This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the film ‘Naya Raasta’ (1953).
Today is 19th September, and this is my 14th 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 7th 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and advocated the traditional values like joint families, importance of education, dignity of labor, discarding old outdated traditions and trying to follow the developing changing world ways.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 27th August 1905 in Meerut, the 5th 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 9th 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