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Today (15 august 2019) is the 73^rd independence day of India. It is already evening and no post has appeared in the blog so far. But I will try and post topical songs today like we have always done in the blog on the past such occasions.

The first song of the day is from “Shaheed”(1948). This movie 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.

The movie had seven songs in it. Six songs have been covered in the past. One of these six songs was covered exactly nine years ago, and that was the most well known song from the movie, a patriotic song, viz Watan ki raah mein watan ke naujawaan shaheed ho .

Here is the list of the six songs of the movie that have been covered in the past:

The seventh and final song is a stage song performed by kids and watched by elders. The stage performance is a patriotic song performance.

HFGK mentions Lalita Deulkar and chorus as the singer. I am not sure that I can detect Lalita Deulkar’s voice in the song, but I will take the words of HFGK for it. To me the song sounds like being sung by a few child voices (unattributed) and chorus. I request our knowledgeable readers to throw light on the singing voices.

Raja Mehdi Ali Khan is the lyricist. Music is composed by GHulam Haider.

With this song, all the songs of “Shaheed”(1948) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.

I take this opportunity to wish every Indian and Indian origin people a very happy 73th Independence day. I am quite certain that we are looking forward to a prosperuos and strong India in the days to come.

Qadam uthha kar…teri aisi ki taisi (Shaheed)(1948) Singer-Lalita Deulkar, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

qadam uthha kar ruk nahin sakta
jo Bharat ka laal hai
wohi hai Gandhi
wohi Subhash
wohi Jawaharlal hai
Jai Hind
Jai Hind
Jai Hind

maaro
maaro
maaro
maaro maaro
maaro maaro

maaro
maaro
maaro

maaro
maaro
maaro

maaro
maaro
maaro

de de mukka hind ke sher
chaaron taraf se isko gher
maaro maaro
iski aisi ki taisi

chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi

duniya badli
teri haalat waisi ki waisi
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi

dhat tere shaitaan ki
har tere beimaan ki
Hind mein rah kar kahta hai tu
jai ho Englistaan ki
Hind mein rah kar kahta hai tu
jai ho Englistaan ki
le ja le ja door kahin
ye soorat bandar jaisi
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi

sarkaari gaadi mein khinch kar
karta hai tu dhenchoo re
dhenchoo dhenchoo dhenchoo
aur kahta hai gadha bana hoon
main hi gaadi khenchoo re
kenchoo kenchoo kenchoo
baandho iski dhenchoo dhenchoo
maaro laaten aisi ki
iski aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi

pakdo iske sar ke baal
khench ke rakh do iski khaal
maaro maaro
iski aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi

ae bharat ke baalakon
gaao vande mataram
tum hindi ho
duniya ko sunaao vande mataram

jaag uthhe aazaadi ki
???
bol jai hind
bol jai hind
jai hind

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

“Albeli”(1955) was produced and directed by Devendra Goel for Fils and Television, Bombay. The movie had Geeta Bali, PPradeep Kumar, Johny Walker,Randheer, Rama Sharma, Brij, Ranjana Shukla, Tuntun, Om Prakash, Yogendra, Robin Kumar, Raje Kapoor, Meena, Gareeb Kumar, Kaiser Usmani, Ranjeet etc, with guest appearances by Shankar A Palav, Jankidas and Madan Puri.

The movie had seven songs in it. Four songs have been covered in the past.

Here is the fifth song from “Albeli”(1955) to appear in the blog. The song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Ravi.

The movie had three Asha Bhonsle solos, one Lata solo and one duet by Lata and Hemant Kumar. So it is difficult to be sure about the picturisation of these songs. I request our knowledeable readers to throw light on the picturisation of this song.

Song-O balma kyun na karoon main tose pyaar pyaar pyaar(Albeli)(1955) Singer-Asha Bhonsle, Raja Mehdi Ali Khan, MD-Ravi

Lyrics

o balma
o o o o o balma

o balma
kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
o sainya kyun na dekhoon main tohe baar baar baar
tose preet puraani
o preet puraani
o o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani

dil ki tamanna tere geeton mein khoyi re
phoolon ki aarzoo mein kaanton pe soyi re
tere liye o sainya kitna main royi re
kitna main royi re
phir bhi hui na aankhen chaar chaar chaar
main to prem deewaani
o o prem deewaani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani

ho chuki tumhaari main to mujhe pehchaan lo
kya meri aarzoo hai nazron se jaan lo
main bekasoor piya baat meri maan lo
varna jee ro dongi main jaar jaar jaar
main to prem deewaani
o o prem deewani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o prem deewaani

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

“Chandu”(1958) was directed by Manju (Harold Lewis) for N R Productions, Bombay. The movie had Daljit, Meena, Shasikala, Pran, Gulab, Gope, Sunder, Om Prakash, Mehmood, Harun, Satish Batra etc.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Chandu”(1958) to appear in the blog. This song is sung by Rafi and Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.

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

Song-Gore gore gaalon pe kaala ye til (Chandu)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Babul
Both

Lyrics

aa ha ha ha
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
ha ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

ek do teen chaar paanch chhe saat aath
ginta rahe
tere liye ho jiya tere liye
nau das gyaarah baarah terah chaudah
pandarah solha
ginti rahoon
tere liye o piya tere liye
hoy ginti na gino madam
aa mujhse mil
aa mujhse mil
haaye mera dil
ha ha
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

taaron ki chhaanv mein tere liye
chanda ke sang sang jaaga karoon
raaton ko jungle mein tere liye
majnu main ban ke ho bhaaga karoon
kisne kiya hai mera jeena mushqil
maine
haan
maine kiya hai tera jeena mushqil
jeena mushqil
haaye mera dil
aa ha ha
aa ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

dil ki tijori se daulat luta
mere liye ho billo mere liye
haan samjhe na waah haan
daulat ko sadkon pe doongi bichha
tere liye ho ballo tere liye
seene pe rakh mere sone ki sil
sone ki sil
haaye mera dil
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

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

Today’s song is from film Izzat-1952.

The title “Izzat” obviously carried lot of “Izzat” with producers, because I find this Title in 1937, 1952, 1968 and 1992. Further there was Izzat Aabroo-90 and Izzat Aabroo-2005 (I thought these words were synonyms), Izzat ka Rakhwala-2010, Izzat ke Lutere-90, Izzat ki Roti-93, and Izzatdaar-90. I am waiting for a title Izzat ka Falooda. In these days of strange Titles, this is not impossible.

The cast of the film Izzat-52 was Nirupa Roy, Amarnath, Manorama, Agha, Rajni, Jeevan, Veera, P.Kailash, Pesi Patel, Ramesh Thakur, Baby kalpana etc etc.The film was made by Taimur Art productions. Its owner Taimur Behram Shah was the Producer and also the director of this film. The music was by Bulo C Rani. There were two lyricists,namely Raja Mehedi Ali Khan (7 songs) and Butaram Sharma who wrote just 1 song. Taimur Behram Shah was earlier in Ranjit, working as an assistant director. He got opportunity to direct 2 films of Ranjit – Lakhon mein ek-47 and Bhool Bhulaiya-49. Then he started his own production house and made Izzat-52.

Film industry has a cycle, just like Nature. An actor comes, becomes a Hero, after few years works as a side Hero and then shifts to do character roles. There are some actors, who started as Heros, remained Heros and retired as Heros. Such cases are very few. Same applies to actresses too, There are more actresses who quit films, while they were still Heroines. The reasons are usually, marriage or getting children etc. I remember at least one actress, who was a popular Heroine in the late 30s and 40s-till 1947, but stopped acting in films, because her husband strictly forbade her from doing roles other than Heroine. Her name is Meenakshi Shirodkar.

From the cast, we can see that Nirupa Roy, Amarnath, Manorama, Jeevan, Veera, Agha and P.Kailash began as Lead actors and then became side Heroine/Hero and lastly settled for character roles. Some readers may be surprised about Agha being a Hero anytime. It is interesting to note that in film ” Jwar Bhata “-44, Agha was the Hero and Dilip Kumar had made his Debut in this film as a side Hero. While Agha’s Heroine was Shamim, Dilip’s Heroine was Mrudula – a Debutante herself.

Among the cast, the name of P.Kailash and his mention as a Hero in the past, may be a matter of surprise for some readers. For a long time, I was very curious about this actor. One day I was reading a book “Asli Nakli Chehre” ( असली नकली चेहरे ) by Vithal Pandya. In this book, he has given information about P.Kailash, who did the main role in film ” Jai Hanuman-48″, for which Pandya was an assistant Director. Vithal Pandya had spent over 30 years in film industry from the 30s and 40s. He worked with many directors and in many banners. He wrote 2 books in Gujarati/Hindi, which are highly informative with first hand knowledge. For example, he mentions that S N Tripathi, the Music Director was also an actor and was famous in the role of Hanuman in all Wadia movies. However in this film-Jai Hanuman-48, he had done the role of Ravan. Anyway, based on information in this book coupled with an article by M N Sardana ji, on Fb page ‘Voh din yaad karo’ about P.Kailash, here is some information on P.Kailash for our readers, first time. My thanks to both of them.

Mr P Kailash (Pandit Kailash Chandra Sharma),was born on 03 February 1924 at Multai , a small town in Distt Baitul ( Madhya Pradesh ) .After doing H.S.C., he did a stint of teaching in Akola. Bestowed with sharp features and deep voice, fair coloured P Kailash came to Bombay in 1946 to become an actor . He had not to wait for a long to have entry in the film line .

Seth Chandulal Shah gave him a chance in his mythological movie Jai Hanuman ,as hero opposite Nirupa Roy. The movie made under the banner of Ranjit Movietone was directed by Ram Chandra Thakur. Thereafter , Mr Kailash appeared in many mythological, fantasy and historical movies like Veer Durga Das, Sati Anusuiya, Maha Bharat, Prabhu Ki Mahima, Veer Arjun, Gopal Krishna, Nadir Shah, Thief Of Baghdad, Hercules ,Aab E Hayat, Gul E Bakawali etc. In 1953, he performed as a cop in Ranjit Mvietone’s Papi, along with Raj Kapoor. With Dilip Kumar, he did a role which had comic shades in Leader. Shirin Farhad ,made by veteran film maker Aspi Irani, was another movie in which his performance was much appreciated .

Mr P Kailash appeared in numerous movies made by Film makers like Shree Ram Bohra, B K Adarsh and Filmistan. Maine Jeena Seekh Liya, Hum Kahan Ja Rahe Hain, Picnic, Baba Sari Ladli (Rajasthani) ,Jekra Charnwa Mein Lagle Pranwa (Bhojpuri), Love and Murder, were the movies, Mr P Kailash did for the said film makers. Versatile director Krishan Chopra (May God Bless His Soul) ,who died before completing his second movie ,gave him a life time role of a tyrannical land lord in Heera Moti which was based upon the heart warming story Do Bailon Ki Katha, written by great writer Prem Chand . He brought alive the arrogant and heartless Zamindaar on the screen with his dynamic performance .

Krishan Chopra, impressed with the magnificent personality of Mr P Kailash, gave him an important role in his next movie Gaban ,which was completed by Hrishkesh Mukherjee ,after Mr Chopra passed away untimely. It was a sad coincidence ,that Mr P Kailash ,also did not live long. While on a visit to his birth place Multai, he suffered massive heart attack and left for his heavenly abode on 23 May 1967 . Payal Ki Jhankaar ,made by Filmistan and Thief of Baghdad by Mr Shree Ram Bohra were released later ,after he had gone forever in the young age of 43 years ,leaving his two daughters ,one son and wife .

P.Kailash acted in 43 films. His first film was Jai Hanuman-48 and the last released film was Irada-1971.

The Hero of film Izzat-52 was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

The third uncommon name in the cast is that of Veera, about whom very few will be knowing. One time she was a very sensuous actress. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat.

She started her career in films as a Heroine opposite Nasir khan in film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all 1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and the First husband of actress Neena. After the marriage, both migrated to Pakistan in 1955. No news after that.

Today’s song is a duet sung by G M Durrani and Shamshad Begum. It is a typical song belonging to the 50’s music, influenced by C Ramchandra, O P Nayyar and Shankar Jaikishen. I liked this song. I am sure you too will like it.

Song- Iss duniya se hum nahin darega(Izzat)(1952) Singers- G M Durrani, Shamshad Begum, Lyrics- Raja Mehdi Ali Khan, MD- Bulo C Rani
Both

Lyrics

Iss duniya se hum nahin darega
Iss duniya se hum nahin darega
karega karega karega
kargega
karega karega
tumse muhabbat karega
Iss duniya se hum nahin darega
karega karega karega
karega karega
tumse muhabbat karega

zara sambhal sambhal ke aana
ho zara sambhal sambhal ke aana
meri gali mein kahin na pit jaana
ho meri gali mein kahin na pit jaana
haay marenga marenga marenga
marega
karega karega
tumse muhabbat karega

hamen chhedo na
haaye chhedo na
sab duniya dekhti
aaankhen sekti
uyi
dil phenkti
haaye
tamaasha dekhti
tere nain se nain mera ladega
tere nain se nain mera ladega
ladega ladega ladega
bhai ladega
karega karega tumse mohabbat karega

tere galey mein baahon ka
main haar daaloonga
toone roka
ya toka
to maar daaloonga
aisa karega to
aisa karega to dekh phaansi chadhenga
aisa karega to dekh phaansi chadhenga
haa
chadhega chadhega chadhega
lekin
karega karega
tumse mohabbat karega

hum soch samajh ke baat karega
milo akele mein
tum hampe gadbad karte ho
kis bhare jhamele mein
kabhi chhup chhup mere paas aana
ho kabhi chhup chhup mere paas aana
paas aane se kya hoga samjhaana
paas aane se kya hoga samjhaana
abe
karega karega karega
bhai karega
karega karega
tumse muhabbat karega
Is duniya se hum nahin darega
Is duniya se hum nahin darega
karega karega karega
bhai karega
karega karega
tumse muhabbat karega

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

Hullo to all in Atuldom

Round up of 2019

An eventful year comes to a close. I have had great experiences that will bring a smile on my face when I think of them or look at the related pictures.

First- my daughter gave me a promotion and I enjoyed every minute of the event. Only feeling at the end of it was— having waited for it from last July, when she announced her intention, I felt January came too soon and the week, with happenings related to the event, was over with the blessings of the elders of the family and good wishes of friends and relatives. And I must thank the Atulites too who came for it.

The next two months of the year were rather quiet. The major point of March being the R.M.I.M meet. I was lucky to have been able to attend the R.M.I.M in Bangalore this year -30th &31st March to be precise. And am I glad I attended it on both dates, unlike the last time when I went for one day and left almost immediately after lunch.

This time R.M.I.M was celebrating two birth centenaries – that of Chitragupta and Shamshad Begum. There was also a mention about the fact that Manna Dey would also have been 100 this year. Plus, there was a mention that many music luminaries of the past, who would have been 100 this year, need to be remembered.

On the occasion our Gajendraji reminisced about his encounter or meeting with the Shamshad Begum in 2012, when she was 92. He spoke about how sharp her memory was and about her sense of humour. He mentioned that when he asked her about her feelings towards her songs being remixed by the current generation her reply surprised him. She is said to have told him that by remixing, the songs were kept alive and more people were able to relish them.

Later during the post lunch session there was a debate or discussion on how social media impacted music and films. The discussion also touched whether it was right to colourise old black & white classics, remix or morph old videos etc. This was followed by Kushal Gopalka’s session where he spoke about his association with Shamshad Begumji. He mentioned another incident that showed Shamshad Begum’s view about life. He talked of an event for which he had escorted Shamshad Begumji; where the master of ceremonies asked her about her colleagues who were no more and had died rather young; for this -he says- her reply was “humari umr par nazar mat daaliye.”
My personal take-home from this was I got to meet the gracious, simple and humble Sudha Malhotra. She sounds very melodious in person even when she speaks.

For more on the meet I suggest visiting here.

April end saw me in Mumbai for a few days on some personal agenda. Which I clubbed with a met-up of friends from ASAD. That was a good gangout with guruji also landing back in Mumbai that morning and meeting Bakshishji and Nitinji for the first time (didn’t feel it was the first time though) and of course Sudhirji was also there. So, in all a good gangout even if I was present only for a short time I enjoyed.

June end was a trip to Bhopal to meet my gang of girls from college and chilling out in the heat of Madhya Bharat. But that was also fun, we parted with a promise of making it an annual affair.

July saw me in Kerala, the island resort of Ashtamudi, with newly acquired relatives and getting to know them. September end was Navaratri which saw me in my ‘sasural ka village’ as well as in Kolkata for Durga Pooja. A long-cherished dream of visiting the pooja pandals was fulfilled by my personal Santa.

Actually, for all of the above, I must thank my personal Santa as he never questions me or my intentions. He also turned a year older, an age when people normally hang-up their boots and think of taking life easy having worked for 40 years now. But my Santa has not yet thought about his boots or rest. He has a lot of enthusiasm for outings and excursions and is already planning his next joyful weekend. These breaks are what keep him going in stressful work conditions I suppose. God bless him forever.

I must thank our Sadanandji and Sudhirji for the song with this post. I am thanking Sudhirji as he suggested the song, since I have little knowledge of any song featuring the Shamshad Begum – Chitragupta combination. On a busy Saturday morning I pestered Sudhirji to find out if any Shamshad Begum song in Chitragupta’s music direction was left to be posted and he gave me this song before the day was out. Sadanandji has to be thanked as he is the one who has uploaded the song to YouTube. The movie is the 1953 release “Manchala” which had music by Chitragupta, the additional reason for my choosing this is, it is a duet by Shamshad Begum and Chitragupta.

Raja Mehdi Ali Khan was the lyricist for a movie which was produced and directed by Jayant Desai and had Nirupa Roy, Manhar Desai, Agha Jeevan etc in the cast. Going by the lyrics and the sound of the song the male in the song could have been Agha.
Happy Partying & tik tok tik tok to 2020.

Song-Dekho jee tum kuchh bolna na (Manchala)(1953) Singers-Shamshad Begam, Chitragupta, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

panghat pe peepal
peepal taley hum
chhailaa sajan koi aaye re
panghat pe peepal
peepal taley hum
chhailaa sajan koi aaye re
maare kankariya phode gagariya
nainon se naina milaaye re
haay
dekho ji tum kuchh bolna na
dekhoji tum kuchh bolna na

oooo ohoho ooo
sadak pe cycle
cycle pe madam
madam ke naina bade bade
doorbin laga ke
focus milaa ke
dekhoonga usko khade khade
hain
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

aankhon mein gussa
haathon mein chappal
madam teri pit jaaye re
main toh na chhodoon
madam ki chutiya
haathon mein agar aa jaaye re
haay
dekho ji tum kuchh bolna na
haan dekhoji tum kuchh bolna na

oooo ohoho ooo
gaadoonga main toh
dil mein tumhaare
apni mohabbat ka jhanda re
chhailla jo mere raste mein aaya
kar doonga usko thhanda re
hain
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

naari sadak pe
uss pe baraati baaje bajaate aayenge
ab toh jee bas do chaar hi din mein
doli meri lee jaayenge
haay
dekho ji tum kuchh bolna na
dekhoji tum kuchh bolna na

oooo ohoho ooo
jab meri lathiya
unpe chalengi
bhaagenge sab baarati re
dekhegi duniya
doli tumhaari
mere hi ghar ko aati re
haan
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

bhaad mein jaaye
woh sab baraati
choolhey main jaaye wo
chhaila re
palloo tumhaara
ab main na chhodhoon
main hoon tumhaari laila re
haan
dekho ji tum kuchh bolna na
haan dekhoji tum kuchh bolna na

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

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Blog 10-Year Challenge (2010-2020) – Song No. 8
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I am fond of saying that this blog was quite prolific in the past and presently we are crawling as a slow rate in comparison. But that was not the case throughout. There was a phase in the blog in the past when the posts in this blog has almost dried up. That was from december 2009 till february 2010. There were as many as 34 DOT days in the blog out of 90 days during these three months. Only 112 posts were published in the blog during these three months. Thus the blog those days was not even a song a day blog. It had even become no song in a day blog on 33 % days.

The reason was that I had found myself transferred from my earlier place of posting viz Jabalpur in the month of December 2009. It was an inter zonal transfer in Railways parlance. I was transferred from WCR zone to SECR Zone, whose HQ was at BIlaspur, Chhattisgarh. I reported at Bilaspur in the first week of december 2009. I stayed there for a few days before it was decided that I would be posted at Nagpur.

It took me a while before I got a quarter allotted to me at Nagpur in February 2010. I then went to Jabalpur, vacated my quarter there and brought the luggage to Nagpur. It was first week of March 2010 before I could get settled in Nagpur.

During these three months from December 2009 to February 2010, it was difficult to find time for blogging. Still, I thried to keep the blog going. The laptop that I had was my constant companion and I had a dongle for internet connectivity, but posting on a regular basis when I was literally living out of suitcase was a tough challenge.

All these dot days means that there are not too many occasions today (ten year later) when we can find songs for ten year challenge. There are days that were DOT days, so there is no question of being able to discuss a ten year challenge song those days. On the few days when some songs were discussed, many of these songs have already been YIPPEED by now.

Take the example of blog activity on this day ten years back (viz on 26 february 2010). Three songs were posted on the blog on that day :-

“Chaubees Ghante”(1958) had made its debut on that day ten years ago. The writeup of this article was quite brief and sketchy, and contained little details about the movie. It shows that I did not have time to do research on this song. Moreover, ten years ago I was far less knowledgeable about HFM than today. I did not even have access to HFGK those days.

Now I know that this movie was directed by Dwarka Khosla for Zar Productions, Bombay. The movie had Premnath, Shakila, Maruti, Shammi, Nishi, Samson, Rajan Kapoor, K N Singh etc in it.

Ten years later, this movie had debuted in the blog when I was trying to find my feet at Nagpur, Maharashtra. Today (26 February 2010), exactly ten years later, I find myself at Gorakhpur, UP (via Bilaspur, Chattisgarh and Izatnagar, Bareilly, UP). By now five songs from the movie have been covered. Three songs were covered when I was at Nagpur. One song each was covered at Bilaspur and Izatnagar respectively.

Here is the sixth song from “Chaubees Ghante”(1958) appearing in the blog when I am based at Gorakhpur, UP. This song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.

Only the audio of the 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 Avinash Scrapwala.

Song-Aaj ka salaam lo kal ka waada pakka(Chaubees Ghante)(1958) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul

Lyrics 9Provided by Avinash Scrapwala)

Aaj ka salaam lo
Kal ka waada pakka
Hans ke mera naam lo
Kal ka waada pakka
Doodloo loo oo
Didlee lee ee ee
Doodloo loo oo oo oo
Aaj ka salaam lo
Kal ka waada pakka aa

Haseenon ki nighaah se
Dil rakho sambhaal ke
Haseenon ki nighaah se
Dil rakho sambhaal ke
Udaa na le tumhaara dil
Nigaah e naaz daal ke ae
Pyaar ka payaam lo
Kal ka waada pakka
Aaj ka salaam lo
Kal ka waada pakka
Doodloo loo oo oo
Didlee lee ee ee
Doodloo loo oo oo

Khushi ke ek jaam mein
Dubo de zindagi ke gham
Khushi ke ek jaam mein
Dubo de zindagi ke gham
Ke dukh bahot hai zindagi mein
Sukh magar bahot hai kam
Sabr se jo naam lo
Kal ka waada pakka
Aaj ka salaam lo
Kal ka waada pakka
Doodloo loo oo oo
Didlee lee ee ee ee
Doodloo loo oo oo

Sambhal sambhal ke chal zaraa
Kadam kadam pe jaal hai
Sambhal sambhal ke chal zaraa
Kadam kadam pe jaal hai
Samajh ke paansa phenk le
Ye zindagi ki chaal hai
Aaj ka salaam lo
Kal ka waada pakka
hans ke mera naam lo
kal ka waada pakka
kal ka waada pakka
kal ka waada pakka
Doodloo loo oo oo oo
Didlee lee ee ee ee
Doodloo loo oo oo oo
———————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
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आज का सलाम लो
कल का वादा पक्का
हंस के मेरा नाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

आज का सलाम लो
कल का वादा पक्का आ

हसीनों कि निगाह से
दिल रखो संभाल के
हसीनों कि निगाह से
दिल रखो संभाल के
उड़ा न ले तुम्हारा दिल
निगाह ए नाज़ डाल के ए
प्यार का पयाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

ख़ुशी के एक जाम में
डुबो दे ज़िन्दगी के ग़म
ख़ुशी के एक जाम में
डुबो दे ज़िन्दगी के ग़म
के दुःख बहोत है ज़िन्दगी में
सुख मगर बहोत है कम
सब्र से जो नाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

संभल संभल के चल ज़रा
कदम कदम पे जाल है
संभल संभल के चल ज़रा
कदम कदम पे जाल है
समझ के पासा फ़ेंक ले
ये ज़िन्दगी की चाल है
दिल अभी इनाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

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.

Entertaining Sales Pitch Songs – 11
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This post is likely the one which has been the most scrambled for. Leap day it is. So much history and folklore around this date, no doubt. But notwithstanding that, it struck us quite late in the day, as to how such a rare occasion be not celebrated, and not represented on our blog. We are all adept at combining celebrations and conjuring up milestones and reasons to post a celebratory article. So how come this leap day phenomena be left by the side. So we got going to get something in place, but it was quite late that we got started. Here is a brief about the gensis.

Time is 6:48 in the evening. An innocent query laden email from dear Arun ji lands in the mail box. He is enquiring about 29^th Feb, 2016. The date seems to be blanked out on the blog, so were not posts added that day or is that an error of logging on the blog.

7:30 pm comes the response from Atul ji – yes, in 2016, the leap day actually was dot day.

Within one minute at 7.31 pm lands another follow up from Atul ji – and I quote –

“Today I wanted to post a blog leap day challenge, but my internet at home as well as office let me down. Atul”

There is radio silence for another about one hour or so. Around 8:20, I am back on my laptop, checking emails, and run into this exchange that has recently happened. It is 8:25 pm by the time I jump into the flow, and write to Atul ji, enquiring what did he have in mind.

Another 25 minutes creep by. It is 8:52 when Atul ji reply lands in the mail box. He wanted to follow up with a ‘challenge’ type post using one of the un-yippeee’d films from the list of posts from 29th Feb, 2012. Despite all the lethargy and laziness, I am stirred up to take on this challenge. Quickly I make a check of the films used on 29th Feb 2012. The list reads like,

Only two films stand out as the candidates for this challenge – ‘Guzaara’ from 1954 and ‘Saara Jahaan Hamaara’ from 1961. Given the familiarity of the film and songs, I am tempted to attempt ‘Saara Jahaan Hamaara’. But then another peculiarity tries to pull my attention. The film ‘Guzaara’ from 1954 made its debut on the blog on this day – the leap – of 2012. And then – nothing else. For the past 8 years, the film has been sitting neglected, on one of the most interesting calendar days in, well, in the calendar.

And so, I decided to pick ‘Guzaara’. I sent out an email to Atul ji at 9:11 (that sounds almost sinister. . .) with the message – “‘Guzaara’ from 1954 would be an interesting candidate. Only one song, posted on leap day 2012, now second song on leap day 2020. :D”.

This time, the response is very immediate. Within a minute Atul ji confirms that he was also thinking to pick this film.

Poor ‘Guzaara’ – has been sitting on the bench for – goodness, 8 years. आते जाते हुये, the other films would ask cursorily – “How’s it going? Idling for long??”

And listlessly (pun intended) ‘Guzaara’ would reply – “गुज़ारा चल रहा है”. :D)  :D)

And then suddenly another thought passed into the mind’s channels. Debut on the leap day in 2012, no action till the leap day on 2020, when the second song gets posted. And I hope this does not lead to a typecasting (so common in the industry, no?). because if it does, then poor ‘Guzaara’ would take more than two decades to get yippeee’d for its 8 songs. (LOL)

‘Guzaara’ is a social film from the production house of Aaina Pictures, Bombay produced and directed by SM Yusuf. The star cast is listed as Karan Diwan, Paro, Jabeen, Mirza Musharraf, Chand Burque, Baby Naaz, Romi, SM Yusuf, Manju, Tiwari, Baalam, Faizi, Sangeeta, Chhagan Romeo, Mehru. Hmmm. . . Karan Dewan and Paro, this would have been an important film of its time. The eight songs of this film are written by Fauq Zami – two songs, Muneer Lakhnavi – one song, and Raja Mehdi Ali Khan five songs. The music direction is by Ghulam Mohammed. The film comes from the same year as ‘Mirza Ghalib’, one of the most well known films with music by him.

Today’s song is a “sales pitch” song, rendered by Rafi Sb. The item for sale is ‘bhajia’, and the song goes along with homilies and interesting advises, as it tries to make better of selling ‘pakodas’. Looking at the star cast, the most likely candidate for performing this song is Karan Dewan himself. I cannot bring myself to imagine that Mirza Musharraf or Baalam would take on performing this song on screen. I would request our more knowledgeable friends and readers to please add more information about this song, and the film.

Ah so, the leap challenge, at last. And the film gets its second song on the blog, on the same leap day, eight years apart. Come to think of it – do we know what is the origin of the term ‘leap’ as it applies to this date and this calendar terminology. Hmmm. . . as we look at the calendars progression from one year to the next, and given 365 days in the year and 7 days in the week, the thumb rule is that the new year starts on the weekday, next to the day on which the previous year starts. Except for this peculiar creature called ‘leap year’ when the sequence of week day ‘leaps’ ahead by one day. Oh yes, this is the simple explanation available from dictionary.com.

I am sure all are familiar with the rules of the Julian calendar, set is place by Julius Ceaser, which instituted this leap day’s concept, and the later correction by Pope Gregory, resulting in the Gregorian calendar that makes an exception for missing a leap year every 100th year, but then also not missing it every 400th year, to account for the correct number of days passing per year, given that the earth uses up 365 days, 5 hours, 48 minutes, and 45 seconds, give or take a few milliseconds here and there, to completely go once around the sun. That is being astronomically correct. Otherwise, what would we know better, just being used for waking up with sunrise every day. Leap day, leap year – what does it matter. At the end of the day, and quoting from another song by Rafi Sb – “Jitni Likhi Thhi Muqaddar Mein. . .” – the number of breaths destined are what it is. History records that in 1582, when Pope Gregory announced this correction to the calendar, the official dates were adjusted by 10 days, There were riots in the city of Vatican and the common man protested, wanting 10 days of their lives to be returned.

Ah well, as the world turns. And not very precisely so.

So listen to Rafi Sb, and enjoy the ‘bhajias’.

Song – Duniya Ki Haalat Naram Naram (Guzaara) (1954) Singer – Mohammed Rafi, Lyrics – Raja Mehdi Ali Khan, MD – Ghulam Mohammed
Chorus

Lyrics

duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

tu ne bhi muft ki khaai hai
kya tu bhi mera bhai hai
o kya tu bhi mera bhai hai
meri hi tareh honge mister
tere pichhle janam ke karam karam
ho munna pichhle janam ke karam karam
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

hum tumko kahaan se den bhiksha
o bhaiyya ja kar ke khencho riksha
ho munna ja kar ke khencho riksha
mat desh pe apne bojh bahno
hai ye hi hamaara dharam dharam
hai ye hi hamaara dharam dharam
hoye
duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

chaar aane mein insaan bikey
do aane mein imaan bikey
chaar aane mein insaan bikey
do aane mein imaan bikey
ek aane mein bhagwan bikey
ae duniya waalo shame shame shame
ae duniya waalo sharam sharam

o duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram
hoye

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

दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

तूने भी मुफ्त की खाई है
क्या तू भी मेरा भाई है
ओ क्या तू भी मेरा भाई है
मेरी ही तरह होंगे मिस्टर
तेरे जनम के पिछले करम करम
हो मुन्ना तेरे जनम के पिछले करम करम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

हुम तुमको कहाँ से दें भिक्षा
ओ भईय्या जा कर के खेंचो रिक्शा
हो मुन्ना जा कर के खेंचो रिक्शा
मत देश पे अपने बोझ बनो
है ये ही हमारा धरम धरम
है ये ही हमारा धरम धरम
होये दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

चार आने में इंसान बिके
दो आने में इमार बिके
चार आने में इंसान बिके
दो आने में इमार बिके
एक आने में भगवान बिके
ए दुनिया वालो शेम शेम शेम
ए दुनिया वालो शरम शरम

ओ दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

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

“Chaubees Ghante”(1958) was produced by Tejnath Zar and directed by Dwarka Khosla for Zar productions, Bombay. this “crime” movie had Premnath, Shakeela, K N Singh, Maruti, Shammi, Nishi, Satish Batra, Samson, Sheila Vaz, Kanchanmala, Rajan Kapoor, Nasreen, Laxman Rao, Mahendra, Prem KUmar, Jerry, Dewaskar, Naudiyal, Daraz etc in it.

The movie had eight songs in it. Six songs have been covered in the past.

Here is the seventh song from “Chaubees Ghante”(1958) to appear in the blog. This song is sung by Rafi, Asha Bhonsle and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Babul.

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

Song-Chhan chhan karti daulat bole (Chaubees Ghante)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul
Chorus
Rafi + chorus

Lyrics

ajab paise ka fanda hai
ajab paise ka chakkar hai
jahaan dekho wahin insaan ki
paise se takkar hai ae ae
aa aa aa aa aa
aa aa aa aa aa

chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

rookhha sookhha khaake hamne joda paisa paisa
tumko kaise denga hamko samjha ullu jaisa
kya samjha ullu jaisa
sun be mehta
sun be mehta laathi leke aison ka sar phod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de

aa aa aa aa aa aa
aa aa aa aa aa
laahkon insaanon ki rozi das barah ki chheene
aaa aa aa aa
ye daulat jo baahar aaye isse chale machinen
isse chale machinen
ise lutaade bhar bhar jhole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

daulat meri baandi isko umar qaid mein daala
kismein himmat hai jo tode motu raam ka taala
arre motu raam ka taala
kyun be mehta
kyun be mehta hai koi jo itna paisa jod de
laakhon hi ka bhala hai ismein ab ye kaidi chhod de
chhan chhan karti daulat bole seth tijori tod de
laakhon hi ka bhala hai ismein ab ye qaidi chhod de

aa aa aa aa aa
aa aa aa aa aa
tere ghar ke saamne aake bhookhon ne gash khaaya
aa aa aa aa aa
o nirmohi seth tujhe kyun inpe raham na aaya
kyun hampe raham na aaya
jeewan naiyya dagmag dole
seth tijori tod de
laakhon hi ka bhala hai isme
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

tere saamne bhookha insaan gas kha kha ke leta
de de sab kuchh gar hai seth karodimal ka beta
seth karodimal ka beta
sun re mehta dil mera bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de
chhan chhan karti daulat bole
seth tijori tod de
laakhon hi ka bhala hai ismein
ab ye qaidi chhod de

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

“Chaubees Ghante”(1958) was produced by Tejnath Zar and directed by Dwarka Khosla for Zar productions, Bombay. this “crime” movie had Premnath, Shakeela, K N Singh, Maruti, Shammi, Nishi, Satish Batra, Samson, Sheila Vaz, Kanchanmala, Rajan Kapoor, Nasreen, Laxman Rao, Mahendra, Prem KUmar, Jerry, Dewaskar, Naudiyal, Daraz etc in it.

The movie had eight songs in it. Seven songs have been covered in the past.

Here is the eighth song from “Chaubees Ghante”(1958) to appear in the blog. This song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Babul.

The song is picturised as a joie de vivre song on Shakila.

Lyrics of this song were sent to me by Prakashchandra.

With this song, all the songs of “Chaubees Ghante”(1958) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.

Song-Nigaahen mila ke huyi main deewaani (Chaubees Ghante)(1958) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul

Lyrics(Provided by Prakashchandra)

nigaahein milaa ke
huyi main deewaani
nigaahein milaa ke
huyi main deewaani
kidhar le chali hai
arri o jawaani
nigaahein milaa ke

main chanchal adaaon ki
jhooley mein jhooloon
ye jee chaahtaa hai ke
phoolon ko choomoon
main chanchal adaaon ki
jhooley mein jhooloon
ye jee chaahtaa hai ke
phoolon ko choomoon
main kaisey
bitaaun
ye ghadiyaan suhaani
nigaahein milaa ke
huyi main deewaani
kidhar le chali hai
arrey o jawaani
nigaahein milaa ke

nahin pyaas bujhtjo
ek baar dekhoon
tamanna hai unnko main
sau baar dekhoon
nahin pyaas bujhthi jo
ek baar dekhoon
tamanna hai unko main
sau baar dekhoon
woh mera fasaanaa
main un ki kahaani
nigaahein milaa ke
huyi main deewaani
kidhar le chali hai
arree o jawaani
nigaahein milaa ke

tamannaayein dil mein
lagi hain tadapne
woh pehli nazar mein
lagey mujhko apne ae
tamannaayein dil mein
lagi hain tadapne
woh pehli nazar mein
lagey mujhko apne ae
ke kaisey
ho unse
muhabbat/mohabbat puraani
nigaahein milaa ke
huyi main deewaani
nigaahein milaa ke
huyi main deewaani
kidhar le chali hai
arree o jawaani
nigaahein milaa ke ae

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

Another wonderful discovery, another song that I had never heard before. The film is ‘Zindagi’ from 1956. The music composition is by Mohammed Shafi.

Mohammed Shafi is the name I was trying to get to also, on 30^th April, which is the remembrance day for him. After getting the post in place for C Arjun that evening, I was not able to pull together this post, for remembering Mohammed Shafi Sb.

Once again, another very talented music director about whom, not much information is available. After much searching, I am able to locate a very brief artice by a gentleman named Qaseem Abbaasi on the web site ‘Apnaarchives’. I am including some details from that article in this post.

He was born sometimes in 1920s. His father’s name was Majid Khan, who passed away when Shafi was very young. Majid Khan was the grandson of the renowned beenkar Bande Ali Khan. Bande Ali was also a master of swar-pradhan gayaki and was the brother of Abdul Karim Khan Sb’s father. As I searched for more details about Bande Ali Khan, I reached the wesite Swarganga Music Foundation, and a somewhat detailed article on Bande Ali Khan. Browsing through this article, I discover that one of the more famous disciples of Bande Ali Khan is Imdaad Khan of Etawah.

A little clue about his early years can be surmised from a family connection that is mentioned. Mohammed Shafi’s wife, Zeenat, was the sister of Ustad Vilayat Khan, the renowned sitar player of India. Vilayat Khan Sb’s family came originally from Etawah (close to Agra in UP). Apparently, Vilayat Khan Sb’s grandfather, Imdad Khan, moved from Etawah to Gouripur in Mymenshingh district in undivided Bengal (now in Bangladesh). Vilayat Khan Sb was born in Gouripur. Sitar and classical music was a family tradition with them, and the family and their music tradition is known as Etawah gharana.

It can be surmised that Mohammed Shafi Sb was also based in Bengal in his early years. One, being married to the sister of Ustad Vilayat Khan, a family based in Mymensingh at that time. Second, Mohammed Shafi started his career at New Theatres, Calcutta (now Kolkata), working as a musician and assisting RC Boral, Pankaj Mullick and KC Dey. It is suggested that contributed as a musician to films like ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940).

In early 1940s, along with the migration of many artists from Calcutta to Bombay (now Mumbai), Mohammed Shafi also moved to Bombay. Although not listed in Geet Kosh, Qaseem Abbaasi Sb has written that he assisted music director Bashir Dehlavi in the 1942 film ‘Ujaala’. In this film, Prithviraj Kapoor played the role of a sitar player, and apparently, some special pieces were composed by Mohammed Shafi for this film.

Later on, he had a long association with Naushad as an assistant music director. For the film ‘Mughal e Azam’, the sitar pieces were prepared/played by both Abdul Haleem Jafar Khan Sb and Mohammed Shafi. It’s said that K Asif used to send a car to pick both of them for playing Sitar for the background music.

He got his first break as independent music director 1946 with the film ‘Haqdaar’. He continued to work till mid 1970s, but has only about 22 films to his credit. Although, he continued to assist many directors as a musician and music arranger.  Following is the list of films for which has composed music,

• 1946 Haqdaar
• 1946 Kaango
• 1947 Do Naina
• 1947 Rishta
• 1947 Shikaarpuri
• 1949 Gharaana
• 1951 Hulchul – along with Sajjad Hussain
• 1952 Annadaata
• 1953 Aabshaar – along with Ghulam Haider & Bhola Shreshtha
• 1953 Daara
• 1954 Baazooband
• 1954 Mangu – did 2 songs, then replaced by OP Nayyar;
• 1955 Deewaar
• 1956 Zindagi
• 1960 Mohabbat Ki Jeet
• 1960 Shriman Balasaheb (Marathi)
• 1961 Tanhaai – released as Badi Maa in 1974
• 1965 Kite Fight (Woh Kata)
• 1967 Shrimant Mehuna Pahije (Marathi)
• 1971 Iraada – along with Vitthal-Mumtaz
• 1974 Bari Maa – same as Tanhai (1961)
• 1975 Dayar-e-Madina

To his credit – Suman Hemadi Kalyanpur sang her debut song in the film ‘Mangu’ (1954), a wonderfully soft lorie “Koi Pukaare Dheere Se Tujhe” under his music direction. And again, singer Hemlata made her debut under his music direction in the film ‘Iraada’ (1971) – the songs “Main Ankahi Kahaani, Sadiyon Ki Hoon Nishaani” and “Main Jaan Ke Badle Mein Le Loongi Dhadakta Dil”.

A connected piece of information is that he also gave music under different names – Shafi M Nagri / Shafi Nagri / Shafi. All the films that he composed under these pseudonyms are stunt / fantasy type films. The list is,

• 1953 Shamsheerbaaz
• 1954 Sher Dil
• 1955 Carnival Queen
• 1956 Baghdad Ka Jaadu
• 1957 Diler Daaku
• 1959 Chini Jaadugar
• 1966 Tarzan Aur Jaadui Chirag

In the latter half of 1970s, Mohammed Shafi’s health deteriorated, and his last years were very difficult. He suffered a stroke, which resulted in partial amnesia. It is said that he did not receive any help or friendly hand, from the industry, except from Rafi Sb who would visit him occasionally and quietly leave money under his pillow without telling him.

He passed away after long years of illness on 30^th April, 1980.

‘Zindagi’ (1956) is produced under the banner of Kesar Films, Bombay and is directed by CL Dheer. The star cast is listed as Geeta Bali, Vijaylakshmi, Jaswant, Baby Naaz, Gulab, Rasheed, Sudarshan, Krishnakant, Tuntun, and Jagdish Sethi.

There are 8 songs listed for this film. Seven songs are written by Kaifi Azmi, and one song is by Raja Mehdi Ali Khan. Today’s song is that solitary song from the pen of Raja Mehdi Ali Khan.

The singing voices are of Sudha Malhotra, S Balbir and Jagmohan Bakshi. The song is beautifully structured around a very clever use of chorus lines, with clear demarcation of male and female chorus lines. The pace and the rhythm of the song is quite energetic. It seems to be a picnic song, from the manner of singing and the words being said. I request other knowledgeable readers to please add information about this song and the film.

Listen and enjoy.

Note- This song is the 300^th song of Raja Mehdi Ali Khan in the blog as a lyricist.

Song – Kaali Kaali Ye Ghata, Thandi Thandi Ye Hawa (Zindagi) (1956) Singer – Balbir, Jagmohan Bakshi, Sudha Malhotra, Lyrics – Raja Mehdi Ali Khan, MD – Mohammed Shafi
Male Chorus
Female Chorus

Lyrics

kaali kaali
ye ghata
o thandi thandi
ye hawa
kahe pyaar karo ji
kahe pyaar karo

o kaali kaali
laa laal laal
ye ghata
laa laal laal
o thandi thandi
laa laal laal
ye hawa
la la laa
kahe pyaar karo ji
kahe pyaar karo

kaali kaali
la lallall laa
ye ghata
la lallal laa
o thandi thandi
la lallall laa
ye hawa
la lallall laa
kahe pyaar karo ji
kahe pyaar karo

aankhen aankhon si mila ke
zara dekho muskura ke
aankhen aankhon si mila ke
zara dekho muskura ke
koi teer jigar ke paar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

aise ghoor ghoor ke
dekha na kar mere ko
sharam mohe laage
dekh maarungi tere ko
teer e nazar chala ke
maar daalo muskura ke
teer e nazar chala ke
maar daalo muskura ke
hum par na daya sarkaar karo
kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

tera chehra phoola phoola omlet ki taraah
o teri gaaliyaan kha loonga chaklet ki taraah
mere saamne na chal ghaaslet ki taraah
o mere dil ko na tal poplet (?) ki taraah
teri surat tutti futti..ee..ee
pyaar kare meri jutti..ee..ee
teri surat tutti futti
pyaar kare meri jutti
kisi aur se naina chaar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

laaaa
lall laaa lee laaa
lall laaa lee laaa
lee da da ri da da rum
da da ri da da rum

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

काली काली
ये घटा
ओ ठंडी ठंडी
ये हवा
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ला लाल लाल
ये घटा
ला लाल लाल
ओ ठंडी ठंडी
ला लाल लाल
ये हवा
ला लाल लाल
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
कोई तीर जिगर के पार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ऐसे घूर घूर कर
देखा ना कर मेरे को
शरम मोहे लागे
देख मारूँगी तेरे को
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
हम पर ना दया सरकार करो
काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

तेरा चेहरा फूला फूला आमलेट की तरह
ओ तेरी गालियां खा लूँगा चाकलेट कि तरह
मेरे सामने ना चल घासलेट की तरह
ओ मेरे दिल को ना तल पापलेट(?) की तरह
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
किसी और से नैना चार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ला॰॰॰
ल लल्लल ला ली ला
ल लल्लल ला ली ला
ली डा डा ली डा डा रम
डा डा री डा डा रम

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

First of all, I wish ” A Very Happy Birthday” to this Blog. Today, the Blog completes 12 successful years. Congratulations to Atul ji and on behalf of all Atulites a big Thank You for providing us a platform to enjoy and participate in the Carnival of Music of the Yore. I am proud of being associated with this Blog as the Senior Most (by age) Contributor of Posts.

I am quite active on FaceBook and the various groups dealing with old time songs and film related subjects, as well as some similar groups on WA. I feel thrilled and proud when people quote statements citing information from atulsongaday in support of their claims. This is a proof of the Prestige and Credibility this Blog has earned among the fans of old films and Music, all over the social media. This honour was earned by Atul ji with great efforts, hard work and consistency of performance. I can imagine the sacrifices he must have been making in his personal life since the last 12 years.

I wish similar fame, faith and credibility to this Blog in future too. May the Blog be a reference point for dependable and trustworthy information on old films and music for millions of its fans all over the world. And, thanks to Atul ji again.

Today’s song is from the film Bhai Bahen-1950. The words Bhai and Bahen are popular titles in Hindi films. A cursory look at the list of film titles indicates that there are 20 films having the first word as Bhai in their Titles. Titles like Bada Bhai, Mera Bhai, Do Bhai etc are not counted. Only the first word as Bhai is taken. There were 3 films as Bhai Bahen (50,59 and 69) and 3 films as Bhai Bhai (56,70 and 97) and 2 films called Bhai (44 and 97).

Today’s film was made by Krishen Movietone, Bombay, produced and directed by Ram Daryani. The music was by Shyam Sundar and the cast of the film was Geeta Bali, Prem Adib, Nirupa Roy, Bharat Bhushan,Gope, Yashodhara Katju, Gulab, K.N.Singh, Jeevan etc. I have not seen this film and I do not know anything about its story etc, but looking at the cast, I feel it must be a story of a married brother and a married sister and the ups and downs in their relationship. My guess is that the film may not be a very serious tear jerker, as we see the bubbly actress Geeta Bali and the comedy pair of Gope and Yashodhara Katju. out of the 10 songs of the film at least 4 are comedy songs. Five songs from this film are already discussed here. Today’s duet of Shamshad Begum And Satish will be the 6th song.

Geeta Bali became one of my favourite actresses, after I saw her in the film Albela-51. After that, I must have seen at least 10-12 films of Geeta Bali. She was not beautiful in the conventional way. Rather a Tom Boyish look and her naughty eyes and style of acting- particularly lighter and humorous scenes- was very impressive. It is our bad luck that such a talented actress had only a short career of just 14 years, but she made these memorable enough to make her name to be remembered.

Geeta Bali (real name Harkirtan kaur) was born in Amritsar on 30-11-1930, in a Sikh family, known for its religious and Scholarly traditions. Her father was a Sikh Missionary Preacher and travelled not only all over India, but also to Burma, Ceylon and Malaya. Due to frequent change of place, Geeta’s education was not consistent and it ended after 6th standard. When the family was in Kashmir, she joined the dancing and music classes. Keeta (her family nickname) did dance performances on stage in her schools.

When she was about 9-10 year old, she gave a public performance of her Dance in Lucknow. The puritans in their society objected, made a hue and cry and the pendal was burnt, to stop her show. Such experiences made her very bold in life. While at Lahore, Geeta directly entered the A.I.R. office to get a music contract. She got it also. She used to participate in Children’s programmes.

Through her Dance Director in A.I.R., she got into a documentary ” Cobbler” made by Shorey pictures. Impressed, she got a dance performance in film ” Badnami”-46 as well as Kahan Gaye-46 and Pancholi’s Patjhad-47.

After Partition, she came to Bombay. Kidar Sharma gave her a break in his film Suhag Raat-48 The film was successful. Next she worked with Raj Kapoor in Bawre Nain-50, Bhagwan’s Albela-51 and Navketan’s Baazi-52. Now there was no looking back. Geeta Bali went on to act in 80 films in her short career of just 14 years. She even sang a few lines in a song of film Rangeen Raaten-56, with Shamshad Begum and Uma Devi. She worked with Prithviraj Kapoor in Anand math-52 and his sons Raj kapoor in Bawre nain and in many films with Shammi kapoor. With Dev Anand she did Baazi, Faraar, Milap, Jaal, Zalzala, Ferry and Pocket Maar. She worked opposite Ashok Kumar, Motilal, Balraj Sahani, Prem Adib, Jairaj, Rehman, Bharat Bhushan, Abhi Bhattacharya, Kamal Kapoor, Karan Dewan, Shekhar, Sajjan, Amarnath, Jaswant and Suresh.

Some of her notable films were, Girls’ School-49, Dulari-49, Badi bahen-49, Nishana-550,Bawre Nain-50, Baazi-51, Albela-51, Zalzala-52, Raag Rang-52, Anand Math-52, Jhamela-53, Baaz-53, Daaku ki Ladki-54, Vachan-55, Miss Coca Cola-55, Jawab-55, Faraar-55, Bara Dari-55, Albeli-55, Pocket Maar-56, inspector-56, Coffee House-57, Mujrim-58, Jailor-58, Aji Bas Shukriya-58, Mr. India-61 etc etc.

Geeta and Shammi Kapoor fell in love, while working together. However, initially Geeta refused his marriage proposal for 4 months, saying that her family was dependent on her income for living. He did not leave hopes. When Shammi kapoor signed the film Rangeen Raaten, opposite Mala Sinha, she was jealous and approached Kidar Sharma for a role in that film. The story had no scope for another female role. Finally, a new role was introduced in the film-that of the Heroine’s brother and Geeta Bali did this male role throughout the film, just to be with Shammi Kapoor. This may be an unique example in the film world.

During the shooting days, Shammi Kapoor proposed to her again and this time she agreed, with a condition that they get married immediately, the same day. Shammi had not dared, so far, to inform his family about Geeta Bali, as he was afraid of opposition. Same night, in the presence of friends Johnny Walker and Hari Walia, they got married in the Banganga Temple, Napean Sea Road, Bombay, on 23-8-1955. Shammi Kapoor had to use Geeta’s lipstick for filling her ” Maang” with ‘ Sindoor’ ! Within a year, they got a son- Aditya Raj and in 1961 Kanchan was born to them. Contrary to Shammi’s fears, Kapoor Khandaan, did not object to their marriage.

While shooting for film Rano, made by Rajinder Singh Bedi, in Punjab, Geeta Bali contracted Smallpox and she died on 21-1-1965. ( adapted from books Star Portraits by Harish Booch and Stars of the Indian Screen by Baburao Patel, India Today, Yaadon ki Baaraat by Shirish kanekar and my notes).

In the cast of the film, I find at least 4 names who were Kashmiris, namely Prem Adib, Jeevan, Gulab and Yashodhara katju.

Yashodhara Katju (born 15 April 1928 – died – 1974), a forgotten actress of Indian Cinema, belonged to a reputed Kashmiri Pandit family from Lahore that had moved to Lucknow, where her father Jeevan Lal Katju, was a Zamindar and owned lands in Warburton in Khupra district, Punjab. He was appointed to a senior Administrative position by the British Government. J L Katju later resigned his Government job and joined the freedom struggle of the country. Her Mother’s name was Kailashwati (sister of well known Urdu poet & Judge of Allahabad High Court Late Anand Narain Mulla).

Yashodhra was fondly called as Chunnu by her parents. Other members of this Katju family were her brothers Moti Lal Katju , Pyare Lal Katju & her three sisters Chandra (Manno)-a Professor, Usha (Panno)-an M.A., and Manorama- a Doctor.

Yashodhara studied in English medium schools and was fluent in English, Hindi and Urdu. She did her Junior Cambridge. Apart from that, she was a highly talented girl who was equally well versed with singing and dancing. For some time she also joined Bhatkhande Music Institute, Lucknow to learn music but devoted more time to dancing and got herself trained as a professional dancer (Kathakali, Katahk and Manipuri) from some Masters of Lucknow. Later she took dancing lessons in Delhi as well.

All this apart , this talented girl nursed a desire from her childhood to join films. In 1941, Agha jani kashmiri , who was on a Talent Hunt, saw her in Lucknow and talked to her parents. Finally, much against the wishes of her family, she moved to Bombay in 1941. The family is reported to have sought intervention of Pandit Jawahar Lal Nehru also to dissuade her from joining films but she proved adamant. Katjus were closely related to Pandit Jawahar lal Nehru’s family. It is said that Chandra Mohan Wattal, another Kashmiri actor of that period too tried to dissuade her from acting in films but she remained adamant. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1973. Her parents finally consented to her decision and ensured a boarding and lodging for her in Bombay .

Prior to Yashodhara, Shyama Zutshi was the kashmiri Girl who joined films. (She acted in Vishnu Bhakti produced in 1934 and Karvaan E Hayat-35). However, the first Kashmiri girl to work in films was Gulab (real name Saraswati Devi), who worked from 1924 to 1964, in 160 films.

In 1941, at a young age of 14 years, she was offered a role of ” Aarti” in a movie Titled “Lalaji” produced by National Studios. The movie was completed in 1942. Her co-actors in that movie were Yakub, A. R. Kabul, Wasker, Amar, Sunalini, Vatsala Kumtekar, Maya Devi and Krishnakant.

Yashodhara always wanted to be an actress and on 15th August 1941 she joined National Studios. She played heroine and side heroine parts in films like Mahatma Vidur (1943), Dulhan (1943), Vijay Laxmi (1943) etc. Later she was reduced to character roles and became a popular comedienne in the 1950s. Her short plump stature and mischievous eyes really aided her in transitioning from leading to comedy roles. In films like Naujawan (1951), Dholak (1951), Sindbad the Sailor (1952), Ek do Teen (1953), Baaz (1953) etc she was cast in happy-go-lucky roles and even paired with other popular comedians of her time e.g. Bhagwan in Sindbad the Sailor (1952) and Gope. Her last few films as character actress were released in early 1970s including Seema (1971), Hare Rama Hare Krishna (1972), Do Phool (1973) etc .

Between Lalaji (1942 Her first Movie) and Do Phool (1973 her last movie), she acted in about 85 films. Her co stars included Jagdish Sethi, Pahari Sanyal, Shanta Apte, K. C. Dey, Manorama, Motilal, Shobhana Samarth, Leela Misra, Trilok Kapoor, Sadhana Bose, Khurshid, Kanhaiyalal, Ulhas, Yakub, Jairaj, Rehman, Suraiya, Prem Adeeb, Nirupa Roy, Shyam, Kuldip Kaur, Jeevan, Cuckoo, Bharat Bhushan, Lalita Pawar, K. N. Singh, Meena Kumari, Jankidas, Durga Khote, Mukri, Bhagwan, Jagirdar, Nigar Sultana, Ajit, Pran, Agha, Sunder, Anwar Hussein, Jayant, Shakila, Naseem Bano, Guru Dutt, Ratan Kumar, Mahipal, Ifftekhar, Bina Rai, Rajendranath, Helen, Madhubala, Sapru, Sulochana, Sunil Dutt, Meena Kumari, Daisy Irani, Ashok Kumar, Kumkum, Vaijayantimala, Begum Para, Tuntun, Balraj Sahni, Devanand, Prem Chopra, Rajendra Nath, Aruna Irani, Mehmood & Rajendra Kumar.

From the younger generation, her co-stars included Rakhee Gulzar, Rakesh Roshan, Hema Malini, Simi Garewal, Kabir Bedi, Zeenat Aman, Vinod Mehra, Mumtaz and Mehmood Junior. She worked with almost all prominent directors in Film industry including S. S. Vasan, Devendra Goel, Guru Dutt, Mohan Segal, P. L. Santoshi, M.Sadiq, D. N. Madhok, H.S.Rawail, B. R. Chopra, Rafiq Rizvi, Kishore Sahu, Dev Anand and Mahesh Kaul.

She started as a co-star, moved to lead roles, shifted to comedy (Mostly with another comedian of her time known as Bhagwan and Gope) and finally did some memorable performances as a character actress (Seema, Hare Rama Hare Krishna and Do Phool etc.).

Her close friends included Nalini Jayawant, Laita Pawar and Nirupa Roy. Sometime in around 1958, she married a Naval officer (Commander Bhandari) and lived a happy married life. After 1973, she did not act in films and slipped into Oblivion. She died of a sudden heart attack, in 1974 (Autar Mota)
(Thanks to Suresh Sarvaiya, Blog Chinar, Film Directory-46 and my notes).

Before I conclude this post, once again ” Happy Birthday ” to this Blog and Congratulations to Atul ji. After today, the Blog will enter its Teen Age-Thirteen!

Song-Baithe raho joru ke paas baaki duniya sab bakwaas(Bhai Bahan)(1950) Singers- Shamshad Begam, Satish Batra, Lyricist-Raja Mehdi Ali Khan, MD- Shyam Sundar
Both

Lyrics

hum chaand si ik dulhan
aaj apne hain ghar laaye
koi na idhar dekhe
koi na idhar aaye
baithe raho joru ke paas baaki duniya sab bakwaas
baithe raho joru ke paas baaki duniya sab bakwaas
baithi rahoon dulha ke paas baaki duniya sab bakwaas

kaisi sundar surat ho tum ik cheeni ki
ae ji ik cheeni ki moorat ho tum
narm narm ho jaise kapaas baaki duniya sab bakwaas
baaki duniya sab bakwaas
main halwaa hoon tu hai mithaai
main halwaa hoon tu hai mithaai
tu hai rabadi main halwaai
main hi jaanoon teri mithas
shahad aur shakkar sab bakwaas
shahad aur shakkar sab bakwaas
koi na sharbat de ab mujhko raam kasam hai
ae ji raam kasam hai
dekh ke tujhko bujh gayi mere man ki pyaas
lemon soda sab bakwaas lemon soda sab bakwaas

log mujhe kahte hai Gope
tu bandook hai main hoon top
donon kar de satyaanaash
bomb aur gole sab bakwaas
bomb aur gole sab bakwaas
kad ke itne chhote ho tum
kad ke itne
aji phir kyun itne mote ho tum
khaata hoon do ser malai
khata hoon sau baar mithaai
uyi meri maiyya raam duhaai
sajani ho sajani bhookh lagi hai mujhko
saajan ho saajan main doongi tujhko
ubli hui sabji aur daal
rabdi mithaai sab bakwas
aji baithe raho joru ke paas
ae ji baithi rahoon dulha ke paas
baaki duniya sab bakwaas

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

Today’s song is from the film Gumashta-51. This was a film by S M Yusuf, the producer and Director, under his own banner Aaina Pictures, Bombay. The music Director was K.Datta aka Datta Korgaonkar. This style of nomenclature especially by Marathi composers was started first by the successful C Ramchandra aka Ramchandra Narhari Chitalkar. Till he changed his name, when he had joined Jayant Desai in 1943, C Ramchandra used to write his name as Ram Chitalkar. Besides these two Music Directors, there were some more like N Dutta or Dutta Naik, SbPurushottam or Purushottam Solankurkar and C Balaji or Balaji Chougule. Off hand, I can remember only these names.

The cast of the film was Nigar Sultana, Wasti, Kuldip Kaur, Baby Tabassum, W M Khan, Husn Banu, Ismail, Nurjehan Sr, Mirza Musharraf etc etc. There were 9 songs in the film written by Raja Mehdi Ali Khan, Wahid Qureshi and Noor Lucknovi.

The title of the film is Gumasta- spelt differently as Gumastha or Gumashta etc. How many of us really know what the meaning is of the word Gumasta ? The simple meaning is ‘ Agent ‘. Actually, this word came into use when the British East India Company appointed people to collect Protection money from the rich people as a ransom. Thus, they became agents. Later on, this was the name used for anyone who came for collecting money. For example, Rent collector from the house owners, Bill payments from the shop keepers, doctors and other suppliers of goods and services.

Our filmmakers were quite imaginative. They solved their problem of giving titles to their films, by opting for those who did specific jobs, like say Pandit ji, Munimji etc etc. Out of just curiosity a cursory look at the catalogue of film titles, which is otherwise a very prosaic document, I found that films were titled for various Service Providers.

Let us see some Film Titles…. Pandit ji, Munim ji, Gyani ji, Gurudev ji (but not Guruji ? injustice !),Chowkidar, khazanchi, Daak Babu, Band Master, Bank Manager, Barrister, professor, School Master, Minister, Chief Minister, President, Boss, Body Gaurd, CID Inspector, Inspector, Boxer, Chaandaal, Daroga ji, Daaku, Dalal, Detective, Director, Dancer, Doctor, Durban, Fauzi, Film star, Gawaiya, Gramophone singer, Hero, Heroine, Jadugar, Jagirdar, Jasoos, Jailor, Jallad, Joker, Juari, Kavi, Police, Postman, Pujari, Qaidi, Raisaheb,Senapati, Taxi Driver, Typist Girl, Ustaad etc etc.

This information only confirms that our filmmakers are very imaginative and the films made in India are on varied topics. With this kind of angle to look at the film catalogue, hitherto unthought of, provides insight into film making, surely !

The producer director of film Gumasta-51, S M Yusuf was one of the very few people from Indian film industry, who became very successful in Pakistan. After his last film Mehendi-58 in India, he migrated to Pakistan, and remade this film as Saheli-60. It was released on 23-12-1960. It proved to be a great Super Hit film and offers piled up with Yusuf. Later, he also made a remake of Indian film Gumasta-51 as Bahurani-69. It was released on 4-7-1969. This was also successful. Lastly, he remade Indian film Nek Parveen-46, with the same name. It was released on 5-12-1975. This film, however, did Average business. In all he did 13 films in Pakistan. In today’s film Gumasta-51, his own wife Nigar Sultana was the Heroine.

In the cast two names-Wasti and W M Khan- are actors about whom not much is known. I feel the younger generation may not have heard their names even.

Riyasat Ali Wasti was born in 1912, at Naagao in U.P. His father was Citi magistrate, a judge and Dewan of the state. The family was well known in Bundelkhand area. After graduating from Ambala, Wasti did service for 7 years in the PWD of Punjab. He wanted to join films and he became a Hero in New oriental Films, Lahore’s ” Premyatra”-37. His Heroine was Umarazia Begum,later on the wife of Ghulam Haider. He acted in Bombay’s films like Baghban,Industrial India,Pati Patni, Rikshawala,Thokar , Qaidi, Nartaki, Kudmai(Punjabi), Awaz, Nai Duniya, Sharda, Namaste etc. He was a fixture for Kardar films.As a Hero he did many films. In all he had acted in 63 films. He sang 5 songs in 2 films also-Rikshawala-38 and Pati Patni-39.

In the 50s he acted in 11 films. In 60s and 70s he did 20 films. His roles in jab pyar kisi se hota hai and Phir wohi dil laya hoon may be known to many.His last film was kasam-76. Two films produced by him in 1952 and 56 flopped. Last 20 years of his life were spent in penury and anonymity. In his last years,he was often seen begging near liberty cinema in Bombay. He died on 15th April 1996.

Old timer Wasti, who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in the forties and many Punjabi & Hindi movies later on, was passing through a bad phase . Nasir Saheb honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon.

Actually Wazir Mohammed Khan is a name which will be always mentioned, whenever Hindi Talkie films are chronicled. He was the FIRST on screen singer in the first talkie film- Alam Ara-1931. W.M.Khan was a Pathan. His first film was ‘Alam Ara’-31 and his last film was also Aalam Ara-73. He sang a song in the first film and again the same song in the similarly titled film Alam Ara-56. I saw him on the screen for the first time in the film Kabuliwala-61, in which he lip synched the famous song ” Aye mere pyare watan…”. W.M.Khan acted in 105 films. He sang 6 songs in 4 films, namely Alam Ara-31, Sair e paristan-34, Dard e dil-34 and after 22 years he sang his first song again in film Alam Ara-56- though no record was issued for it, even here !

When he acted in the third version of Aalam Ara in 73, he became the first male actor to have worked in 3 films with the same title, from the very first Talkie film. The next and the only other actor to achieve this feat was Ashok Kumar, who acted in Kangan-39, kangan-59 and kangan-72. The only female actress to achieve this feat was Sulochana ( Ruby Meyers) who had acted in Anarkali-28, Anarkali-35 and Anarkali-53.

W.M.Khan died on 14-10-1974, in Bombay.

Today’s song is a comedy duet sung by Shamshad Begum and G M Durrani. Almost all songs of this film are very good.

Song- Tera gora gore gaal humko ekdum pasand hai (Gumaashta)(1951) Singers-G M Durrani, Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD- K.Datta
Unknown male voice

Lyrics

Tera gora gore gaal
Tera gora gore gaal
humko ekdum pasand hai
hoy tera honth laal laal
humko ekdum pasand hai
ekdum pasand
Tumhre gora gore gaal
ye lipstick ki baaliyaan
tauba hai tauba hai
hoy hoy hoy
ye aankhen chaai ki pyaaliyaan
tauba hai tauba hai
aay haay
oy tauba
oy tauba
ye London ka maal
ye London ka maal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

hua hai ya nahin hua hai
shaadi aap ka
mere shaadi mein ??
mere baap ka
hum ekdum kunwaara hai
ekdum kunwaara hai
bundle to nahin maara hai
bundle to nahin maara hai
naay naay naay naay
tumhaara dekh bhaal
tumhaara dekh bhaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

zara humse door rahiye jee
ye dil churaaye maal hai
dil churaaye maal hai
aisa na kaho memsaab
hamaara bura haal hai
jee hamra bura haal hai
tumhra bura haal
tumhaara bura haal
humko ekdum pasand hai
ekdum pasand hai
tumhre gore gore gaal

aa aa aa aa
aa aa aa aa aa
lalalalalalala
teri nazar to mere gore mukhde par nisaar hai
lekin
pati hamaara kahta hai
hum ekdum ganwaar hai
hum ekdum ganwaar hai

na
gadha hai
arre bewaqoof hai
kahaan hai wo
khabar loon
us manhoos beimaan ki
bhala gadha kya jaane
kadr ?? kuraan ki
tumaara ye khayaal
tumaara ye khayaal
humko ekdum pasand hai
ekdum pasand hai saab

tumhaara intkaal
tumhaara intkaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
tumhra gora gora gaal
humko ekdum pasand hai
haan munna
tera honth laal laal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

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

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.

Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re
hoye hoye re hoye re
arre o mareez
khaaya thha kya
teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya
khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya
arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re
hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein
mohabbat karne waale mein
mohabbat karne waale mein
khuda bakhse bahut si
khoobiyaan ki marne waale mein
aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy

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

“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it.

The movie had seven songs in it. Five songs have been covered in the past.

Here is the sixth song from “Husn Ka Chor”(1953) to appear in the blog. The song is sung by Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bulo C Rani.

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

Song-O duniya banaane waale bata anjaam hamaara kya hoga(Husn Ka Chor)(1953) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani

Lyrics

o duniya banaane waale bata
anjaam hamaara kya hoga
o duniya banaane waale bata
anjaam hamaara kya hoga
taqdeer khafa tadbeer khafa
jeene ka sahaara kya hoga
o duniya banaane waale bata
anjaam hamaara kya hoga
o duniya banaane waale bata

hans hans ke hamen koi loot gaya
hans hans ke hamen koi loot gaya
kismat ka sitaara toot gaya
ae falak bata barbaadi ka
ab aur kinaara kya hoga
o duniya banaane waale bata
anjaam hamaara kya hoga
o duniya banaane waale bata

guzre huye din tadpaane lage
guzre huye din tadpaane lage
in aankhon mein aansoo aane lage
in aankhon mein aansoo aane lage
roti huyi aankhon ke aage
saawan ka nazaara kya hoga
o duniya banaane waale bata
anjaam hamaara kya hoga
taqdeer khafa tadbeer khafa
jeene ka sahaara kya hoga
o duniya banaane waale bata

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

“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it.

The movie had seven songs in it. Six songs have been covered in the past. Here are the details of the songs that have been covered so far :-

Here is the seventh and final song from “Husn Ka Chor”(1953). The song is sung by Shankar Dasgupta and Sandhya Mukherjee. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bulo C Rani.

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

With this song, all the seven songs of “Husn Ka Chor”(1953) have been covered in the blog. “Husn Ka Chor”(1953) thus joins the list of movies that have been YIPPEED in the blog.

Lyrics(Provided by Prakashchandra)

dheere dheere dil mein samaa aa aa
dheere dheere dil mein sama aa
dil ki dhadkan ye keh rahi hai
dil ki dhadkan ye keh rahi hai ae ae
chupke chupke aankhen mila aa
dil ki dhadkan ye keh rahi hai ae
dil ki dhadkan ye keh rahi hai ae ae
dheere dheere dil mein sama aa

ek ishaara kar do to la doon
ek ishaara kar do to la doon
aasmaan ke ye sitaare
aasmaan ke ye sitaare
kaho to chun chun ke ulfat ki kaliyaan
kaho to chun chun ke ulfat ki kaliyaan
haar pahna doon galey tumhaare
haar pahna doon galey tumhaare ae ae ae
thhodi thhodi ulfat jata aa aa
thhodi thhodi ulfat jata aa
dil ki dhadkan ye kah rahi hai
dil ki dhadkan ye kah rahi hai ae ae
chupke chupke aankhen mila aa aa
dheere dheere dil mein sama aa

haatho mein jo haath liya hai ae
haathon mein jo haath liya hai
dekho chhoot na jaaaaye
dekho chhoot na jaaaaye
bada hi naazuk dil ka sheesha aa
bada hi naazuk dil ka sheesha
dekho toot na jaaaaye
aisi baaten lab pe na la aa aa
aisi baaten lab pe na la aa
dil ki dhadkan ye kah rahi hai ae
dil ki dhadkan ye kah rahi hai ae ae
chupke chupke aankhen mila aa aa
dheere dheere
dheere dheere dil me sama aa aa
dheere dheere dil mein sama

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

Today’s song is from the film Garma Garam-1957.

The film was made by G.M.Pictures, Bombay. The Producer was Navin C Shah and the Director cum story writer cum Screenplay writer cum Lyricist was P.L. Santoshi. The film had music by Vinod. The 11 songs of the film were written by P L Santoshi, D N Madhok and Raja Mehdi Ali Khan. 3 Songs are already on the Blog and this will be its 4th song. Interestingly, this song is written by Santoshi and RMA Khan jointly, as per a note on HFGK.

Of course, this is nothing new. Such things have happened several times in Hindi films. Here are few examples of joint writing the Lyrics of songs….

1.Footpath-53….The famous song by Talat – ” Shyam e gham ki kasam”….Ali Sardar Jafri and Majrooh Sultanpuri.
2.Miss Bombay-57….” Zindagi bhar gham judai ka….Prem Dhawan and Asad Bhopali
3.Buzdil-51….” Rote rote gujar gayi raat re”….Kaifi Azmi and Shailendra
4.Humlog-51….All songs….Vishwamitra Adil and Uddhav Kumar
5.Pardesi-57….” Rimzim barse paani”….Prem Dhawan and Ali Sardar Jafri

This is one of those strange things that happen in Hindi film industry. Of course, such “Mutual Collaboration” are also found in some cases of Film Direction – where two Directors direct a film jointly (those cases are different where a Director dies and another completed his balance work or where the first director left the film and another took over). This has also happened in Music direction where two MDs jointly gave music (cases of established MD pairs are different).

The second notable thing about the film was – the cast consisted of Agha, Gope, Omprakash, Bhagwan, Marutirao, Chhota Gope, Indira Bansal,Nadira, Rajni, Miss Kamal, Maya Das, Krishna kumari and many others. The film was classified as a ” Stunt’ film. I wonder what stunts this band of comedians performed in the film. I saw this film when it was released simultaneously on 5th July 1957 at Lamington Cinema, Bombay as well as in Ashok talkies in Hyderabad. After seeing the film we felt like having got cheated. The film had no stunts and nothing in the film to make the audience ” Garam” either ! In those times while Vinod’s songs of “Ek thi Ladki-1949″ were still echoing in our ears, music of this film made us completely ” Thanda Thanda” and made us wonder if he was the same MD Vinod of Ek thi ladki ? Here is the film’s story which will prove what I have said….

Wealthy Garibdas has no issues, but only 2 Nephews- Banke, a simpleton and Banwari a chaalbaaz, who spends money on dancing girl-Chandni. Knowing this Garibdas makes his will in the name of Banke. While recording his will on camera, he dies without telling location of his wealth halfway.

Banke contacts the photographer-Asha for enquiry. They fall in love. While searching they find that a map and 6 keys hidden in 6 Golden Chairs had the secret. But the chairs are already sold by Banwari to various people in India. They get addresses from the auctioneer who sold these chairs.

Asha and Banke contact all those buyers and get the 6 keys. meanwhile, Banke comes to know all this and catches up with the pair. There is a fight in Banke and Banwari. Banke wins the fight, but magnanimously gives the keys to Banwari. Seeing this generosity, Banwari has a change of heart and both embrace each others.

Finally, they find a Box. Using the keys, they open the Box, only to find only a piece of white paper written ‘ God helps those who help themselves”.
Asha has an idea. She starts pressing the box in different ways and suddenly it opens and the map is found where the wealth is hidden.
The two brothers share the wealth.

The End.

In the cast of the film, there is a name Maruti Rao. He was a comedy actor and father of Comedienne Guddi Maruti. Earlier to him there was another actor called Marutirao Pehelwan ( father of Dancer Gopi Krishna), who operated from Silent films to Talkie films till early 40’s. Although same name, these actors did not cause any ” Same Name Confusion”, because they operated one after another – without overlapping their career period. However, I still found that some sites making a mix up of their Filmography.

His full name was Marutirao Ganpatrao Parab. He was born on 12-2-1927 at Ahmednagar, near Poona. After completing his Matriculation, he came to Bombay to try his luck in film acting. His first few films like Pagli Duniya-44, and Gajre-48 were without his name in credits He got his credits firmly from film Albela-51. Then he faeatured in many many films…Footpath-53, Baap re Baap-55, Baghdad ka chor-55, Chori chori-56, Guest House-59, Opera House-61, parasmani-63, Lutera-65, Ustad 420-69, Shor-72, Kunwara Baap-74, Don-78 etc etc. In the 60’s he mainly worked in Dara Singh films.

He acted in total 221 films and featured in 34 songs on screen. He also directed 7 films, namely Baghi Shehzada-64, Hum sab ustad Hai-65, Killers-69, Bank Robbery-69, Mangu Dada-70, Kahin aar kahin paar-71 and Hum sab chor hain-73. His last film as actor was Bandish – 1980. As an actor he was not much satisfied, but film direction gave him joy and satisfaction. After his last film he retired from films. However several films like karate-83 and Naya Bakra-85 got delayed releases. He died peacefully on 12-3-1981.

he had married his co-star Miss kamal, a small time actress who worked in films like Dashehra-56, Tartar ka chor-55, Garma Garam -57, Darbar-55, Riyasat-56 etc. etc. Their daughter Guddi Maruti had a better luck in films than both of them. ( Thanks to a note by Rajni kumar Pandya ji, book ‘Eena, meena deeka’ by Sanjit Narvwekar, HFGK, muVyz and my notes).

Today’s song is a Qawali sung by Mohd.Rafi, S D Batish, Asha Bhosale and Shamshad Begum with Chorus.

Song- Hum ko to mohabbat hai un se (Garma Garam)(1957) Singers- Rafi, S D Batish, Shamshad Begam, Asha Bhonsle, Lyrics-Lyricist- P L Santoshi, Raja Mehdi Ali Khan (Joint ), MD- Vinod

Lyrics

Humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
nazron se jo nazren mil jaatin
ae jee mil jaati mil jaati mil jaati
ae jee mil jaati mil jaati mil jaati
nazron se jo nazren mil jaatin
ye duniya jannat ho jaati
ye duniya jannat ho jaati
haan haan
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
aa aa aa aa
chilman uthi bijli chamki
wo ek jhalak dikhlaa ke gaye
jab nazron ne unki balaayen lin
aa aa aa aa aa
jab nazron ne unki balaayen lin
wo saamne thhe sharmaake gaye
din raat tadapne waalon ko
ek baar wo phir tadpaake gaye ae ae
gar hans ke wo saamne aa jaate
haan aan aan aan aan aan aan
gar hans ke wo saamne aa jaate
aji aa jaate aa jaate aa jaate
gar hans ke wo saamne aa jaate
kooche mein qayaamat ho jaati
kooche mein qayaamat ho jaati
aa aa aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa
aa aa aa
chilman uthhi jooti chamki
ye sab ke sab ghabraake gaye
haaye
aahen na bhari shiqwe na kiye
darbaan ke dande kha ke gaye
sar pe paanv rakh ke bhaage
thhokar khaayi
uhu
sharmaake gaye
gar thhodi si der ye ruk jaate
in sab ki hajaamat ho jaati
aji ho jaati ho jaati ho jaati
in sab ki hajaamat ho jaati
hajaamat hajaamat hajaamat
humko to adaawat hai inse
unko bhi adaawat ho jaati
haha
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa aa
din raat tasawwur hai unka
aur chupke chupke rona hai
ae subah ke taare tu hi bata
aa aa aa
aa aa aa
ae subah ke taare tu hi bata
anjaam mera kya hona hai
unki furkat mein mujhe kab tak
kaanton ke sej pe sona hai ae ae ae
gar phool sa chehra dikhlaate
dikhlaate dikhlaate dikhlaate
gar phool sa chehra dikhlaate
kaanto mein bhi raahat ho jaati
aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
takiye mein apna sar deke
tujhe chupke chupke rona hai
o o o o
aa aa aa aa
aashaon ka kambal odhe huye
tujhe tooti si khatiya mein to sona hai
ya tu jaane ya main jaanoon
anjaam tera kya hona hai ae ae ae
wo tujhpe marte to TB ki shiqaayat ho jaati
aji ho jaati ho jaati ho jaati
TB ki shiqaayat ho jaati
humko to adaawat hai unse
unko bhi adaawat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati

aa aa aa aa
aa aa aa aa
hum dil ka chain luta baithhe
ab khoone tamanna peete hain
ji lagta nahin hai ae ae
duniya mein
go jeene ko hum jeet hain
o o o
ye dil ka paan to kha baithhe
ab aahon ke cigarette peete hain
ae doctar aakar tu hi bata aa aa
ye mar gaye hain ya jeete hain
quinine agar na kha lete
in sab ko haraarat ho jaati
aji ho jaati ho jaati ho jaati
in sabko haraarat ho jaati
aa aa
humko to adaawat hai unse
unko bhi adaawat ho jaati

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

“Shola Aur Shanam-1961” was directed by Ramesh Saigal for ‘Parijaat Pictures, Bombay’. It was a social drama movie.

This movie had Tarla, Dharmendra, Abhi Bhattacharya, M. Rajan, Mubarak, Vijaylakshami, Jeevankala, Sulochana, Leela Mishra, Dhoomal, Johny Whisky, B.N. Shukla, B. Parera, Baby Chandrakala, Master Akashdeep, and others.

This movie had ten songs as mentioned in HFGK Vol-IV (1961-1970). As many as five lyricists wrote the songs for this movie. Music for this movie was composed by Khayyam.

The list of the songs this movie has is as given below.

From the above table we can see that six songs out of ten songs of this movie have been posted on the blog so far.

Today 18^th February’2022 is the ninety-fifth birth anniversary of music director Khayyam (18.02.1927 – 19.08.2019). As a tribute to him on this occasion, I am presenting a song from this movie ‘Shola Aur Shabnam-1961’. This movie made its debut on the blog on 10.05.2009 and still waiting for its all songs to be covered on the blog.

Today’s song is sung by Asha Bhonsle, and it is picturised on Baby Chandrakala and Master Akashdeep. Also seen in the picturisation of this song is Leela Mishra and other artists. (I could not identify the man playing Leela Mishra’s husband.)

Today’s song, though a children song, is a description of fighting and patch-up between the parents.

I think this must be one of the very few songs that Khayyam Saab composed as a ‘children song’. I do not remember any other song. I would request knowledgeable readers to throw more light on this movie and its songs.

Let us now enjoy today’s song sung by Asha Bhonsle. Lyrics are by Raja Mehndi Ali Khan. Music is composed by Khayyam Saab.

Lyrics of this song were sent by Prakashchandra.

Audio

Video

Song-Mummy aur daddy mein ladaai ho gayi (Shola Aur Shabnam)(1961) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Khayyam

Lyrics(Provided by Prakashchandra)

mummy aur daddy mein
mummy mein daddy mein
mummy aur daddy mein aen aen aen
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee ee

daddy ne gussey mein aake de dee gaaliyaan
anpadh
bewaqoof kahin ki
daddy ne gussey mein aake de dee gaaliyaan
mummy ne gussey mein aake todi thaaliyaan aan
todi thaaliyaan
maine jo donon se kahaa peace peace peace
maine jo donon se kahaa peace peace peace
donon ne tamaache mujhe maarey bees bees
maarey bees bees
apni to muft mein thukaayee ho gayi
apni to muft mein thukaayee ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee

daddy ne inkaar kiya khaane ke liye
mummy ne saamaan baandhaa jaane ke liye
hunh hunh jab dekho gaali dete ho
sambhaalo apna ghar
main jaati hoon apne maaike
haan
main to samjhaa donon mein judaai ho gayi ee
main to samjhaa donon mein judaai ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee

thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
dheere dheere sulah aur safaayi ho gayi ee ee
dheere dheere sulah aur safaayi ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee ee

daaddy’on ko mummy’on sataayaa naa karo
mummy’on ko daaddy’on rulaaya naa karo
chhoti chhoti baat ko badhhaayaa naa karo
bhaloo ka tamaashaa aa
bhaaloo ka tamaashaa
ye dikhaayaa na karo oo oo oo oo

baat nikli munh se to paraayi ho gayi ee
baat nikli munh se to paraayi ho gayi
mummy aur daddy mein ladaayi ho gayi
haan cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee

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

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 26
————————————————————————————–

This date ten years ago (viz 11 March 2012) was a normal productive day for the blog. As many as 8 songs from eight different movies were covered in chronological order. Here are the details:-

It can be noticed that four movies out of 8 have since been YIPPEED. Another movie is one short of YIPPEEdom but that song seems unavailable as of now.

That leaves us with three movies that are eligible for Blog Ten year challenge today (11 march 2022). This time, for a change, I have decided that ll three movies should be taken up under Blog Ten Year Challenge.

“Alibaba Aur Chaalis Chor”(1954) is one those movies. This movie produced and directed by Homi Wadia for Basant Pictures, Bombay. The movie had Mahipal, Shakila, B M Vyas, S N Tripathi, Maruti, Sharda etc in it.

The movie had eight songs in it . Four songs from the movie have been covered so far. Here is the fifth song. The song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by S N Tripathi and Chitragupta.

The song is ppicturised on Shakeela, B.M.Vyas, Mahipal ,Maruti Rao etc in it.

Lyrics were sent to me by Prakashchandra.

video link:

audio link:

Song-Sharma ke lajaa ke main ek jhalak dikhlaaoon (Alibaba aur Chaalis Chor)(1954) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-S N Tripathy/ Chitragupta

Lyrics(Provided by Prakashchandra)

sharmaa ke lajaa ke main ek jhalak dikhlaaoon
haath kisee ke na aaoon
sharmaa ke lajaa ke main ek jhalak dikhlaaoon
haath kisee ke na aaoon

anjaam inhein maaloom nahin
masti mein hain ye deewaa..aaney
masti mein hain ye deewaaney
anjaam inhein maaloom nahin
masti mein hain ye deewaa…aaaney
masti mein hain ye deewaaney
kyun shammaa jalee mehfil ye sajee
ye raaz koyi naa jaaney aey ae
ye raaz koyee na jaaney
tadpaa ke dikhaa ke main naaz-o-adaa chali jaaoon
laut ke phir nahin aaoon
tadpaa ke dikhaa ke main naaz-o-adaa chali jaaoon
laut ke phir nahin aaoon
sharmaa ke lajaa ke main ek jhalak dikhlaaoon
haath kisee ke na aaoon

mere lab pe hansee
mere dil mein khushi
mere jaal mein panchchi aaye..aey
mere jaal mein panchchee aaye
mere lab pe hansee
mere dil mein khushi
mere jaal mein panchchi aaye..aey
mere jaal mein panchchee aaye
naa main jaanoon
naa dil jaaney
kab waar meraa chal jaaye aey ae
kab waar meraa chal jaaye
bal khaa ke chalaa ke main teer-e-nazar itraaoon
dil na kisee se milaaoon
bal khaa ke chalaa ke main teer-e-nazar itraaoon
dil na kisee se milaaoon
sharmaa ke lajaa ke main ek jhalak dikhlaaoon
haath kisee ke na aaoon

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

Today we have a 2-part song from the film Guzara-1954.

The film was made by Aina pictures-owned by S.M.Yusuf. The film was produced and directed by S.M.Yusuf himself. he also did a small role in this film- the only film role he ever did in his film career. There were 3 lyricists- Raja Mehdi Ali Khan (5 songs), Fauk Jami (2 songs) and Munir Lucknowi (1 song) for the film’s 8 songs. Music Director was Ghulam Mohammad.

I have not seen this film. However, from what I have learnt about the film from various sources is that , the film was based on the life of a middle class family who finds it difficult to run the family in the limited income that the family had. The story concluded that mental happiness with our own people is the greatest happiness compared to rich living ! A typical Nehruvian philosophy- very popular in those times. Even big filmmakers like Mehboob Khan were also sold on this ideology. These were the days of rationing and shortages, increasing corruption and black marketing. The common man was broken in pieces but was fed the socialistic wine to keep him quiet !

The cast of the film was Karan Dewan, Paro, Jabeen jalil, Chand Burke, Baby Naaz, Romi, Tiwari, Balam and many others. This was the film in which actress Jabeen Jalil made her Debut.

In the early days of cinema, people joined the film industry for various reasons like…
1) joining filmline did not need any special skill
2) language, religion, education was not a consideration
3) need to earn
4) readiness to do any work

As the Talkie film era started, the requirements changed. For acting, one needed the ability to speak Hindi/Urdu fluently. A reasonably good looking personality and knowledge of singing were additional qualifications. For other technical departments, readiness to do hard work and a will to learn were required. During this phase many girls from singing families (read Tawaifs) were preferred and for them entry into films was easier compared to others. Many girls joined the filmline to get a good husband and settle as a housewife with dignity. Thus many Gujarati Sethiyas married actresses.

There was a very small but distinct category of artistes, who joined films as a “time pass’ or a passion for a short period. These artistes had no intention to continue in the film line.Their interests were varied and different from only doing work in films. included in this category were Classical singers like Manik Varma, Hirabai badodekar, Ram Marathe, Phiroz Dastoor, actresses like Shakuntala Paranjpye, Vasanti, Renuka Devi etc, writers like Dewan Sharar, Lyricists like Moti,B.A., MD like Mukund Rai Trivedi, actors like Kaycee Mehra, Shashi Kapoor Sr. etc, classical instrument players like Ravi Shankar, Pannalal Ghosh, Alla Rakha, Ali Akbar khan etc.

Nevertheless 99% of people joined because they needed to earn money. In the cast of today’s film Guzara-54, you see a name Jabeen Jalil. She is one such artiste who needed to earn money. Jabeen Jalil was a short petite but attractive actress.She was born on 1st April 1936 in Delhi, but was educated in Japan and Bombay, as her father was in foreign services of India.

She used to take part in college dramas and in one such drama the judges were Nigar Sultana and her director husband S.M.Yusuf. They offered her a film as a Heroine. Jabeen’s father had expired and only mother and younger brother were there. She accepted the offer. Her first film was Guzara in 1954. Her second film in 55 was Lutera. Her first hero was Karan Dewan and second was Nasir khan.
She became famous in New Delhi-56, in the role of Kishore’s sister Nikki’s role. She acted in 29 films, out of which 6 were unreleased. She also acted in 4 Punjabi films. She got a National award in 1962 for a Punjabi film in which her Hero was Prem Chopra.
She married Ashok Kak, a kashmiri Brahmin in 1968 and she did her last movie in 1974 Vachan. In 1989 they went to the US for 10 years and came back to Mumbai.Her son Divvij Kak is also an actor and Jabeen became a producer with Jabeen International.
She lives in Dadar, Mumbai nowadays.

Jabeen was a very short, thin and small frame girl. Some other actresses like her were Nimmi, Chand Usmani,and Smriti Biswas who all always looked like young girls.

The Hero of the film was Karan Dewan.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artists Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers, was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not help Dewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited, being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of the Cine artistes association, no one else from the Film industry was present.

Today’s song is the 3rd song from the film Guzara-1954. In the part 2 song you will be surprised to hear the voice of Pt.Hridaynath Mangeshkar. It sounds just like a girl’s voice. I was confused but on inquiry, our Sadanand Kamath ji confirmed that the voice was that of Hridaynath only. Enjoy…

Part I

Part II

Song- Rang Rangeele pyaare pyaare laaye hum khilaune (Guzaara)(1954)- Singer- Lata / Hridaynath Mangeshkar– Lata, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Mohammad
Lata + Hridaynath Mangeshkar

Lyrics

——————————–
Part I- Lata Mangeshkar
——————————-

o o o o o
Rang Rangeele pyaare pyaare
laaye hum khilaune
Rang Rangeele pyaare pyaare
laaye hum khilaune
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

mausi ye gudiya tumhaari
ee ee ee ee ee ee
mausi ye gudiya tumhaari
bahu ban ke aayegi
haan bahu ban ke aayegi
pyaar se rakhogi usey
tumhaari ban jaayegi
tumhaari ban jaayegi

usko tum sataana na
zulm ispe dhhaana na
samdhan ko rulaana na
karogi rasoi ye bhi
bichaayegi bichaune
Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

?? ghar ki
udhar na lagaana
bhabhi aur bhaiyya ne maara
maara maari na karaana
maara maari na karaana

dulha miyaan dekho duniya
pyaar ki basaana
miyaan biwi jhagdenge to
hansega zamaana
dek bahu
nanad ko sataana na
saas ko jalaana na
susar(??) ko phudaana na
tum ?? seekhna
A B C D seekhna

theek hai beti

baaten nahin meri
mithhai ke ??
Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

———————————
Part II (Lata- Hridaynath Mangeshkar)
———————————-

Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

babujee namaste
mausi jee namaste
pyaare bhaiyya
tum hi le lo
mere khilaune saste
ho o o
pyaare bhaiyya
tum hi le lo
mere khilaune saste

chaar aane mein gudiya doongi
chulha aur bichaune
chaar aane mein gudiya doongi
chulha aur bichaune
Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

seth jee
o seth jee
arre chal chal chal

jhidkiyaan de log denge
hum na kuchh bhi zabaan se
maare maare kyun phirte hain
poochho ye bhagwaan se ae ae
poochho ye bhagwaan se
bheekh nahin lenge baaba
le lo ye khilaune
bheekh nahin lenge baaba
le lo ye khilaune
Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

chalte chalte tum hamaare
dil ke tukde kar gaye
dil ke tukde kar gaye
ek thhokar se tumhaare
jeete jee hum mar gaye
jeete jee hum mar gaye
dil toota khilaune toote
aankhen lagi rone
dil toota khilaune toote
aankhen lagi rone
Rang Rangeele pyaare pyaare
laaye hum khilaune
bachchon ke ye dil ke tukde
le lo aune paune
laaye hum khilaune

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

Today’s song is from the ‘1952’ movie ‘Saloni’.

If you are a music lover and have been collecting cassettes earlier, you will remember that when HMV brought out the compilations of songs ‘decade wise’ it mentioned this decade of 1956-1966 as the ‘Melodious Years’ of Hindi Cinema. (If I remember correctly, the earlier decades were titled as ‘The Sentimental Era (1936-1946?)” and ‘The Fabulous Years (1946-1956)”.

‘Saloni”(1952) had eight songs. Seven of them were composed by Basant Prakash and one by Vinod.

I do not remember to have listened to the songs of this movie earlier. However, I went through this movie’s details, and its songs because of our regular reader Shri Deepak Patwardhan ji, who sent me ‘farmaaish’ of the song under discussion.

‘Saloni-1952’ was directed by J.P. Advani for ‘Goodluck Pictures, Bombay’. It was produced by Ram H. Khilnani.

This movie had Ashok Kumar, Nalini Jaywant, Poornima, Gulab, Mohna, Shakeela, Rajani, Heera Sawant, Mona, Bela, Achala Sachdev, Shivraj, Radhakishan, Randhir and others.

This movie was passed by Censor Board on 14.04.1952.

(The addenda in HFGK Vol-III (1951-1960) mentions that this movie was earlier titled as ‘Chanchal’).

As mentioned above this movie had eights songs composed by two music directors. Four lyricists penned the lyrics of the songs. The breakup of their workload is given below

Here are the details of the songs of this movie :-

We can see that four songs from this movie have been posted on the blog.

Today’s song is a melancholic song sung by Lata Mangeshkar. Lyrics are by Raja Mehndi Ali Khan and music is composed by Basant Prakash.

Let us listen to the song now …

Song- Zindagaani ke sahaare laut aa (Saloni)(1952) Singer-Lata Mangeshkar, Lyrics – Raja Mehndi Ali Khan, Music – Basant Prakash

Lyrics

o o o o
o o o o
o o o o
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa

dhoondhti hai mujhko o
baaghon mein
bahaar aayi huyi ee
mere dil pe tere ae ae
gham ki hai ghataa
chhaayi ee huyi ee ee ee ee ee
dekh phoolon ke nazaare laut aa aa
dekh phoolon ke nazaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa

kya khabar thhi ee ee ee ee ee
tere bin
ik pal naa kal paayenge ham .an .an .an
tum agar waapas na aaye
haaye ae
mar jaayenge ham
meri qismat ke sitaare laut aa aa
meri qismat ke sitaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa
zindagaani ke sahaare laut aa