re
Nazar teri kaise badal gayi re ae
Nazar teri kaise badal gayi re

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

“Jaal”(1967), not to be confused with “Jaal”(1952) was directed by Moni Bhattacharya for New World Pictures. The movie had Mala Sinha, Biswajeet,Johnny Walker,Tarun Bose, Sujit Kumar,Nirupa Roy, Helen, Asit Sen, Jagdish Raj, Niranjan Sharma, Kamran(Guest Artist) etc in it.

Four songs from this movie have been discussed in the past.

Here is the fifth song from “Jaal” (1967) to appear in the blog.

This song is sung by Lata. Raja Mehdi Khan is the lyricist of the song. Music is composed by Laxmikant Pyarelal.

The song is picturised on Mala Sinha and Vishwajeet. We find Nirupa Roy, a man (that I could not identify) and a dog waiting for the song to end. Then Nirupa Roy steps in and asks Mala Sinha to accompany her.

Lyrics of this song were sent to me by Parkashchandra long ago (nearly three years ago).

Audio

Video

Song-Rokna hai agar rok leejiye magar (Jaal)(1967) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

rokna hai agar
rok leeje magar
chaand chhupne se pehle chali jaaungi
rokna hai agar
rok leeje magar
chaand chhupane se pehle chali jaaungi
door hai mera ghar
mujhko duniya ka dar
chaand chhupne se pehle chali jaaungi
rokna hai agar
rok leeje magar
chaand chhupne se pehle chali jaaungi

chaand nilka mera
chaandni kho gayi
har taraf husn ki raushni ho gayi
chaand nilka mera
chaandni kho gayi
har taraf husn ki raushni ho gayi
aap chaand hain agar
chaand ko dekh kar
chaand chhupne se pehle chali jaaungi
rokna hai agar
rok leeje magar
chaand chhupne se pehle chali jaaungi

aap shaamil hain yoon meri aawaaz mein
jaise naghme hon do ek hi saaz mein
aap shaamil hain yoon meri aawaaz mein
jaise naghme hon do ek hi saaz mein
main ghazal chhed kar
ishq ke saaz per
chaand chhupne se pehle chali jaaungi
rokna hai agar
rok leeje magar
chaand chhupne se pehle chali jaaungi

behki behki nigaahein nahin hosh mein
pyaar sharmaaye aankhon ki aaghosh mein
behki behki nigaahein nahin hosh mein
pyaar sharmaaye aankhon ki aaghosh mein
shaane pe sar rakh toh doongi magar
chaand chhupne se pehle chali jaaungi
door hai mera ghar
mujhko duniya ka dar
chaand chhupne se pehle chali jaaungi
rokna hai agar
rok leeje magar
chaand chhupne se pehle chali jaaungi
chali jaaungi
chali jaaungi

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

“Jaal”(1967) was directed by Moni Bhattacharya for New World Pictures. The movie had Mala Sinha, Biswajeet,Johnny Walker,Tarun Bose, Sujit Kumar,Nirupa Roy, Helen, Asit Sen, Jagdish Raj, Niranjan Sharma, Kamran(Guest Artiste) etc in it.

Five songs from this movie have been discussed in the past.

Here is the sixth and final song from “Jaal” (1967) to appear in the blog.

This song is sung by Lata. Raja Mehdi Khan is the lyricist of the song. Music is composed by Laxmikant Pyarelal.

The song is picturised on Mala Sinha on a sea beach.

Lyrics of this song were sent to me by Parkashchandra long ago (nearly three years ago).

This song is perhaps the least known song from the movie and it is one that grows up on you the more you listen to it. It is an ideal song to listen to in the evenings after you are back from office.

With this song, “Jaal”(1967) joins the list of movies that have all their songs covered in the blog.

Video

Audio (Full)

Song-Dhadka hai dil mein pyaar tumhaara abhi abhi(Jaal)(1967) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Laxmikant Pyarelal

Lyrics

aa aa aa aa
aa aa
aa aa aa aa
aa aa
hmm hmm
hmm hmm
hmm hmm hmm hmm
hmm hmm

dhadka hai dil mein
pyaar tumhaara abhi-abhi
dhadka hai dil mein
pyaar tumhaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
dhadka hai dil mein
pyaar tumhaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi

mehboob ki
nigaah-e-karam
kaisi cheez hai
mehboob ki
nigaah-e-karam
kaisi cheez hai
wo ek pal to chaand se hamko azeez hain aen
jo hamne unke
ghar mein guzaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
dhadka hai dil mein
pyaar tumhaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi

aaye hain ham
sharaab-e-muhobbat piye huye
aaye hain ham
sharaab-e-muhobbat piye huye
aankhon mein ik
khumaar ki duniya liye huye ae
dil maangta hai
unkaa sahaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
dhadka hai dil mein
pyaar tumhaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
abhi-abhi
abhi-abhi
abhi-abhi

betaabiyaan raaton hamen ab jagaayengi
betaabiyaan raaton hamen ab jagaayengi
aayenge jab wahaan se, to yaaden bulaayegi ee
chaahega ji ke, jaaye dubaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
dhadka hai dil mein
pyaar tumhaara abhi-abhi
chamka hai aarzoo ka
sitaara abhi-abhi
abhi-abhi
abhi-abhi
abhi-abhi

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

“Shaan e Haatim”(1958) was a produced by Moghabhai Desai and directed by Nanubhai Vakil for Desai Films, Bombay. The movie had Chitra, Daljit, Mehmood, Naazi, Hiralal, Tuntun, Meena, Sushil Kumar, Kanchanmala, Kesri, Wazeer Muhammad Khan, Sadiq, Anwari, Burhan, Savitri, Shashimala etc in it.

This by now forgotten movie had eight songs in it. Here is the first song from “Shaan e Haatim”(1958) to appear in the blog. This song is sung by Rafi and chorus. Raja Mehdi ali Khan is the lyricist. Music is composed by A R Qureshi.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. From the sounds of it, the song appears to be a qawwaali song to me.

Song-Kisi ne khwaab mein Hatim se ek din poochha (Shaan e Haatim)(1958) Singer-Rafi, Lyrics-Raja Mehdi Ali Khan, MD-A R Qureshi
Chorus

Lyrics

kisi ne khawab mein hatim se ek din poocha
ae marde nek
zara mujhko bhi ye raaz bata
aaa aaa
khuda ke bandon ko
milta hai kis tarah se khuda
aa aa aa aa
suni ye baat to
haatim ne hans ke us’se kaha

aa aa aa aa aa
aa aa aaa aa
bhalaai duniya ki jo
subaho shaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain

aa aa aa aa aa
aa aa aa aa aa
khuda ki raah mein lutaate hain maal o zar apna
wo apne ghar ko samajhte nahin hain ghar apna
aa aa aa
aa aa aaa
aa aa aa
zameen pe rah ke phalak per makaam karte hain
zameen pe rah ke phalak per makaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain

haan aan
unhe sukoon nahin milta kabhi ameeri mein aen aen aen aen
ke baadshaahi bhi karte hain wo fakeeri mein
haan aan aan aan
aan aan aan aan
museebaton mein wo umre tamaam karte hain
museebaton mein vo umre tamaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain
phalak pe unko farishte salaam karte hain
bhalaai duniya ki jo
subaho shaam karte hain

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Continuing with the Melody-Yatra of the 50s,today I present a song by Shamshad Begum and chorus, from film Ustad Pedro-59.The song is composed by C.Ramchandra.I know some of you must be smiling discretely and murmuring,”laut ke buddu ghar ko aaye”, when I present a C Ramchandra song. But the fact is one can not talk about the 50’s music without mentioning C Ramchandra !

Both, C Ramchandra and Naushad continued their friendly competition from the 40s, to reach and maintain the first rank in the HFM in the decade of the 50s also. But in this decade they had very tough competition from a newly risen pair of composers-Shanker-Jaikishen. The real beneficiary of their competition was the HFM lover in India. What a terrific feast of lovely music people had from these composers as well as from others like Hemant Kumar, S D Burman, Roshan etc who also chipped in their contribution, making the decade a truly Golden decade of HFM.

The old guards like Husnlal-Bhagatram, Anil Biswas, K.Datta, Khemchand Prakash, Hansraj Behl, Bulo C Rani and others of their ilk were on their way out and the new crop of music directors viz. O P Nayyar, Madan Mohan, Ravi, Chitragupta etc were yet to bloom when the decade of 1950s began.

The film Ustad Pedro was produced by Shaikh Mukhtar, who also did the main lead in the film along with a beauty of the times-Begum Para. The film was directed by Tara Harish and the music was composed by C Ramchandra.

Religious, Mythological or Historical stories have some legendary characters possessing extra ordinary strength. Hindi film industry too had some actors who too played roles similar to such legendary strongmen. Some such actors were B M VYas, Narayan Tiwari, Shaikh Mukhtar, Dara Singh, Dev kumar etc etc. Shaikh Mukhtar fitted into these roles perfectly. He played Nadir Shah in film ” Nadir Shah”-68, as Changez Khan in film “Changez Khan”-57, and Sher Afghan in film ” Noor jehan”-67. In social films, he would play the roles of Police Officers and in action/stunt films he would be a Dacoit, Drunkard, Gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in film “Roti”-42, where he brings down an aircraft by throwing a spear at it ! As a Police Officer, he would hold 5-6 criminals by the scruff of their necks in his extra large hands. He would run barefoot after a speeding jeep and stop it !

His real name was Mukhtar Ahmed Siddiqi. He was from old Delhi. His father was a senior Police Officer. He was Bollywood`s first Hunk – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today.

Yet, this rugged man was once a hero.

Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In Ek hi Raasta, or The Only Way, a film directed by Mehboob saab for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as Burma Road, he was Tara Harish).

Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mould. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s Roti with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.

In Wadia`s Krishnabhakt Bodana, Sheikh Mukhtar was the Lord`s devotee. In Bahen, he portrayed the role of Meena Kumari`s brother. His imposing personality fitted well into `period` films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in Noor Jehan, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, SheikhMukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as Dada, Dara, Ustad Pedro, Toote Tare, Mr. Lambu, Annadaata, Mangu (with another beauty, Nigar Sultan), Do Ustaad, Noor Jehan, among others.

He wove into his films a variety of songs, from Bahaaron ke doli pe aaye hai jawaani, a romantic number from Annadaata, to naughty ditties, such as Dil ka yeh engine seeti bajaaye from Ustaad Pedro, and Namaste, Doctor Paro, hum ko bhi ek injection maaro. SheikhMukhtar`s pair of shoes, of twelve number size, (in Do Ustaad), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of Do Ustaad when he holds his long-lost brother and son to his bosom.

Sheikh Mukhtar blew up his hard-earned money on Noor Jahan, his dream project. However, the `period` film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.

He was not at all welcomed by Pak film industry. As it is Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. He was returning to Lahore with his son Shaikh Moinuddin. Mukhtar got a severe heart attack in the flight. He was immediately taken home and a doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way.

Noor Jehan, which was released in Pakistan after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films.
( some information from articles by Shirish kanekar and Javed Hameed is used here with thanks).

While doing film Ustad Pedro-51, C Ramchandra was riding high on his success of HFM. He was in great demand and Lata was with him fully. In those days he would sing more songs himself. In this film also he sang 4 duets out of total 8 songs. Rafi got only one duet with Lata. Funnily, though the music of the film became a hit and popular, Rafi-Lata’s duet became the most popular song ! The song was , ” Dr, Baro, hum ko bhi ek injection maaro”( already discussed in this Blog by Atul ji). It was a double meaning song. In later periods, Lata always refused to sing songs with double meaning or club/cabaret songs, but in the early career, she sang many such songs. This song became very popular, but also created disputes.

In those days,there was no one central Censor Board for India. Each state had its own Censor Board. The Bombay Censor Board decided this song to be obscene and removed it from the film. The other state censors did not find it objectionable and passed it easily. Therefore this popular song was not seen by the audience of Bombay State- which comprised of Maharashtra, Gujarat part of Vidarbha and present day part Karnataka. However Radio played this song frequently and records were also available in the market. So it remained popular here.

Usually Songs of films by C Ramchaandra were written by his good friend Rajendra Krishna, but in this film, all songs were written by Rajah Mehdi Ali Khan. He ensured that C Ramchandra got songs just like what Rajendra Krishna used to write.

All the 4 duets of C Ramchandra-Lata were comedy songs. One of the songs was a ” Paan” song- a rarity in those days. Another was on the lines of Shehnai-47 song ” jawani ki rail”. Here the song was ” dil ka ye engine sitiyan maaren” ( already discussed here by me earlier). The two other songs were also comic ones. Lata, though not very comfortable with such songs, always complied with C Ramchandra’s choice of songs for her. C Ramchandra knew that Lata excelled in sad ‘ Birha’ songs, so in this film, there is one excellent Lata song ” kisi ko de gayaa kya nishani”. A very melodious song indeed.

Today’s song, a solo with chorus, by Shamshad Begum is really quite catchy typical C Ramchandra song ” karo na ishaare piya pyaare’ and as expected C Ramchandra had used Anokhe Bol in the beginning of this song ( which I suspect, he sang himself). When yo hear this song, you will surely rememebr Geeta Dutt’s song from film “Baaz” -51 ” ekh ke akeli mohe barkha sataye”. Not the tune but the words ‘ shuk shuk shuk shuk ‘ in Ustad Pedro song and ‘ Tip Tip Tip Tip ‘ in Baazi song are similarly used. Its a great fun to listen to such songs. Enjoy now…….

Song-Karo na ishaare piyaa pyaare (Ustaad Pedro)(1951) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra
Chorus
C Ramchandra

Lyrics

chhuk chhuk chhuk chhuk
chhuk chhuk
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk

chhuk chhuk chhuk chhuk
chhuk chhuk

karo na ishaare piya pyaare
aaungi main nadiya kinaare
karo na ishaare piya pyaare( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
karo na ishaare piya pyaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare

chumba chuma chhuk chhuk chhuk
chumba chuma chhuk chhuk chhuk

o o o o
chhota sa jiya hai mera
main dar jaaungi
laaj ke maare main mar jaaungi
chhota sa jiya hai mera
main dar jaaungi
laaj ke maare main mar jaaungi
humen koi door se nihaare
aaungi main nadiya kinaare
humen koi door se nihaare( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
karo na ishaare piya pyaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare ( chhuk chhuk chhuk chhuk chhuk chhuk )

chumba chumba chhuk chhuk chhuk
chumba chumba chhuk chhuk chhuk

gore gore mukh pe
ye chhota sa jo til hai
til nahin hai
ye to mera pyaar bhara dil hai
mera pyaar bhara dil hai
gore gore mukh pe
ye chhota sa jo til hai
til nahin hai
ye to mera pyaar bhara dil hai
mera pyaar bhara dil hai
loot’te ho iske najaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
karo na ishaare piya pyaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
aaungi main nadiya kinaare ( chhuk chhuk chhuk chhuk chhuk chhuk )
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk
( aa aa aa aa
aa aa aa aa )
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk
chumbarika chumba chumba
chumbarika chhuk chhuk chhuk

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

“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.

Four songs from the movie have been discussed in the past. Here is the fifth song from “Shaheed”(1948) to appear in the blog.

This is a “missing the beloved” genre of song which is picturised on Kamini Kaushal who is missing Dilip Kumar.

The song is sung by Surinder Kaur. Raja Mehdi Ali Khan is the lyricist. Music is composed by Ghulam Haider.

Song-Hain ham kahaan aur tum kahaan (Shaheed)(1948) Singer-Surinder Kaur, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

Taqdeer ki aandhi aisi chali ee ee
kashti se kinaara chhoot gaya aa aa
ik tera sahaara dil ko thha aa aa aa
haay wo bhi sahaara chhoot gaya

ujda ummeedon ka chaman
hain ham kahaan aur tum kahaan
hain ham kahaan aur tum kahaan
armaan tadapte rah gaye
hain ham kahaan aur tum kahaan
hain ham kahaan aur tum kahaan

do dil bichhad kar rah gaye
sadmon pe sadme sah gaye
sadmon pe sadme sah gaye
kaise miloon tumse sajna
hain ham kahaan aur tum kahaan
hain ham kahaan aur tum kahaan

haay wo mulakaaten gayin
wo pyaar ki baaten gayin
aankhon mein aansoo rah gaye
wo chaandni raaten gayin
wo chaandni raaten gayin
ro ro pukaare tumko man
hain ham kahaan aur tum kahaan
hain ham kahaan aur tum kahaan

dukh apna main kis’se kahoon
din raat main roti rahoon
din raat main roti rahoon
jaati nahin dil ki jalan
hain ham kahaan aur tum kaha
hain ham kahaan aur tum kahaan
aa aa aa
sajna
aa aaaa
haay saajna aa

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

Leading ladies (and even leading lads, for that matter) tend to feel betrayed/ victimised in love in Hindi movies. They are typically seen complaining of bewafaai at the hands of their beloved. They would patiently wait for the beloved while the beloved himself/herself mayor may not be thinking along the same lines. They typically sing songs of melancholy, or rather Pathos (as our beeloved Mr Bharat Upadhyay would like me to describe such songs.

A few hours ago, I came across a song which is quite an antithesis to the “betrayed in love” theme. The lady here is quite upbeat. “So my beloved has betrayed me. In that case, I too have no interest in him. Let the two of us go our separate way.”-This in brief are the refreshing sentiments expressed in this song with a difference.

This song is from “Manchala”(1953). It was produced and directed by Jayant Desai. The movie had Manhar Desai, Nirupa Roy, Agha, Jeevan, Krishna Kumari etc in it.

This song is sung by Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. My guess is that this song was picturised on Nirupa Roy, the leading lady of this movie. I request our knowledgeable readers to throw light on the picturisation of this song.

What a lovely song. I think that this song is contains a good message to those who tend to feel betrayed in love.

Song-Ham dil apna tadpaayen kyun (Manchala)(1953) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

hum dil apna tadpaayen kyun
baalam ke vaaste ae
wo apne raaste chale
hum apne raaste

chanda ko jhuka len kadmon pe
hum taaron ka dil le len
chanda ko jhuka len kadmon pe
hum taaron ka dil le len
kismat ki chanchal lehron mein
khud apni naiyya khe len
apni naiyya khe len
o o o
toofaanon se ghabraayen kyun
darr jaayen kyun
ho o o
hum dil apna tadpaayen kyun
baalam ke vaaste
wo apne raaste chale
hum apne raaste

is dil pe kabhi chhaaye na khizaaan
ho o o
o o o
is dil pe kabhi chhaaye na khizaaan
ye honth sada muskaaye
panchhi ki tarah aazad rahen
shaakhon ki tarah lehraayen
shaakhon ki tarah lehraayen
kaliyon ki tarah kumhlaayen(?) kyun
murjhaayen kyun
ho o o
hum dil apna tadpaayen kyun
baalam ke vaaste
wo apne raaste chale
hum apne raaste

keh de koi jaake baalam se
hum par na kare jafaayen
keh de koi jake baalam se
hum par na kare jafaayen
majnuon ke dil thukraayengi
ab hans hans ke lailaayen
hans hans ke lailaayen
o o o
o o o
ro ro ke mare lailaayen kyun
gham khaayen kyun
o o o
hum dil apna tadpaayen kyun
baalam ke vaaste
wo apne raaste chale
hum apne raaste

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

“Mohini” (1957) was directed by Ramanlal B Desai for Navkala Niketan. The movie had Shahu Modak, Nirupa Roy, Krishna Kumari, Madan Puri, Shakila, Roop Kumar, Sunder etc in it.

Today (12 december 2016) is the 89rd birth anniversary of N Datta(12 december 1927- 30 december 1988). On this occasion, here is a song from “Mohini” (1957). The song is sung by Shamshad Begam and it is picturised on a pretty looking Shakeela wooing a gentleman whom I am unable to identify. I request our knowledgeable readers to help identify him

Raja Mehdi Ali Khan is the lyricist of this song. Music is composed by N Datta.

When I heard this song, I thought that the lady had arrived at Neemtalla, a locality of Kolkata, to meet her beloved. It turns out that she has come to meet her beloved under a Neem tree instead. Who knows, that Kolkata suburb could well have been named by a similar process.

Song-Kahaan chale ho ji (Mohini)(1957) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-N Datta

Lyrics

ho o o
kahaan chale ji
kahaan chale ho ji pyaar mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji
kahaan chale ho ji pyaar mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji

mujhe chhod ke jaate ho ji bade ho bewafa
mujhe chhod ke jaate ho ji bade ho bewafa
galey daal baahen roungi
ho jaaungi khafa
galey daal baahen roungi
ho jaaungi khafa
na saataao mujhe
na sataao mujhe ishq mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji
kahaan chale ho ji pyaar mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji

meri baat meri jhuki jhuki aankhon ne kahi
meri baat meri jhuki jhuki aankhon ne kahi
tumhen pyaar kar ke haaye main kahin ki na rahi
tumhen pyaar kar ke haaye main kahin ki na rahi
kahin ki na rahi
tumhen kya mila ji
tumhen kya mila ji
shamma ko parwaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji
kahaan chale ho ji pyaar mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji

mere hothon ki muskaan piya tere liye hai
mere hothon ki muskaan piya tere liye hai
mera dil meri jaan piya tere liye hai
mera dil meri jaan piya tere liye hai
piya tere liye hai
chheen liya mujhe
chheen liya mujhe duniya se begaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji
kahaan chale ho ji pyaar mein deewaana kar ke
main to neem tale aa gayi bahaana kar ke
kahaan chale ji

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from film Manchala-53. This song has a unique combination of singers. It is sung by Chitragupta and Kishore Kumar. Chitragupta is the music director as well.

Chitragupta ( 16-11-1917 to 14-1-1991 ) gave music in 149 films. He was very fond of singing. In fact he had come to Bombay to become a film singer-like many of his ilk. However, after becoming a composer he could not sing much. Some composers like C.Ramchandra who were singers too sang at every opportunity, but Chitragupta limited his desires and sang only 28 songs in 15 films in his entire career.

Chitragupta was one of my favourite composers who could be identified with melody in almost every film song that he composed. Unfortunately, he did not get many famous banners,or he was not a favourite of any producer, director or a major actor. The number of B and C grade films in his filmography is much higher than A grade films which came to him occasionally. Irrespective of this, he composed music with dedication in all his assignments and almost every film of Chitragupta had atleast one or two popular songs.

Even in today’s film, ” Manchala”-53 there is a song ” Bhagwan tujhe main khat likhta, par tera pata maloom nahin “, sung by Chitragupta himself, which was very popular in its time. The song presented today is also a very good song but it was not heard much. In a way, it is an obscure song. I do not think any of our readers will even remember it.

Film “Manchala”-53 was a presentation of Jayant Desai Productions and it was directed by Jayant Desai himself.

Jayant Jhinabhai Desai was born in Surat, Gujarat,on 28-2-1909, in a well to do family. he graduated from Bombay University and entered film line as an exhibitor in Surat. Later on he started writing Screen plays for London Films,Rangoon and then for krishna and Sharada studios. he joined Chandulal Shah’s Ranjit Studios in 1929,as his assistant for film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt ( Nagin, Taj, Champakali etc) was also another assistant in Ranjit.

When Nandlal left Ranjit to go to Europe, Jayant completed his film “Pahadi Kanya-1930″. At Ranjit Jayant directed 12 silent films. He was with Ranjit till 1943 and he directed 33 Talkie films while in Ranjit. Some of these films were Char Chakram, Bhool Bhulaiya, Nadira, Toofan mail,College Girl, Matlabi Duniya, Toofani Toli, Billi ( a copy of a Hollywood film,based on P.G.Wodehouse’s novel ” A Damsel in Distress” ), Sant Tulsidas, Diwali, Shaadi, Chandni, Bhaktaraj, Tansen(with Saigal),Zaban etc.

after leaving Ranjit, Jayant Desai established his own studio,Jupitor Films Studio, jayant desai productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s,he operated as a Distributor with his Jupiter films.
While in Ranjit,he had Directed K L Saigal in film Tansen.Sardar Chandulal Shah had called Saigal on a contract of 60 days. jayant completed Tansen in flat 51 days.Kidar Sharma then used those 9 days to make a quicky Bhanwara,with Saigal.

C.Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C.Ramchandra for using in films. It was also Jayant Desai who was responsible for the rise of C.Ramchandra in a major way. It so happened….

Under the banner of Jayant productions,he made one more Saigal film-Tadbir-1945,with Suraiya in the lead. In his new company,jayant had hired C.Ramchandra as a paid Composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like Zaban,lalkar,manorama,Chandragupta etc and all films became popular.C. Ramchandra was proud of his achievement.
One day CR heard a rumour that the great singer Saigal is coming to make a film here. CR became very excited that he would get an opportunity to compose music for Saigal. But he got a shock when he heard that,not he,but one Lal Mohammed (assistant of Ghulam Hyderin Lahore) was being called for that assignment,C.Ramchandra not only was upset but felt hurt too. he went to Jayant Desai and said-
” My salary must be increased”
” How much ?”
” One Thousand Rupees per month”
Jayant was not ready for 1000. he offered maximum 600. He also told C Ramchandra that there was an opportunity to compose for Saigal, but C.Ramchandra was not ready to accept anything less than 1000.
Finally,C Ramchandra said,” Increase it to 1000 or else….”
Jayant Desai was furious.He asked,” Or else…What ?”
C.Ramchandra said,” Or else,I will quit”.
Without batting an eyelid, Jayant Desai coolly said,” OK. Your account will be settled in an hour. Stop work and pack up.”

C.Ramchandra was stunned, but the arrow had already left the bow !

C.Ramchandra became jobless and also lost an opportunity to compose music for Saigal. But his luck was strong. The very next day,kavi Pradeep took him to Filmistan and he was appointed there on a salary of Rs. 1000 pm. In Filmistan,C.Ramchandra gave several Hit musicals like Safar, Shehnai, Nadiya ke paar, Shabnam, Samadhi, Sargam, Anarkali, Nastik etc. If Jayant Desai had not removed C.Ramchandra from his company, he would not have reached the heights of his fame and success later on.

Jayant Desai directed 65 films in all. His last film was Zamana Badal gaya-1961. He died in Bombay on 19-4-1976.

I had not seen this film, “Manchala”-53, but I know it was a fun film. The cast of the film consisted of Nirupa Roy, Manhar Desai, Jeevan, Agha, Satyanarayana, Krishnakumari etc etc. All songs were written by Rajah Mehdi Ali Khan.

In those days, when Nirupa Roy was paired with Balraj Sahni in the role of a poor woman, it was sort of a diversion for her. The industry was abuzz with rumours of Dilip Kumar taking psychiatric treatment for his depression caused by his successive tragic ‘ deaths ‘ in almost every film in that period. On this background, to break the monatony of her ” poor” woman roles, Nirupa Roy had welcomed this role. But the audience did not accept her in a comic role and the film was a flop. In fact whenever Nirupa Roy did a comic or sexy, modern role, she failed miseraly.

Probably her face , her overall demeanaur and her acting style did not suit any other type than ” poor’, ” sacrifing”, “homely’ or ” economical” peasant or middle class housewife. Alternatively, she chose to do ” Devi” roles in Mythological films and soon became famous as ” Parvati”, opposite the Trilok Kapoor’s routine ” Shankar” roles ! Some faces are such. Can you ever imagine Rashid Khan or Kanhiayalal in the role of an aristocratic millionaire ? Or Ajit or K.N.Singh in the role of a ” God’ in a Mythological film ? This is the danger of getting branded. However there is an exception of actor Jeevan, who after working as “Narad ” in countless Mythological films, till the 60s, changed over successfully to roles of a rich crook and villain in crime and murder films of the 70s and 80s.

Let us now enjoy this fun song from film “Manchala”-53. You will find Chitragupta matching Kishore in this song. Full marks to Chitragupta for his efforts.

Song-Sardi ka bukhaar bura (Manchala)(1953) Singers-Chitragupta, Kishore Kumar, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta
Both

Lyrics

sardi ka bukhaar bura
baniye ka udhhar bura
paise ka hai pyaar bura
keh gaye kehne waale
keh gaye kehne waale
kehne waale
kehne waale
keh gaye kehne waale
kehne waale
kehne waale
sardi ka bukhaar bura
baniye ka udhhar bura
paise ka hai pyaar bura
keh gaye kehne waale

jama jo kiya thha
tizori mein chhupa ke
jama jo kiya thha
tizori mein chhupa ke
le gaye wo mere bhai
chori chori aa ke
le gaye wo mere bhai
chori chori aa ke
ho
chori chori aa ke
soya chaukidaar bura
neend ka khumaar bura
paise ka hai pyaar bura
keh gaye kehne waale
keh gaye kehne waale
kehne waale
kehne waale
keh gaye kehne waale
he he he he
he he
sardi ka bukhaar bura
baniye ka udhhar bura
paise ka hai pyaar bura
keh gaye kehne waale

blotting se sukha lo
ye naina geele geele
blotting se sukha lo
ye naina geele geele
munh pe surkhi maaro
gaal pad gaye hain peele
munh pe surkhi maaro
gaal pad gaye hain peele
haay pad gaye hain peele
rona zaar zaar bura
besura sitaar bura
paise ka hai pyaar bura
keh gaye kehne waale
keh gaye kehne waale
kehne waale
kehne waale
keh gaye kehne waale
he he he he
he he
sardi ka bukhaar bura
baniye ka udhhar bura
paise ka hai pyaar bura
keh gaye kehne waale

kat gaya uska paakit
auron ko jisne kaata
kat gaya uska paakit
auron ko jisne kaata
is dhandhe mein jo bhi pada
usko hua ghaata
is dhandhe mein jo bhi pada
usko hua ghaata
is dhandhe mein jo bhi pada
usko hua ghaata
haaye usko hua ghaata
ghaate ka vyaapaar bura
saathhi paakitmaar bura
paise ka hai pyaar bura
keh gaye kehne waale
keh gaye kehne waale
kehne waale
kehne waale
keh gaye kehne waale
kehne waale
kehne waale
sardi ka bukhaar bura
baniye ka udhhar bura
paise ka hai pyaar bura
keh gaye kehne waale

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

“Anand Bhawan”(1953) was directed by S M Yusuf for Aina Pictures, Bombay. This movie had Manhar Desai, Nigar Sultana, Ramayan Tiwari, Trilok Kapoor, Durga Khote, Kate Sethi etc in it.

Today (22 december 2016) is the 41st death anniversary of Vasant Desai (9 june 1922- 22 december 1975). As a tribute to the late music director, here is a song from “Anand Bhawan”(1953). This song, the seventh and penultimate song from the movie is sung by G M Durrani and Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Vasant Desai.

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

Lyrics of this song were sent to me by Prakashchandra.

Song-Tera dil jo kehta hai kar (Anand Bhawan)(1953) Singers-G M Durrani, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Vasant Desai
Both

Lyrics(Provided by Prakashchandra)

tera dil jo kehta hai kar
deewaane duniya se na dar
jo hoga dekha jaayega
jo hogaa
dekha jaayega
daa daa daa daa da da dadadadadaan
daa daa daa daa da da dadadadadaan
laa laa laaa laaa laalaaa laaa
laa laa laaa laaa laalaaa laaa
mohabbat mein aahein na bhar
mujhe apna keh de hanskar
jo hoga dekha jaayega
jo hogaa
dekha jaayegaa

teri chanchal shokh nazar ko
mere siwa koyi bhaa na sakegaa
teri chanchal shokh nazar ko
mere siwa koyi bhaa na sakegaa
teri duniya pe ban ke mohabbat
meri tarah koyi chha na sakegaaa aaa aaa
khuley hain inn naainon ke dar
chala aa be-khatke hanskar
jo hoga dekha jaayegaa
jo hogaa
dekha jaayega
aaa aa
lalalalalaa
laaaa laaaa laaaalaa laaa

raahe mohabbat kathin sahi
aji raahe mohabbat kathin sahi
par darte nahin dilwaale
par darte nahin dilwaale
betaab
betaab mohabbat kehti hai ae
kuchch kho ley
kuchch paa le
kuchch kho ley kuchch paa le
jhukaa de ae
jhukaande husn ke aagey sar
jalaa de ishq mein apna ghar
jo hoga dekha jaayega
jo hogaa
dekha jaayega
tera dil jo kehta hai kar
deewaane duniya se na dar
jo hoga dekha jaayega
jo hogaa
dekha jaayega aa aa aa

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

“Toote Khilaune” (1954) was directed by Nanabhai Bhatt for Pragati Pictures production. The movie had Shekhar, Purnima, Gulab, Romi, Ranjit, Kumari, Babu Raje, Asha Mathur etc in it.

The movie had eight songs in it. Two of them have been discussed in the blog in the past.

Here is the third song from “Toote Khilaune” (1954) to appear in the blog. This song is sung by Geeta Dutt. Raja Mehdi Ali Khan. Music is composed by Chitragupta.

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

Song-Ik baar bhulaati hoon to yaad aate ho sau baar(Toote Khilaune)(1954) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

Ik baar bhulaati hoon to
yaad aate ho sau baar
ik baar bhulaati hoon to
yaad aate ho sau baar
tumse na karoon pyaar to
main kis’se karoon pyaar
kis’se karoon pyaar
ik baar bhulaati hoon to
yaad aate ho sau baar

ithhlaati huyi aaye pawan jaise chaman mein
ithhlaati huyi aaye pawan jaise chaman mein
aate hain tere pyaar ke jhonkhe mere man mein
jhuoome teri ulfat mein mere pyar ka sansaar
pyaar ka sansaar
ik baar bhulati hoon to
yaad aate ho sau baar

mujhko meri khaamosh muhabbat ki kasam hai
mujhko meri khaamosh muhabbat ki kasam hai
manzil ki taraf aaj mera pehla kadam hai
armaanon ke is khel mein ab jeet ho ya haar
jeet ho ya haar
ik baar bhulaati hoon to
yaad aate ho sau baar

jab saamne aati hoon to jhuk jaati hain aankhen
jab samne aati hoon to jhuk jaati hain aankhen
kuchh kehne se ruk jaati hain
sharmaati hain aankhen
pehna na sakoon apni mohabbat ki tumhen haar
kis’se karoon pyaar
ik baar bhulaati hoon to
yaad aate ho sau baar
tumse na karoon pyaar to
main kis’se karoon pyaar
kis’se karoon pyaar

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

“Ustaad Pedro”(1951) was produced by Sheikh Mukhtar and directed by Harish for Omar Khayyam Films Bombay. The movie had Sheikh Mukhtaar and Begam Para in lead roles along with Mukri, Shammi, Sapru, Ansari, Sunalini Devi, Chaman Puri, Agha also in it.

Today (5 january 2017) is the 35^th death anniversary of C Ramchandra(12 january 1918- 5 january 1982). On this occasion, here is a light hearted romantic duet from “Ustaad Pedro”(1951). This song is sung by C Ramchandra and Lata. Raja Mehdi Ali Khan is the lyricist. Music is composed by C Ramchandra.

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

Song-Kar le baabu pyaar chhokariyaa saaru chhe(Ustaad Pedro)(1951) Singers-C Ramchandra, Lata, Lyrics-Raja Mehdi ali Khan, MD-C Ramchandra

Lyrics

rararara
keechad mein ek pari se tere naina ho gaye chaar
ho o o
pari bhi hai chupke chupke
dil dene ko taiyyaar
kar le baabu pyaar
kar le baabu pyaar
chhokariya saaru chhe
haan saaru chhe
kar le babu pyaar
chhokariya saaru chhe
haan saaru chhe
saaru chhe
saaru chhe baabu
bahut hi maaru chhe
kar le baabu pyaar
chhokariya saaru chhe
haan saaru chhe

gori tumre naina lad gaye baabu gentlemen se
gori tumre naina lad gaye baabu gentlemen se
yaad rakho ji ab raaton ko
so na sakogi chain se
kahega dil har baar
kya
kahega dil har baar
saanwariya saaru chhe
haan saaru chhe
saaru chhe, saaru chhe baabu
bahut hi maaru chhe
kar le baabu pyaar
chhokariya saaru chhe
haan saaru chhe

kyun baabu ji dekh ke isko
dil ki haalat kem chhe
dil ke bangle mein le jaao
badi hi sunder mem chhe
aankhen hain bam maar
are aankhe hai bammar
saanwariya saaru chhe, ha saaru chhe
saaru chhe, saaru chhe baabu
bahut hi maaru chhe
kar le baabu pyaar
chhokariya saaru chhe
haan saaru chhe

baahar se gussa dikhlaave
bheetar se ye hansti hai
baahar se gussa dikhlaave
bheetar se ye hansti hai
thhodi der zara thehro
ye machhli jaal mein fansti hai
le ja mere yaar
are le ja mere yaar
machhariya saaru chhe
haan saaru chhe
saaru chhe, saaru chhe baabu
bahut hi maaru chhe
kar le baabu pyaar
chhokariya saaru chhe
haan saaru chhe

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the film Hatimtai-56.

Among older generations, reading books, novels etc, other than the school Text books, was considered a gateway to general knowledge and an aid to develop an impressive personality. As times changed, I think this habit has diminished with every new generation and today I find that students do not read anything ( not even Newspapers-except sports and films section) other than school or college syllabus and Guide books. Their general knowledge is below par in most cases. I do not blame them, because the education system in our country has been modelled on such lines that students will only read what brings them more marks. Nothing else. They have no time left for general reading due to college and classes. Additionally parents too encourage only this – not general reading…out of helplessness ! Of course their intelligence and skills have not diminished but have different openings suitable for today’s life-struggle.

The point is what we have read in our younger days as a child and teenager,is still in our memory- the exciting world of Arabian Nights, Gulliver, Time machine, Chandamama and stories from Mythology. Later on Crime and Detective stories and for Girls-Mills and Boon ! The marvellous world of Alladin and Alibaba was so enchanting ! One of these Arabian Night stories was that of HATIMTAI.

Initially,I had got confused with this name, because Tai in Marathi means elder sister or Didi, but soon it was clear that Hatimtai was very much a Male. Like Alladin and Alibaba, Hatimtai also attracted Hindi film makers. Right from the beginning of the Talkie films in 1932, films were made on the exploits and adventures of Hatimtai, to solve the 7 Sawaals or questions asked by Husn Bano !

In 1933, 4 films-as a series- in the same year were made in the name of Hatimtai-Part I, Part II, Part III and Part IV. These were separate films and adventures for those 7 questions were divided in these 4 parts. All the 4 films had One Hero-Marutirao Pehelwan. He was a tall and handsome person. He is the same actor who did the Title role of the Saint Narsi Mehta, in the First ever Gujarati Talkie film of the same name-Narsi Mehta. It was made by Sagar Movietone.

All the 4 films were Directed by G.R.Sethi- who also wrote all the 49 songs of these all films, which were tuned by composer Madholal Master. Hatimtai Part I has also the honour of having India’s First “Anokhe Bol ” song. The words of this song were “Donga Donga Dam Dam Daka, Adam,Boka Masnam Maka “. marutirao pehelwan married his co-star of many films- Tara ( she was not in Hatimtai). Tara was famous Dancer Sitara Devi’s sister. The world Famous Dancer Gopi Krishna was their son.

Films with the name Hatimtai were made in 1933,1947,1956 and 1990.
Hatimtai-7 sawaal in 1971
Hatimtai ka beta in 1945,1956 and 1965
Hatimtai ki Beti in 1940 and 1955

The original story of Hatim tai in Arabian Nights, never mentioned about his son or daughter, but our Hindi film makers are very creative and original. Their “Story Departments “produced his Son and Daughter form their Magic Sac- just like the sons,daughters and other close relatives were invented for Alibaba, Alladin, Gulliver, Sindbad, Tarzan and Zimbo ! There was even a Movie with the Title ”Sindbad, Alladin and Alibaba ” in 1965 !!

Today’s film Hatimtai-56 was made by Homi Wadia, under his Basant pictures banner. He was also the Director of this film. Homi Wadia is the same person who married Fearless Nadia, when she was 51 year old !

S.N.Tripathi was the composer of this Fantasy film He had also acted in the film. As such he was the favourite of Wadia Brothers. He had done the role of Hanuman in their popular film “Shri Rambhakta Hanuman “, besides composing the Music and also singing few songs. The Mythological films of Wadia Brothers were very popular in Middle East and in Pakistan area-before Partition. However, after the Partition, there was resistance for the Hindu Religious films in Muslim countries. Homi Wadia changed the Title of the film “Shri Rambhakta Hanuman ” to “udata Bandar ” ( उडता बंदर ), dubbed it in Urdu and exported the same film to Pakistan and the Middle East. It was a roaring success there !

The film Hatimtai-56 had 9 songs. It had some very good songs. One of the most popular songs of the times was one sung by Mohd. Rafi- “Parwar Digar E Alam, tera hi hai sahara . This song can be called a Cult song. It was extremely popular among devout Muslims. Most Irani hotels in India used to start their day with this song played loudly. Akhtar Romani had written this song, making a Debut in Hindi films. This was his only song in the film and it achieved unprecedented fame.

Actor Jairaj had done the main role of Hatimtai. He hailed from Hyderabad State. When this film was being shown in Hyderabad, Nawab Samsher Jung Bahadur of Hyderabad Riyasat was curious to see his film, with family and others. The film was screened in Zamrrud mahal Talkies on Abids Road in Hyderabad. Ana entire show was booked for him. The Nawab arrived to see the film, with his Zanana and family. When the song “Parvar Digar E Alam” started, he was simply mesmerised and he made the operator to play this song six times ! Next day, local papers carried this story and hordes of people rushed to see the film. The film celebrated Silver jubilee there !

Other songs were sung by Asha Bhonsle, Shamshad Begum, Suman Kalyanpur and Mubarak Begum. Today’s song “Uyi amma main kaahe ko baazaar gayi thhi” was a fun song sung by comedy actor Sheikh, in a Drag dress, The song and dance video of this song is very funny indeed.

Sheikh was a Comedy actor in the 40s,50s and the 60s. He has acted in 170 films, as per Muvyz stats. He sang 10 songs in 7 films as per HFGK (Daulat ki duniya-47, Fifty Fifty-UR, Nakli Baap-49, Jiya Raja-49, Dushman-50, Hatimtai-56 and Naagmani-57).

He was essentially a B and C grade films comedian, so his name is not known to most people. Sanjeev Narvekar’s book, “Eena meena deeka” gives very little information about him. In his hey-days, he was popular in a class of people who were regulars of stunt,fantasy and action films. He was a fixture in almost all Wadia films. He was the main lip syncer in the iconic qawwaali, “Humen to loot liya milke husnwalon ne” from film Al Hilal-58. This song featured on this Blog as its 5000th song, with a combined write up of Raja ji, Sudhir ji and Atul ji. Probably he is the only actor to get this honour in the blog!

He had directed two films, Shahnaaz-48 and Mr.Toofan-63. He started his career in Hindi films with Pakke badmash-39. Before that he had acted in a Marathi film “Netaji palkar-39″by Bhalji Pendharkar (info from CITWF). His last film was Aadamkhor-85. No information is available on his life anywhere.

I will not repeat the film story because I had given it in 2011 in comments of another song from this film. Enjoy this song video by Sheikh, who makes his Debut as a Singer on this Blog.

Song-Uyi amma main kaahe ko baazaar gayi thhi(Hatimtai)(1956) Singer-Sheikh, Lyrics-Raja Mehdi Ali Khan, MD-S N Tripathi

Lyrics

nakhre karti darti darti
gayi thhi main baazaar
mujhe akeli dekh ke ae
jam gaye log hazaar
to aa gaya mujhe bukhaaaar
ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi
baazaar gayi thhi main baazaar gayi thhi
baazaar gayi thhi main baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi

bal khaati gaati ithlaati laane gayi khazooren
bal khaati gaati ithlaati laane gayi khazooren
sharam ke maare mar gayi
mujhko duniya waale ghooren
sharam ke maare mar gayi
mujhko duniya waale ghooren
main to ban ke badi hoshiyaar gayi thhi
main to ban ke badi hoshiyaar gayi thhi
haay ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi

aage badhi to ek halwaayi
paka raha thha halwa
aage badhi to ek halwaayi
paka raha thha halwa
halwaayi ka halwa jal gaya
dekh ke mera jalwa
haaye dekh ke mera jalwa
main to ghoonghat mein le ke angaar gayi thhi
main to ghoonghat mein le ke angaar gayi thhi
haay
ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi

chauraahe ke mod pe mujhko
mil gaya ek sharaabi
beedi phenk ek bola haaye haaye
kahaan chali o bhaabhi
are kidhar chali o bhaabhi
chauraahe ke mod pe mujhko
mil gaya ek sharabi
beedi phenk ek bola haaye haaye
kahaan chali o bhaabhi
haay kahaan chali o bhaabhi
kaahe aankhon mein leke khumaar gayi thhi
kahe aankhon mein leke khumaar gayi thhi
hay ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi

dekh ke mujhko ladne lag gaye
chhumam jumman kalwa
dekh ke mujhko ladne lag gaye
chhumam jumman kalwa
meri khaatir chaaku chal gaye
shahar mein ho gaya balwa
haaye shahar mein ho gaya balwa
kaahe kar ke main ghar se singaar gayi thhi
kaahe kar ke main ghar se singaar gayi thhi
haay ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi
baazaar gayi thhi main baazaar gayi thhi
baazaar gayi thhi main baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi
ui amma main kaahe ko baazaar gayi thhi