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 the last and final song of the film Hatimtai-1956.

I have a very funny memory about this film’s name, Hatim Tai. During my school days, when I first got the book “Stories of Hatim Tai”, from my school Library for reading, I thought these were the stories of the elder sister of someone called Hatim. I thought so because in marathi, ” TAI” means ‘Didi’ or elder sister. However, once i started readingthe book, I realised that I was wrong and Hatimtai was the name of the Hero of the stories. For many years thereafter, I kept on wondering about this misleading name. Finally, in another book I got the answer to my curiosity.

Abid Allah Bin Sa’d at – Tayyi was an Arabic Christian knight and Chief of the TAYYI tribe of Arabia. He was very generous, brave and adventurous. His son Adi Ibn Hatim was the companion of Prophet Muhammad of Islam. After the death of this chief, an author Sayad Haider wrote a book on him titled ” Qissa- E-Hatim Tai” ( Tai is actually the short form of TAYYI – his tribe’s name) The story book is about how Hatim Tai solved the 7 riddles of the beautiful Husn Banu and won her love. The book is full of adventure stories of Hatim Tai. This also clarifies that Hatim tai is not a character from Arabian Night stories.

When films started being made – first Silent and then the Talkie, the filmmakers would not miss such ” Masaledar’ adventures without making a film on Hatim Tai. The first silent film on Hatim Tai was made in 1929 by Krishna Film company. All over the world and the Hindi film world films were made on Hatim Tai.

Bharat Movietone of Bombay made 4 films serially on Hatim Tai as Hatim Tai-1, 2, 3 and 4. Marutirao Pehelwan, a handsome and well built actor was the hero of these films. He was the same actor who did the lead role of the first Gujarati language talkie film ” Narsi Mehta’-1932. He was the husband of actress Tara (sister of Alaknanda and Sitara Devi0 and father of the Dancer Gopi Kishen. Later on the following films came on this story…

Hatim Tai ki beti-1940
Hatim Tai ka beta-1945
Hatim Tai-1947
Hatim Tai ki beti-1955
Hatim Tai-1956
Hatim Tai ka Beta-1965 and
Saat sawal-1971

HATIMTAI(1956), a Basant Pictures film, was produced and directed by Homi Wadia. The MD was S.N.Tripathi and lyrics were by Raja Mehdi Ali Khan, B.D.Mishra, Akhtar Romani and Chand Pandit. The cast was Jairaj, Shakila, B.M.Vyas, Meenakshi, Krishnakumari, Bhagwan, Ranibala, Neena, Shaikh etc.

The story was,

Hatimtai wants to find out about a Pearl, as big as an ostrich egg, in which the owner can see anybody and anything in this world. He also wants to know the secret of Hamamabad. Princess Meher tells him that the pearl is with magician Amalak. Husn Pari loves Hatimtai but the magician has kept her in captivity. Hatimtai fights with the magician on the top of the tower, where the Parrot(in which the Magician’s life is kept) is killed and the magician dies at Hatimtai’s hands. Hatimtai breaks the magic Pearl to forbid its wrong use and releases all captives-including Husn pari, with whom he marries and becomes king of Hamamabad.

Jairaj, the hero of the film Hatim Tai-1956 was very popular in Hyderabad state, in the 50’s as “The son of Hyderabad”. He was born in Karimnagar district of this Muslim state. In Telugu he was called ” Man wadu” ( मन वाडू ), meaning ” our man”. Surprisingly, in his illustrious career of 70 years, he did not work in even one Telugu film- his mother tongue. When the film Hatim Tai was released in Hyderabad on 16-3-1956, the Nizam of Hyderabad was the chief of the state as “Raj Pramukh” appointed by the Government of India, with a hefty Privy Purse. He was quite anxious to see this film of Jairaj. So, a special show was arranged in Zamarrud Mahal Talkies, the nearest and the most luxurious theatre of those times, for H.E.H. the Nizam and his entourage.

When the song “Paravar digar e aalam ” started on the screen, the Nizam, a devout person, got emotional. He asked for a replay of the song as many as 7 times ! After 2-3 days, this news appeared in the local paper The Deccan Chronicle. This enhanced the curiosity of people and the film celebrated the Silver Jubilee in Hyderabad ! The record of this song had a record sale in the local shops too !!

Jairaj ( 28-9-1909 to 11-8-2000) was from a cultured, rich, Zamindar family. He acted in 11 Silent films from 11929 to 1931 and over 200 Talkie films from 1932 onwards. In his 70 years’ career he worked in Gujarati and Marathi films, directed 3 films, produced 3 films and acted in 3 English films. He married a Punjabi girl and had 2 sons and 4 daughters. He was the First kissing star of Hindi films. He acted in 16 films with Nirupa Roy.

When talkie films came Jairaj was handicapped by the fact that he was no singer. Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The Music Director of the film Patit pawan-33 was Prof.B.R.Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so badly, that the song was removed from the film from the second show itself. Jairaj is probably the only Hero of those days who never sang in films. Even as a lip syncher of songs (after playback singing became the norm), Jairaj has sung only 28 songs on screen despite acting in nearly 215 movies! But he managed to stay in the reckoning by starring in action films. With the introduction of playback singing, he forged forth with films like Rifle Girl, Bhabhi, Panna and Mahasagar No Moti – which were all hits.

Today’s song is the last and final song of this film, making the film YIPPEED ! Enjoy….

Song- Dil kis pe aa gaya hai tumhaara jawaab do (Hatimtai)(1956) Singers- Mubarak Begam, Asha Bhosle,Lyricist-Raja Mehdi Ali Khan, MD- S.N.Tripathi
Chorus

Lyrics

Dil kis pe aa gaya hai tumhaara jawaab do
dil kis pe aa gaya hai tumhaara jawaab do
ghaayal hua hai kaun bechaara jawaab do
ghaayal hua hai kaun bechaara jawaab do
dil kis pe aa gaya hai tumhaara jawaab do
ghaayal hua hai kaun bechaara jawaab do

jo baat poochhti ho wo kaise bataaun main
jo baat poochhti ho wo kaise bataun main
wo raaz haay kis tarah honthon pe laaun main
wo raaz haay kis tarah honthon pe laaun main
kyun chhedti ho mujhko khudaara jawab do
ghaayal hua hai kaun bechaara jawaab do
dil kis pe aa gaya hai tumhaara jawaab do
ghaayal hua hai kaun bechaara jawaab do

sharma ke aankh jhukti hai kyun har sawaal par
sharma ke aankh jhukti hai kyun har sawaal par
surkhi si daud jaati hai kyun gorey gaal par
surkhi si daud jaati hai kyun gorey gaal par
kab mil rahi ho unse dubaara jawaab do
kab mil rahi ho unse dubaara jawaab do
ghaayal hua hai kaun bechaara jawaab do
dil kis pe aa gaya hai tumhara jawaab do
ghaayal hua hai kaun bechaara jawaab do

allah bachaaye kaisi mili hain saheliyaan
allah bachaaye kaisi mili hain saheliyaan
jeene na dengi ye mujhe shaitaan ki cheliyaan
jeene na dengi ye mujhe shaitaan ki cheliyaan
chup ho na jab tak inko karaara jawaab do
ghaayal hua hai kaun bechaara jawaab do
dil kis pe aa gaya hai tumhaara jawaab do
ghaayal hua hai kaun bechaara jawaab do

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 a social film Albeli-1955.

This is a very rare song and I spent more than a month searching for this song, but could not get it. Finally, on my request I got the audio MP3 format of this song from my friend Syed Zafar Shah ji. He has always been very helpful to me. I have few other well known song collectors like Girdharilal Vishwakarma ji, Vishwas Nerurkar ji and Deepak Choudhari ji, who extend their help whenever I request them. I consider it my good luck to know them so well.

The year 1955 gave us some really meaningful and entertaining films. Raj Kapoor’s ‘Shri 420’ tried to bring in limelight, as usual, the hypocrisy of elite society. It was a great film with a message, good direction and everlasting music by Shankar-Jaikishan, the three specialities of an RK film. From this film onwards, “Raju” became the favourite name of Raj Kapoor’s Heroes.( Like ‘Shanker’ was Shammi Kapoor’s lucky name in early films. Similarly ‘Vijay’ was the favourite film name of Amitabh Bachhan in 20 films, of Jeetendra in 18 films and of Mithun Chakravarti in 16 films.).

Guru Dutt’s film Mr.and Mrs.55 was perhaps his last light comedy movie, which has peppy music by O P Nayyar. Later he made serious films like Pyaasa-57, Kagaz ke phool-59 and Sahib, Bibi aur Ghulam-62, for which he will be known forever. Sunil Dutt made his Debut with Railway Platform. V.Shantaram’s Jhanak Jhanak Payal Baaje was an example of how an art film devoted to Dance can also become a commercial success. The film being in color also helped. Seema and Devdas were serious films. Pather Panchali hit the Indian screens. Azaad, Insaniyat, Munimji, Udan Khatola and Baradari were entertainers with very good music.

Children’s film society was established in 1955. Shammi Kapoor and Geeta Bali got married. New Theatres of Calcutta made its last film Bakul and downed its shutters forever.

Film Albeli-1955 was a fun filled film, featuring my favourite actress of the 50’s Geeta Bali. The film is a cleverly knit mixture of a good story, excellent music, direction from a good director and a suitable cast. The only thing that was left wanting was the choice of the Hero- Pradeep Kumar. I felt that Geeta Bali and he were poles apart from their images in the minds of the audience. Geeta Bali was seen as a capable actress whereas Pradeep Kumar- a good looking actor with less of histrionic talent.

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.

The star cast of film Albeli-1955 was Geeta Bali, Pradeep Kumar, Om Prakash, Tun Tun, Johnny Walker, Ranjana Shukla (Heroine of Dilip Kumar in film Milan-1946) and others. The film was interesting. The story was…..

The film is a hilarious mixture of misunderstanding and confusions, like a comedy of errors. Geeta is daughter of Verma ji, owner of Hotel Nan Ching Chungh. She is fond of music and is a great fan of singer Pradeep. Once Pradeep comes to their town for a show. Geeta, in spite of her efforts,can not attend and she misses the show. Her younger sister Rita loves a boy named Brij. Geeta helps her to elope with Brij and get married. While doing so a bad element Bahadur Singh chases Geeta. To avoid him, she starts running and Pradeep, who is passing by that road, thinks that she is a thief running away. He catches her and they reach the Police station. There, instead of telling the truth she accuses Pradeep of kidnapping her with bad intentions. The Police release her and hold Pradeep. She returns home after one day in custody. She finds that Brij and Rita are home but are afraid of telling the truth to the family.

Meanwhile the Police telephones Verma ji and tells him that the charges on Pradeep are false and Geeta is bluffing. Police and Pradeep reach her home. To save the situation,Geeta pretends that she is not the same girl. It must be her twin sister who looks alike. There is a lot of confusion. Pradeep believes Geeta and apologises to her. Now Geeta loves him more. Pradeep also starts loving her. He still thinks that she has a twin sister.

Verma ji sends both girls to learn music, to Kalaniketan School of Music,where Pradeep is teaching music. Geeta helps Rita to go to Kashmir for honeymoon and tries to play the double role of twin sisters. One day Rita comes back and Pradeep hears their conversation. He learns about the reality that there is no twin sister. He arranges to send both sisters back to their home. Pradeep and Brij also reach there and all the confusion is cleared. Vermaji is happy that both daughters are getting husbands of their choice.

All’s well that ends well.

In the last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, and Kannada. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which I saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. It is very unfortunate that they all met their deaths in very tragic circumstances.

Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career. She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. Her childhood pet name was KEETA.

True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films. Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!

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, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.

Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari. In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played a gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

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 from the 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 proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadke and Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen. Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chandni phir kahan Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love. Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match. But on August 23, 1955, with producer-director Hari Walia and friend Johnny Walker as witness, the couple were married at the Banganga Temple at 4 am.

Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chadar Maili Si, based on a widow’s remarriage to her brother-in-law. Upcoming star Dharmendra played her hero.

Geeta had not been vaccinated for smallpox, despite the fact her father too had died of Smallpox. She had ignored repeated warnings in her childhood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, 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 – with thanks.)

I thank our friend Sadanand Kamath ji for uploading this song on my request. He has always done this for me. This is the last and final song of this film. With this song, Albeli 1955 becomes a YIPPEE film.

Song-Chhod baabul ka ghar….Kabhee kisee se dil na lagaanaa (Albeli)(1955) Singer-Asha Bhosle, Lyricist-Raja Mehdi Ali Khan, MD-Ravi

Lyrics

Chhod baabul ka ghar
gayee pee ke nagar
uthhe paaon magar
laut aana pada
zindagee hai nazar(?)
thee mujhe na khabar
phir bhi dil ko ye ?? geet gaanaa padaa

kabhee kisi se dil na lagaana
pyaar ke chakkar mein na aanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa
haaye mohabbat haaye zamaanaa
nayi museebat kissa puraanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa

??
ithhlaate bal khaate
??
ithhlaate bal khaate
laut ke aaye sharmaa ke
ghabraake jaan bachaake
kya hai mohabbat anjaanaa
ab na sunenge unka gaanaa
kya hai muhabbat
hamne ye jaanaa
ab na sunenge unka gaanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa
kabhee kisi se dil na lagaanaa
pyaar ke chakkar mein na aanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa

saajan kee soorat na dekhee
dekhe din mein taare
nain milaane kaheen na jaiyyo
rahiyo apne dwaare
saajan kee soorat na dekhee
dekhe din mein taare
nain milaane kaheen na jaiyyo
rahiyo apne dwaare
warna padega thhokar khaanaa
yaad aayenge naani naanaa
warna padega thhokar khaanaa
yaad aayenge naani naanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa
haaye mohabbat haaye zamaanaa
nayee museebat kissa puraanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa
kabhee kisi se dil na lagaanaa
pyaar ke chakkar mein na aanaa
hum ko pada hai pachhtaanaa
dekho jee dekho
hum ko pada hai pachhtaanaa aaaaaa

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 Thokar-1953.

Films with the same title were also made in 1939 and 1974. This film was produced and directed by Lekhraj Bhakri, for his own banner-Jubilee Pictures, Bombay. Lekhraj Bhakri was a multi-faceted artiste. He was a Lyricist, a story writer, dialogue writer and a screenplay writer, producer and a successful director. He helped many cine artistes to establish their careers like Ameeta, Manoj Kumar etc. The story of him finding an actor in Manoj Kumar is very interesting….

A youngster, like millions of displaced Punjabis ,crossed over to India in 1947 from Abbottabad, now in Pakistan, when the Indian subcontinent was divided. He and his family, like hundreds of other refugee families from Punjab, were given shelter in Kingsway camp located in north Delhi.

It was by chance that the youngster named Hari Kishan Goswami (Manoj Kumar) met his distant cousin Lekh Raj Bhakri, a filmmaker, who was on a visit to Delhi. The well experienced movie maker was impressed with the personality of the lanky handsome man & inquired from him if he is interested in being an actor. The young lad, who was a fan of Dilip Kumar , readily agreed & reached Bombay. Those days Bhakri Sahab was making a film Fashion-1957, with his favourite actor Pradeep Kumar ,Mala Sinha,Chandra Shekhar,Jabeen & Kammo & the shooting was in progress . Mr Goswami was told to be in the studio , to get himself acquainted with the nitty gritty of the film making .

So Goswami started working as an assistant to director Lekhraj Bhakri- for the film Fashion-57. There was a song in the film, in the voice of Hemant Kumar, to be shot on a Beggar on the screen. On the day of shooting, the actor who was supposed to do the role of the beggar and sing this song, did not come. Lekhraj Bhakri caught Hari kishen Goswami, put on the make up of the bearded beggar and made him sing this song on camera. Thus the debut of Goswami took place with Hemant Kumar’s song !

No one from the audience could ever imagine that the person with dishevelled hairs, having a big beard , and with a song on his lips is a handsome young man of 19 years . The movie was ‘Fashion’, released in 1957 & the song was composed & crooned by Hemant Kumar. It was the young man’s first exposure before camera. The song was to chide a wayward hero (Pradeep Kumar),who has left his wife (Mala Sinha),for another woman (Kammo) having ill intentions.The song was “ Dharti ki godh mein…” After Fashion ,Bhakri Sahab made Sahara in 58 ,with M Rajan & Meena Kumari & Hari Kishan Goswami ( who now wanted to be called as Manoj Kumar, the name Dilip Kumar had in a film), was given a substantial role . Bhakri Sahab, true to his words, took on Manoj Kumar in his subsequent movies Panchayat, Chand & Honeymoon (1960).

Lekh Raj Bhakri, directed his first film Rajpoot-51 and thereafter he regularly directed movies ,like Resham,Thokar,Dak Babu etc within a modest budget . He directed Nineteen movies during 1950 to 1962. His last film was Banarasi Thug-1962. He made most of his movies under the banner Tasviristan ,owned by Kuldip Sehgal and his sibling Mulkh Raj Bhakri’s Golden movies . Mulkh Raj Bhakri ,besides being a producer of Hindi/Punjabi movies ,was also a writer & lyricist . He wrote the famous song ‘Haye Chanda Gaye Pardes’ for Chakori, which is still appreciated by connoisseurs of film music. Mulkh Raj Bhakri also made Bhangra ,a super hit musical in Punjabi ,which had Sunder & Nishi in lead roles.

Mr Lekh Raj Bhakri made many family oriented movies,like Maa Beta, Tange Wali ,Naya Zamana,HoneyMoon etc. At the same time ,he had no problems directing films of other genres for those who wanted to watch fantasy & Arabian Nights movies. For them he made Naqab, Alladin Laila & Nag Padmini . Later,he made a musical Muslim social ‘Shama’ ,which had Suraiyya & Nimmi & music was composed by Ghulam Mohammad.

Lekh Raj Bhakri, beside Manoj Kumar, introduced music directors Kanu Roy with his film Pyar Ki Rahen (1959 ) & Iqbal Qureishi with Panchayat (1958 ). He also introduced actor Vijay Dutt with Shama. Mr Bhakri hung his boots after Banarsi Thug ,a hugely entertaining movie ,released in 1962. He did not further attempt to make movies , as after the arrival of colour ,the budget of Hindi movies was increased many fold & now it was a risky business. It did not suit the temperament of a simple soul like Bhakri Saheb. Mr Bhakri,who did not believe in showing off ,always kept a low profile despite being a successful director , bade adieu to show business . Much later, he passed away on 03 March 1976 at the age of sixty years. It was a matter of time ,when the era of principled film makers ,who made purposeful movies with message, came to an end & proposal makers having no regards for ethical values arrived with the sole aim of earning money .( adapted some part from the article by shri M.N.Sardana ji, with thanks, and my notes. )

The film Thokar-1953 was a simple love story of two young people falling in love, misunderstandings and then a reunion with a happy ending. The film’s Hero was Shammi Kapoor, for whom it was only the second released film in 1953, as an emerging actor which also showed up in his acting also. His Heroine was Shyama. She was mush more senior and experienced than Shammi Kapoor, though 4 years younger in age than him. It was her 35 th film, but she was such a nice girl that she never allowed Shammi Kapoor to feel embarrassed during their shootings. Shyama was one of my favourite actresses for more than one reason.

I not only liked but also respected Shyama, because in my opinion, she was one of the few actresses, who was not only versatile but also very humble, modest and cooperative. Though she started from scratch- as an Extra- she worked with Top actors like, Ashok Kumar, Raj Kapoor, Guru Dutt, Kishore Kumar, Balraj Sahni, Motilal, Rehman, Shammi Kapoor, Raaj Kumar, Karan Dewan, Bharat Bhushan etc. But she never hesitated to work with B or C grade Heroes like Sajjan, Mahipal, Kamal Kapoor, Suresh etc. With Johnny Walker, she did 7 films as a Lead actress and 3 more in other roles.

Another speciality of Shyama was that in the song sequences, she used to lip sync in a very natural way giving a feeling that in reality she was actually singing. Some of her senior actresses , especially Meena Kumari, might be a big star but while lip synching she was simply terrible. One felt that she was murmuring something . Never got a feeling that she was singing.

Shyama did many child roles as Baby Khurshid Akhtar. When her first film as a Heroine-Shrimatiji-52, opposite Nasir Khan- was released in Opera House, Bombay, the film Soorat was released in Roxy cinema at the same time. In the film Soorat, she did a child role while in Shrimatiji she was the Heroine. Film Soorat-47 got delayed and was released in 1952. She was named Shyama By director Vijay Bhatt at the time of the film Nai Maa-46.

Shyama ( real name Khursheed Akhtar) was born on 12-6-1935 at Lahore. Her family shifted to Bombay when she was 2 year old. Shyama’s father too was a fruit seller, like Dilip Kumar’s father, in the Byculla market, in those days. Khursheed studied in Urdu medium Municipal school. When she was 10 year old, a chance visit to see a film shooting ended in her participating in the shooting.
The film was “Zeenat”-1945. She was given her screen name-Shyama. Along with Shashikala and Shalini-the other child stars, she sat in the famous qawali, “Aahen na bhari” India’s first all female qawali. Though Noorjehan sang in the qawali, her lines were NOT lip synched by herself, but Rehana lip synched them. In the true sense, this was her first playback in films !

In the next 6 years Shyama did 80 films mostly uncredited,in small roles , like Shayar, Jal Tarang, Namoona, Sajaa, jalsa, Nishana etc. During film Jalsa’s shooting, its heroine Geeta Bali took a fancy to her and predicted that one day,she too will become a Heroine.Her small roles were almost like an extra or a chorus girl.

In her career of 41 years, Shyama acted in 169 films ( 70 as a Heroine) and sang about 140 songs on screen in her films. She married Cinematographer Fali Mistry in 1954. They had 2 sons and 1 daughter. Shyama retired from films in 1976. Fali Mistry died in 1979. She spent a happy retired life with old friends, at her luxurious flat in Napean Sea Road, Mumbai. Shyama died on 14-11-2017.

The others in the cast of this film were Lalita Pawar, Johnny Walker, Mumtaj (not the famous one. This was the younger sister of singer Mubarak Begum, who later also used the name Vijay Bala), Chaman Puri, Rajan Kapoor, JaiJaiwanti ( the first name taken by Qamar Sultana, who later was known better as Ameeta) etc. The Music Director was Sardar Malik and the 9 songs in the film were by 7 Lyricists. They were Mazaz, Raja Mehdi Ali Khan,Prem Dhawan, Shor, Kavita, Harsh and Udhav Kumar. One Mazaz song by Talat in this film -” Aye gham e dil kya karoon” became an all-time popular song. Asha Bhosle also sang this song in the film separately, but the Talat version was known more, though that song by Asha was also equally good.

Let us now listen to today’s song by Balbir and chorus…..

Song- Main to nahin peeta hoon maine to nahin pee hai (Thokar)(1953) Singer- Balbir, Lyricist- Raja Mehdi Ali Khan, MD- Sardar Malik
chorus
unknown male voice

Lyrics

Main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai
maine to nahin pee hai
maine to nahin pee hai
haan pee se muhabbat hai
saaqi ki khushee pee hai jee
saaqi ki khushee pee hai jee
saaqi ki khushee pee hai
main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai

aa aa aa aa aa
aa aa aa aa aa
aa aa aa
aa aa aa
haa aa aa
raaton ko tasawwur hai tera jee
raaton ko tasawwur hai tera jee
aur chup ke
hoy
aur chupke chupke rona hai jee
aur chupke chupke rona hai
ae whiskey ki bottle tu hi bata
ae tharre ki bottle tu hi bata
ae bewde ki bottle tu hi bata
anjaam mera kya hona hai jee
anjaam mera kya hona hai ae ae ae

bangla becha beevi chhodi
ee ee
ab to footpath pe sona hai
haan aan
bottle ko laga kar seene se
ye kehna hai aur rona hai
ae ae ae
main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai
saaaqi se muhabbat hai
saaqi ki khushee pee hai
saaaqi se muhabbat hai
saaqi ki khushee pee hai
main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai

o opee ke hum tum jo chale
jhoom ke maikhaane se
pakdo pakdo
haaan pakdo pakdo
ki saza hone lagee thhaane ko
saza hone lagee thhaane ko
saza hone lagee thhaane ko
ae ae
meree gardan pe sipaahi ne
diya jab ghoonsaa
aaa aaa
uske kadmon pe giraa aa aa aa
aur ye ro ro ke kahaa
ho o o
main to nahin peeta hoon
maine to nahin pee hai
main to nahin peeta hoon
maine to nahin pee hai
saaqi se muhabbat hai
saaqi ki khushee pee hai
saaqi se muhabbat hai
saaqi ki khushee pee hai ae

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

Commemorating 100 years of Rafi – 44^th Death anniversary on 31^st July, 2024.

basti basti parbat parbat
gaata jaaye banjaaraa aa
le kar dil ka ek taaraa aa

There are iconic songs in the Hindi film songs, and then there is this song (film ‘Railway Platform’ – 1955). Really. For my generation of Hindi film music fans, this is the iconic one. Like one comment in the blog post says “Vividh Bharati song, Is geet ko koi bhi sachcha listner kaise bhool sakta hai….ek ek shabd, ek ek piece sangeet ka, dil, aur dimaag ke andar record kiya hua hai. Mujhe yaad hai aise bahut log hain JINHONE apni zindagi men PEHLA Hindi geet YE GEET suna, aur Hindi geeton ke deewaane ho gaye. AAJ TAK WOH DEEWANE HAIN.”

Relatable, for me and many others like me. This song did play a lot on Vividh Bharati, during late 70’s and 80’s. And no wonder, that it is the first one to register in the conscious mind, as a memory. Another one such song and a lot older than this is this short and quicksand of a philosophical song (film ‘Mela’ – 1948),

hongi yahi bahaarien
ulfat ki yaadgaarien
hongi yahi baraarien
ulfat ki yaadgaarien
bigdegi aur banegi
duniya yahi rahegi
bigdegi aur banegi
duniya yahi rahegi
honge yahi jhamele
honge yahi jhamele
yeh zindagi ke mele
duniya mein kam na honge
afsos ham na honge
yeh zindagi ke mele
yeh zindagi ke mele

The beauty and similarity of these two songs in the simplicity and rapid pace. Though rap came to be known as rap for different form of music category, but these are very close to the form and they are in ‘sur’. Ah… one more such rapid song (film ‘Aan’ – 1952),

maan mera ehsaan
arey nadaan
ke main ne tujh se kiya hai pyaar
main ne tujh se kiya hai pyaar
meri nazar ki dhoop na bharti roop
to hota husn tera bekaar
main ne tujh se kiya hai pyaar

The team of Rafi-Shakeel-Naushad in this song is the same one as ‘Mela’ song above. ‘Railway Paltform’ song came a bit later in 1955. These songs did shape Rafi Sb as a universal voice for theme song, background songs, title songs and mischievous romantic songs. Many a detractor of Rafi Sb, were made to give in and have Rafi Sb sing such songs in their films. Often the song would be the only Rafi song in the film, like “Waqt Se Din Aur Raat” (‘Waqt’ – 1965) and “Us Mulk Ki Sarhad Ko Koi Chhoo Nahin Sakta” (‘Aankhen’ – 1968).

Apart from being the most prolific male singer of Hindi film industry, Rafi Sb also has the distinction of being the singer with most such “only-song-in-the-film” songs. Music directors like Ravi, L-P, SDB were often instrumental in such iconic songs, like “Teri Bindiya Re“(‘Abhimaan’ – 1973), “Mera Mann Tera Pyaasa” (‘Gambler’ – 1971), “Dard e Dil Dard e Jigar Dil Mein Jagaaya  Aap Ne” (‘Karz’ -1980). He gets to sing “Koi Nazraana Le Kar Aaya Hoon Main Deewaana Tere Liye” in ‘Aan Milo Sajana’ (1970) by L-P and also ‘Yun Hi Tum Mujh Se Baat Karti Ho” in ‘Sachcha Jhoota’ (1970) by K-A for Rajesh Khanna, right in the middle of Rajesh-Kishore-RDB wave.

Naushad creates something like “Zindabad Zindabad” for the magnum opus ‘Mughal e Azam’ (1960), knowing that Rafi Sb can deliver the song as he desired.

The honor of being the only male singer in as many films as possible in his 35 year career span.

है जुस्तुजू कि खूब से है खूब-तर कहाँ
अब ठहरती है देखिए जा कर नज़र कहाँ

हैं दौर-ए-जाम -ए-अव्वल-ए-शब में खुदी से दूर
होती है आज देखिए हम को सहर कहाँ

या रब इस इख़्तिलात का अंजाम हो ब-खैर
था उस को हम से रब्त मगर इस क़दर कहाँ

इक उम्र चाहिए कि गवारा हो नीश-ए-इश्क़
रक्खी है आज लज़्ज़त-ए-ज़ख़्म-ए-जिगर कहाँ

बस हो चुका बयाँ कसल-ओ-रंज-ए-राह का
खत का मेरे ज़वाब है ऐ नामा-बर कहाँ

कौन ओ मकाँ से है दिल -ए-वहशी कनारा-गीर
इस ख़ानुमाँ-ख़राब ने ढूँढा है घर कहाँ

हम जिस पे मर रहे हैं वो है बात ही कुछ और
आलम में तुझ से लाख सही तू मगर कहाँ

होती नहीं क़ुबूल दुआ तर्क -ए-इश्क़ की
दिल चाहता न हो तो ज़बाँ में असर कहाँ

‘हाली’ नशात-ए-नग्मा-ओ-मय ढूँढते हो अब
आए हो वक़्त-ए-सुब्ह रहे रात भर कहाँ

(अल्ताफ़ हुसैन हाली)

As usual, I have found a host of Rafi songs which I want to post. Always conscious of the fast-approaching anniversary, I hauled myself up to start looking for the one which appeals enough to suit the occasion of 44th death anniversary or Remembrance Day. I have a fresh list of such songs; some may find a place in the ongoing series.

In this commemorative post, I am presenting the solo song “Zamaana Naazuk Hai” which is written by Raja Mehdi Ali Khan. Composer is the Ravi. I don’t know how Rafi Sb’s solos feel like several singers singing different lines. It is phenomenal how the lines are given different voice, modulations, pitch in such quick succession. Was this rendition planned in this fashion? This is a 50s song, so was recorded after several rehearsals. It is like Rafi Sb is trying to entertain the fellow musicians and those present in the recording studio, as they accompany him rehearsal after rehearsal.

Raja Mehdi Ali Khan is starting the song with a variation of the famous she-er,

hazaaron khwahishen aisi ke har khwahish pe dam nikle
bahot nikle mere armaan lekin phir bhi kam nikle

Continues with this she-er of the same ghazal of Mirza Ghalib,

nikalna khuld se Aadam ka sunnte aaye the lekin
bahot be-aabroo ho kar tere kooche se ham nikle

I end this post with a prayer for the eternal peace and salvation of the soul.

Song-Zamaanaa naazuk hai (Devar Bhaabhi)(1958) Singer-Rafi, Lyrics-Raja Mehdi Ali Khan, MD-Ravi

Lyrics

hazaaron hasratien aisi ke har hasrat pe dam nikle
bahot nikle tere armaan lekin phir bhi kam nikle
nikalna khuld se Aadam ka sunte aaye thhe lekin
bahot be-aabroo ho kar tere kooche se hum nikle

pyaar ki galiyon se o beta
kar le bistar gol
zamaana naazuk hai
zamaana naazuk hai
baat pate ki kehta hoon main
dekh bajaa ke dhol
zamaana naazuk hai
zamaana naazuk hai

chala hans ki chaal jo kawwa apni chaal bhi bhoola
chala hans ki chaal jo kawwa apni chaal bhi bhoola
raah chala majnoon ki beta ho gaya langda-loola
arey sun mere munna aa
sun mere munna ab na karna hero ka ye role
zamaana naazuk hai
zamaana naazuk hai
pyaar ke galiyon se o beta
kar le bistar gol
zamaana naazuk hai
zamaana naazuk hai

bina police ke pehre ke us kooche mein na jaana
haan samjhe na
bina police ke pehre ke uss kooche mein na jaana
jaanaa ho to jaan ka beema pehle tum karwaana
arey maar ke dande
maar ke dande tod na daale tere sar ka khol
zamaana naazuk hai
zamaana naazuk hai
pyar ke galiyon se o beta
kar le bistar gol
zamaana naazuk hai
zamaana naazuk hai

kahaan pe chhidkoon boric powder
kahaan pe choona haldi
kahaan pe chhidkoon boric powder
kahaan pe choona haldi
zaalim duniya yaar ko mere ghaayal kar ke chal di
arey apni jaan ki ee
apni jaan ki khaatir ab to dil pe kar control
zamaana naazuk hai
zamaana naazuk hai
pyaar ke galiyon se o beta
kar le bistar gol
zamaana naazuk hai
zamaana naazuk hai ae

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

हजारों हसरतें ऐसी के हर हसरत पे दम निकले
बहुत निकले मेरे अरमां लेकिन फिर भी कम निकले
निकलना खुल्द से सुनते आए थे लेकिन
बड़े बेआबरू हो कर तेरे कूचे से हम निकले

प्यार की गलियों से ओ बेटा
कर ले बिस्तर गोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है
बात पते की कहता हूँ मैं
देख बाजा के ढोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है

चला हंस की चाल जो कौवा अपनी चाल भी भूला
चला हंस की चाल जो कौवा अपनी चाल भी भूला
राह चला मजनूँ की बेटा हो गया लंगड़ा लूला
अरे सुन मेरे मुन्ना आ
सुन मेरे मुन्ना अब ना करना हीरो का ये रोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है
प्यार की गलियों से ओ बेटा
कर ले बिस्तर गोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है

बिना पोलिस के पहरे के उस कूचे में ना जाना
हाँ समझा ना
बिना पोलिस के पहरे के उस कूचे में ना जाना
जाना हो तो जान का बीमा पहले तुम करवाना
अरे मार के डंडे
मार के डंडे तोड़ ना डाले तेरे सर का खोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है
प्यार की गलियों से ओ बेटा
कर ले बिस्तर गोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है

कहाँ पे छिड़कूँ बोरिक पावडर
कहाँ पे चूना हल्दी
कहाँ पे छिड़कूँ बोरिक पावडर
कहाँ पे चूना हल्दी
ज़ालिम दुनिया यार को मेरे घायल करके चल दी
अरे अपनी जान की
अपनी जान की खातिर अब तो दिल पे कर कंट्रोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है
प्यार की गलियों से ओ बेटा
कर ले बिस्तर गोल
ज़माना नाज़ुक है
ज़माना नाज़ुक है

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.

#the Decade of Sixties – 1961 – 1970 #
————————————————————————

(4^th August’2024- Kishore Kumar’s 95^th birth anniversary )

Today 4^th August’2024 is the ninety-fifth birth anniversary of singer-actor-producer-director-lyricist & music director Kishore Kumar.

We are paying our tributes to this great son of this soil by listening to and enjoying songs sung by him.

In this post I am presenting a song from the ‘1967’ movie ‘Duniyaa Naachegee’.

This movie was directed by K. Parvez for ‘Gay Films, Bombay’. Ashwin & Bipin were the producers of this movie. The cast of this movie has Kishore Kumar, Kumkum, Mukri, Aruna Irani, Iftekhar, S.N Bannerjee, Shaikh, Babu Raje, Jilani, Jankidas, Rashid Khan, Shetty, Shammi, Tuntun, Rani, and Bhagwan. B.H. Bukhari wrote this movie and editing of this film was done by Mohan Rathod. HFGK Vol-IV lists five songs for this movie. However in the list of these five songs the today’s song title is not mentioned. Also HFGK mentions the lyricist’s name for this movie as Raja Mehdi Ali Khan and Majrooh Sultanpuri (the titles of this movie also mentioned the same). Music for this movie was composed by Laxmikant-Pyarelal.

I came across this song a few years back and I was longing to share it here from that time onwards. The special thing about this song is that this song is not listed in HFGK Vol-IV even though video of this song is available. This movie is also available online (but its’ print is not good).

I checked and double checked to make sure that this song is indeed from this movie.

Author Ajay Poundarik in his book on ‘Laxmikant-Pyarelal’- Music Forever (An ‘LP’ Era:: 1963-1998) has given detailed filmography of music duo Laxmikant-Pyarelal. In this book he has mentioned this song and the lyricist name has been given as Raja Mehdi Ali Khan. However the author has also mentioned the lyricist name as Yogesh for one song. But in the titles of the movie Yogesh’s name does not appear. So, I would request knowledgeable readers to throw more light on this movie and its songs.

Though I could not watch this movie, I watched a small part of this movie to know about the situation of this song in this movie. This song happens when the hero of this movie Ramdeen (Kishore Kumar) goes to Rekha’s (Kumkum) home to meet her father (S.N. Bannerjee) to discuss about their marriage. However Rekha’s father calls his servants and they lift Ramdeen and throw away him out of the bungalow. It is there that Ramdeen enters the courtyard of the bungalow and sings this song. We can see Kishore Kumar, S.N. Bannerjee, Kumkum and others in the picturisation of this song.

Kishore Kumar has sung this song with his characteristic gusto that we are so unique to him. His singing and acting makes this song highly enjoyable to listen to and watch.

On the day of Kishore Kumar’s birth anniversary, here is this hitherto unknown and unlisted Kishore Kumar gem from “Duniya Naachegi”(1967),

Let me assure our readers that many such fun songs of Kishore Kumar still remain to be covered and also discovered that will certainly find representation in the blog in due course.

Let us now enjoy this song that most people would listen to and watch for the first time.

Video

Audio

Song-Mar jaaungaa qasam se pyaar mein tere (Duniya Naachegi)(1967) Singer-Kishore Kumar, Lyrics-Raja Mehdi Ali Khan, MD-Laxmikant Pyarelal

Lyrics

a naheen
naheen
naheen jaaungaa aa

(bollloooooollloo)

naheen
naheen
naheen jaaungaa aa

(ayae ae …. Cry of animals)

darwaazon se latak latak kar
chaukhat par sar
patak patak kar
dil ka daaman jhatak jhatak kar
marr
marr
marr jaagungaa aa

aashiq tere pyaar kaa
main dildaar hoon ik dilwaalaa
kar doongaa hadtaal
naheen tere baap se darnewaalaa
tere baap se darnewaalaa
tere baap se darnewaalaa aaaa

mar jaaungaa
qasam se
pyaar mein tere
qasam se
lad jaaungaa
qasam se
baap se tere
qasam se
lad jaaungaa
lad jaaungaa
lad jaaungaa aa
haa

mar jaaungaa
qasam se
pyaar mein tere
qasam se
lad jaaungaa
qasam se
baap se tere
qasam se
lad jaaungaa
lad jaaungaa
lad jaaungaa aa

aha ha ha

o meri jaan e jigar
zaraa dekh idhar
mere dil ki khabar
sun le ae
main hoon phool tere
gajre kaa sanam
nazron se mujhe
chun le ae
chun le ae
chun le ae
chun le ae ae ae ae
chun le ae

raahon ko apnee
chhod ke
raahon mein meri aa
duniyaa ke bandhan
tod ke
baahon mein meri aa
jaan e jaan
sun zaraa
hm
dard e dil ki
sadaa aa
aa bhi jaa
aa bhi jaa
bewafaa aa

mar jaaungaa
qasam se
pyaar mein tere
qasam se
lad jaaungaa
qasam se
baap se tere
qasam se
lad jaaungaa
lad jaaungaa
lad jaaungaa aa
hahaha

he hahahah

he hahahaha
ae haa haa
eeee haa haah
ae haa haa haa

kahin aisaa na ho
ulfat pe meri
ilzaam zamaanaa de ae
khidkee se kabhi
sharmaa ke yoonhi
duniyaa se zaraa
keh de ae
keh de ae
keh de ae
keh de ae ae ae
keh de ae

ham pyaar ke raahee ee
hamaaree ek hi manzil
do jism hain lekin
hamaaraa ek hi hai dil
keh zaraa
jaan e jaan
khol dil ki zubaan
keh zaraa
keh zaraa
bewafaa aa
haa

mar jaaungaa
qasam se
pyaar mein tere
qasam se
lad jaaungaa
qasam se
baap se tere
qasam se
lad jaaungaa
lad jaaungaa
lad jaaungaa aa

aaon aa aa
bhuuuuuuuuu

(cries of animals)

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 ‘Naya Raasta’ (1953).

Today is 19^th September, and this is my 14^th post in this month already. Before this post, I had written 11 posts continually every day, but I had to break the marathon as the final work on my two new books came up and I had to attend to that. I completed that and work for my 7^th book started immediately. Thus, writing posts and working on the books takes up my whole day, coupled with the routine household duties and other jobs. Sometimes I wish I had at least 30 hours in a day !

At 85 years, on many occasions, I feel like a man in a hurry. I remember the last lines of the poem “Stopping by woods on a snowy evening” by Robert Frost (1874-1963) which says,

The woods are lovely,dark and deep.
But I have promises to keep
and miles to go before I sleep,
and miles to go before I sleep !

The decade of the 1950’s was called ‘The Golden Period’ not without reasons. If you see each year, the films made will clearly reflect the changing Indian society after Independence and how the values and systems of family settings changed in those 10 years. The taste of the audience was changing. Some genres, like stunt and mythologicals, were running their last lap and increased their speed of making films. In the next decade, one could see their end nearing and by the 70’s they were hardly noticeable !

Music changed drastically. Forget the slow and sleep inducing songs of the 30’s, the confused and the mixed variety of the 40’s. Music was in its new avatar of melody and memorable works of the music stalwarts. Story-lines of the movies tried to cope up with the socialistic principles and advocated the traditional values like joint families, importance of education, dignity of labor, discarding old outdated traditions and trying to follow the developing changing world ways. Slowly, but surely, lories gave way to cabaret songs, social and festival dances gave way to Cha Cha Cha, Rock and Roll, Waltz and Spanish/Mexican ballets. the younger generation became more active, bold and creative. We must look at the films of 1953 in this perspective.

Bimal Roy opened his innings with ‘Do Bigha Zameen’, based on the theme of the rich crushing the poor. At the same time his ‘Parineeta’ stressed the importance of family ties. The biggest musical hit of the decade was ‘Anarkali’ and Lata became the unchallenged queen of film songs with her second biggest film after ‘Mahal’ (1949).

Raj Kapoor’s attempt to copy Dilip Kumar in ‘Aah’ was not accepted by audiences after his flamboyant ‘Awara’ (1951), but his ‘Boot Polish’ was a hit, which stressed dignity of labor. Dev Anand’s ‘Patita’ promoted resurrection of a rape victim.

Then there were films like ‘Shikast’, ‘Aas’, ‘Jeewan Jyoti’, AVM’s ‘Ladki’, ‘Mayur Pankh’, Shantaram’s ‘Teen Batti Char Rasta’ and ‘Surang’, ‘Daera’, ‘Footpath’, ‘Jhamela’ and ‘Baaz’ – making a successful team of Guru Dutt and OP Nayyar etc. Sohrab modi’s ‘Jhansi Ki Rani’ and GP Sippy’s ‘Shahenshah’ clearly indicated the end of long dialogue ridden historical films.

1953 also was a year when the Government started the National Awards for films – the first award going to the film ‘Shyamchi Aai’, a Marathi film. Filmfare also started its awards in 1953. The famous Prabhat Film Company closed down and MD Ghulam Haider died in Pakistan.

Among all these musicals and story dominated films, the film ‘Naya Raasta’ lost its way ! It was a flop film. Made by Director Jayant Desai for his own banner, it had music by Chitragupt. Among the singers were Laxmi Roy (sister of singer Geeta Roy and wife of the Producer/ Director Pramod Chakravarti), Dilip Dholakia, Geeta Roy, Shamshad Begum, Chitragupt and singer Trilok Kapoor.

This singer Trilok Kapoor is a case of ‘Same Name Confusion’. There was another actor Trilok Kapoor (famous for the role of Mahadev in mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, blogs and enthusiastic new music lovers credit this singer’s songs to the actor.

Singer TRILOK KAPOOR too was from Multan, just like the actor Trilok Kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.

Singer Trilok Kapoor sang a song in film ‘Birhan’ (1948) – “Tu Chanda Main Teri Chakori” – a duet with Dilshad Begum (record No. GE 5232). The film was in production in 1946 at Lahore, but was released in 1948 due to Partition in 1947.

The singer of this song can not be the actor Trilok Kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultuous days.

Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyam Sunder, who sympathized with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in ‘Bhai Behan’ (1950), a duet with Shamshad Begum. He got a job in radio and continued singing in films like ‘Guru Dakshina’ (1950), ‘Kashmir’ (1951), ‘For Ladies Only’ (1951), ‘Daaman’ (1951), ‘Saloni’ (1952), ‘Raag Rang’ (1952), ‘Goonj’ (1952), ‘Naya Raasta’ (1953), ‘Toote Khilone'(1954), ‘Miss Mala’ (1954), ‘Laadla’ (1954) and lastly ‘Trolley Driver’ (1958). Total 14 films and 17 songs.

So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-

1) Actor Trilok Kapoor never sang after 1942.

2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.

3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. GM Durrani in ‘Mirza Sahibaan’ (1947). Those who are singer actors rarely take playback from others.

4) The voice of Trilok Kapoor in songs and the dialogues in films is different.

5) It is likely that, actually, the song of ‘Aaj Ki Duniya’ (1940) and the duets of ‘Raja Rani’ (1942) also were sung by the singer Trilok Kapoor, as he sang a song in ‘Birhan’ in 1946, as mentioned above with a record number. The entry in HFGK may be just a case of “Same Name Confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.

6) The final verdict was – Shamshad Begum had confirmed that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.

So,please remember, actor Trilok Kapoor and singer Trilok Kapoor were two different persons.

Film ‘Naya Raasta’ (1953) was based on the famous Gujarati stage drama ‘Sarvoday’ staged by Shri Desi Natak Samaj. The drama was a super hit but the film was a flop. The cast of the film was Nirupa Roy, Manhar Desai, Agha, Bipin Gupta, Umakant, Suryakumar and others. Bipin Gupta was in many films but not much known.

Bipin Gupta was born in a Bengali family on 27^th August 1905 in Meerut, the 5^th child of his parents Trailokya Nath Gupta and Khemankari Devi. They later moved to Barrackpore. He attended the Chinsurah Training School and the Barrackpore Government High School. He was married to Annapurna Devi.

Gupta’s first Bangla film was ‘Chokher Bali’ directed by Sotu Sen in 1938. Film ‘Padosan’ (1968) in Hindi was made based on this film later. Throughout his career he had worked on almost 300 films though he had only played the hero only once, in the film ‘Noori’ (1934). It was produced by Durga International Films, Calcutta. His heroine was Sheela Devi. It was a flop movie. He started working in radio in 1934 and by 1936 he became a professional stage artist. He stayed for 30 years in Bombay to establish himself in Bollywood.

In 1964 he produced the film ‘Daal Me Kala’, directed by Satyen Bose and starring Nimmi, Kishore Kumar and Abhi Bhattacharya. The film took almost 4 years to make.

Bipin Gupta worked in 128 Hindi films. His first film was ‘Shri Ramanuja’ (1943) and the last film was ‘Jai Baba Baidyanath’ (1979). He generally did the roles of zamindar, teacher, father, grandfather etc. – all character roles. His voice was very good. Once, in Madras, while shooting for the film ‘Teen Bahuraniyaan’ at Gemini Studios, Prithviraj Kapoor lost his voice. Bipin Gupta dubbed all his film dialogues.

He died on 9^th September 1981 in Calcutta. His son married Kajri, the daughter of actor, singer and composer Sailesh Mukherjee. She too was an actress.
(Thanks to Harish Raghuvanshi ji for part of the above information).

Today’s song is sung by Shamshad Begum, Trilok Kapoor and chorus. Enjoy….

Song-Hum bhanwre hain deewaane kaliyon ko hansa denge (Nayaa Raastaa)(1953) Singers- Trilok Kapoor, Shamshad Begam, Lyricist- Raja Mehdi Ali Khan, MD- Chitragupt
Male chorus
Female chorus

Lyrics

hum bhanwre hain deewaane
kaliyon ko hansaa denge
kaliyon ko hansaa denge
hum bhanwre hain deewaane
kaliyon ko hansaa denge
kaliyon ko hansaa denge
hum pyaar ke gulshan se
bhanwron ko uda denge
bhanwron ko uda denge
hum pyaar ke gulshan se
bhanwron ko uda denge
bhanwron ko uda denge

hanstee hain jahaan kaliyaan
bhanwre wahaan aate hain
hanstee hain jahaan kaliyaan
bhanwre wahaan aate hain
hum kaliyaan hain wo jinko
bhanwre nahin bhaate hain
hum kaliyaan hain wo jinko
bhanwre nahin bhaate hain
tum humse agar uljhe
hum tumko rulaa denge
dekho jee
hum tumko rulaa denge
hum bhanwre hain deewaane
kaliyon ko hansaa denge
kaliyon ko hansaa denge

sun lo jee hum ulfat ke
afsaane sunaate hain
sun lo jee hum ulfat ke
afsaane sunaate hain
hum pyaar ki shamaaon ko
phoonkon se bujhaate hain
hum pyaar ki shamaaon ko
phoonkon se bujhaate hain
nazron pe rakho qaaboo
hum warna saza denge
dekho jee
hum tumko saza denge
hum bhanwre hain deewaane
kaliyon ko hansaa denge
kaliyon ko hansaa denge
hum pyaar ke gulshan se
bhanwron ko uda denge
bhanwron ko uda denge