This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
The first English song in a Hindi film was sung by Devika Rani in 1933 film Karma, starring Devika Rani and Himanshu Rai. The film was among the first Talkie Film in India to feature an on-screen kiss. The four-minute-long scene between Devika Rani and Rai, her husband in real life, is also known to being the longest such scene in Indian cinema. The song, ‘Now The Moon Her Light Has Shed’ is a proper western tune composed by German composer Ornest Broadhurst and song. The style is typical of the high pitched English songs The next English song was sung by Shanta Apte, composed by Keshav Bhole in Duniya Na Mane (1937) with the lyrics around poet Henry Wadsworth Longfellow’s poem A Psalm of Life. The story is about a princess (played by Devika Rani) who falls in love with a neighboring prince ( Himanshu Rai) much to the disapproval of the latter's father. The film opens with a very cute scene of the Prince telling a squirrel how much he loves the Maharani, who is hiding behind a rock and replies on behalf of the squirrel. Maharaja, the prince father who knew that his son is in love with the princess, consults with his holy man on what to do about his recalcitrant son’s ongoing romance. The priest wisely counsels him not to interfere, but to allow them to marry and then control her through the alliance. English language Song by Devika Rani
It was Friday on 15th August 1947. Two films were released in Bombay on the Independence Day itself, 'Shehnai' at Novelty on Grant Road and 'Mera Geet' at Swastik on Lamington Road around the corner. 'Mera Geet' starring Sushil Kumar and Naseem Jr must have sunk like a stone since there seems to be no record of it anywhere but Shehnai was one of the biggest hits of the year. In fact, itbecame the first roaring hit of free India.
Shehnai was produced by Filmistan Studio and Directed by PL Santoshi. Nasir Khan, the brother of Dilip Kumar was the hero and Rehana was the heroine. The music of the film was composed by C Ramchandra. Its song 'Aana Meri Jaan Meri Jaan Sunday Ke' was a super hit. The film had a straight-up. silver jubilee run in cities like Mumbai, Delhi, Lucknow, Kanpur, and Karachi.
A Still from Shehnai 1947
Starring Rehana, Nasir Khan, and Indumati, Shehnai's story run around four sisters and their respective suitors. The ensemble drama also features acclaimed performers of the era like comedy great VH Desai, Mumtaz Ali (actor Mehmood's father), Dulari, and Leela Misha among others. Desai plays a struggling entertainer trying to keep his dance company afloat with the help of his four daughters. However, his wife (Mishra) is worried about the disrepute the profession is bringing the girls and diminishing their chances of marriage. Rehana plays the second eldest sibling, Kamla, a gutsy girl who clashes with Pramila (Indumati) – the snobbish, college-educated daughter of the zamindar. When Pramila humiliates Kamla's family, the latter gets even by tricking Pramila's soon-to-be fiancé Rajesh (Khan) into believing that she is his betrothed but ends up falling for him. The mix up goes a step further when Pramila mistakes her father's adversary for Rajesh and falls in love with him.
Aana Meri Jaan Sunday Ke Sunday
The music was the highlight of this film, it was composed by C Ramchandra. It had 9 songs, all the songs were written by P L Santoshi, who was the director of this film also. The song' Aana Meri Jaan Meri Jaan Sunday Ke Sunday' became a rage.It was the first song of Bollywood based on western beats, It was the first time western instruments were used in any Hindi song. It was C Ramchandra who brought music from many other countries in Bollywood music, In 1950 he brought Burmese music in the song 'Gore Gore Banke Chhore' in the film Samadhi, and ' Mein Hun Ek Khalasi' in Sargam(1950)
Nasir-Khan -Brother of Dilip Kumar in Shehnai 1947
There were five major film production centers, Bombay, Calcutta, Madras, Lahore, and to a lesser extent Poona till 1947. Bombay was the main center, In Bombay alone, 114 films were made and released that year. Six films, 'Shehnai, Elan Jugnu, Do Bhai, Dard, and Mirza Sahiban' were super hit. The other hit film was Parwana of K L Saigal, which was released after his death on 18th Jan 1947.
In March, we had Kidar Sharma’s Neel Kamal with Raj Kapoor and Madhubala in their first lead roles. He was twenty-three and she was just sixteen.
Shammi Kapoor in his Biography said"The sound of any music evoked in me a strong urge to dance. The rhythm didn't take time to seep into me and seek expression in dance. The urge to dance was always there in him. His brother Raj Kapoor was a good dancer but Shammi was different.
He never had a dance director or a choreographer for his dance songs in any film. He danced to his own style and created his own steps and movements. The first time he got the chance of expressing himself in dance songs was in Tumsa Nahin Dekha, this film redefined him and shot him to bigtime stardom.
In his Biography, he tells "From a very early stage, he wanted to learn dancing but there were no professional dancing schools in Bombay at that time. There used to be a hotel in Dadar, whose owner used to teach Tango dance He took a few lessons from him.
Shammi Kapoor said that it was lucky that he got good songs." I think I tried to give physical expressions to music. My choreography was always done here( pointing towards his heart) and I brought it out on the floor. Telling about the picturization of the song' Yahoo' he said "everybody was satisfied with the song Yahoo recorded after the hard work of Rafi saheb and music director Shankar Jaikishan, now it was my turn to make this song an immortal. This song was picturized in Kufri, not in Kashmir. The setting looked ideal with 12 feet deep snow and the breathtakingly beautiful sight around Everybody was in a fix what will I do?, how will I do?
Shammi further said that he was also not made in his mind about how to do it. Yes it was sure that he had to slide on the snow, The next day in the morning at 7 AM the whole unit collected at the spot from where he had to slide, But just when the camera was to roll, the sun disappeared, they couldn't shoot that day due to poor sunlight. This happened for six days, the song couldn't be picturized Finally on the Seventh-day the song was picturized. Shammi Kapoor said that there was no choreographer, no preparation by himself, whatever he did was spontaneous.
After Junglee every producer and director wanted Shammi to perform the song as per his wish. He said in the book" I used to tell my directors to keep the camera flexible, don't freeze the field, play the music, and let me do the act. That is what he did in most of his songs.
He said for the song Aasman Se Aya Farishta of An Evening in Paris, it was his idea to perform on a helicopter.
His biggest hit Teesri Manzil (1966) broke all kinds of records at the box office — thanks to its music. Composed by R.D. Burman, songs of this movie are considered some of his best works and Shammi’s best dance performances. O Mere Sona Re, O Haseena Zulfonwali Jaane Jahan, and Aaja Aaja Main Hoon Pyaar Tera are still regularly seen on playlists and heard on the radio.
Looking at just one decade of Shammi’s career, it is clear about the kind of stupendous impact that he has had on Bollywood and its audience. He left a mark like no other and even though many have managed to make a name as great dancers, nobody has come close to him — much like the original Elvis Presley.
Vyjayanthimala Bali celebrates her birthday on the 13th of August. She shares this birthday with another Bollywood legend Sridevi who was also a multilingual actress with superior dancing prowess. Both the actresses married Punjabi men who left their first wives.
Vyjayanthimala performed some superhit song and dance numbers in Hindi films, whether it is Man dole mera tan dole (Nagin) or Chadh gayo paapi bichhua (Madhumati) or Buddha mil gaya (Sangam) or Hothon pe aisi baat (Jewel Thief) and not to forget Indian classical dances of Amrapali(1966)
At the age of seven, Vyjayanthimala was chosen to perform a classical Indian dance for Pope Pius XII while her mother was an audience in 1940 at Vatican City.She learned Bharata Natyam from Guru Vazhuvoor Ramiah Pillai and Carnatic music from Manakkal Sivaraja Iyer. She had her arangetram at the age of 13 and started performing in Tamil Nadu later.
She made her debut in the Tamil language film Vaazhkai in 1949 on the basis of her dance performance of Bharata Natyam in Chennai's Gokhale Hall.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, The film became a hit and also its music and dances. The next film 'Ladki' released in 1953 was opposite Kishore Kumar and Bharat Bhushan.
In 1954, Vyjayanthimala acted in the magnum opus film Nagin with Pradeep Kumar. The film got favorable responses from the audience and became the highest-grossing movie of 1954 where it was labeled as a blockbuster. Her performance as the Nagi tribe's chief got Mala favorable reviews from the critics, as in 1955,
Nagin was a precursor to her rise in Hindi cinema as an iconic actor, who combined her talents, performing and dancing, to rule the screen on her terms... biggest recall values of Nagin are Vyjayanthimala". Post Nagin Vyjayanthimala had established herself as one of the leading actresses in Bollywood because of the film's nationwide success.
Vyjayanthimala's influence on films has been far-reaching. With her, semiclassical dance became an integral part of almost every Hindi film heroine's resume.At her peak, Vyjayanthimala took off to do a series of much-appreciated dance shows in Paris in 1959 besides working for top actors like Dilip Kumar in Paigham (1959) and Raj Kapoor in Nazrana (1961).
Manmohan Krishna (11 August 1921 – 3 November 1990), a familiar actor of the 50s and 60s.He worked in nearly 250 films, notably Naya Daur (1957), Khandan ( 1965), Sadhana (1958), Waqt (1965) and Hamraaz (1967)] He won acclaim for his work in Bees Saal Baad (1962)and won the Filmfare Award for Best Supporting Actor for his role as Abdul Rasheed in Dhool Ka Phool (1960), where the song, Tu Hindu Banega Na Musalman Banega, Insaan ki Aulaad Hai, Insaan Banega was picturized on him. He was a favorite for B R Chopra and Yash Chopra. Later in his career, he directed the hit film for Yash Raj Films, Noorie (1980),
He started his career as a professor in Physics and held a master's degree in physics. He anchored radio the show Cadbury's Phulwari, a singing contest.
Many people don't know that Manmohan Krishna started as Hero cum singer from the 1947 film Matwala Shair Ramjoshi (1947), he sang all the songs in that film. The next film he appeared was1949 film Apna Desh where he sang a song. his next song, 'Jhat khol de' in Afsar (1950), a Dev Anand film with music by S.D. Burman. He also sang in 1951 film Aaram where he played a comedian. sang the song 'Yeh Zindagi Hai Yo-Yo'. In the 1955 film 'Railway Platform' he sang a few songs.In this blog, i am posting these rare songs either in audio or video.
Khemchand Prakash (12 December 1907 – 10 August 1949) is immortal to the music lovers who like old Bollywood songs.Very few of us know that greats like Lata Mangeshkar, Kishore Kumar, Naushad, Manna Dey, and Bulo C Rani were mentored by him. But the creator of these musical gems and the mentor of this league of stalwarts is now largely forgotten. On his Death Anniversary, I pay my tribute to this great composer who composed the song Aayega Aane Wala Aayega sung by Lata Mangeshkar.
He got his training of music from his father Pt. Goverdhan Prasad was a renowned Dhrupad singer who received royal patronage and sang in the Jaipur Durbar. Khemchand was not only a trained classical singer but also mastered the Rajasthani folk music and trained as a Kathak dancer. Once the king of Nepal was in Jaipur, he saw him performing there, invited him to come to his Kingdom. He went there and spent 5 years in Nepal.
The destiny landed him in Kolkata and he joined the legendary New Theaters. While working in New Theatres, he had a chance encounter with Prithviraj Kapoor, and they became lifelong friends. At his suggestion, Khemchand Prakash moved to Bombay along with Kidar Sharma, KN Singh, and last but not the least, the much-celebrated KL Saigal.
He was assistant to composer Timir Baran in Devdas (1935 film), and he sang a comedy song 'lo kha lo madam khaanaa' in Street Singer (1938). He made his debut as music director in 1939 with Supreme Pictures' films Meri Aankhein and Gazi Salauddin and was soon signed up by Ranjit Movietone Film Studio.
In this film, the great music director Naushad was his assistant. Khemchand Prakash used the Arabic style of orchestration to synchronise the ambience of the subject. He also composed Mirza Ghalib's famed ghazal, 'Kabhi neki bhi uske jee mein gar,' in Kalyani's voice. He got another offer for Dwarka Khosla's Meri Aankhein, wherein singer-actor Khursheed got her maiden break and sang 'Aisa geet suna jao' and 'Sach ke khel khilaye aasha,' 'Doodh piyo sab doodh'. These two films established Khemchand and in times to come, he gave classical gems to music lovers.Khursheed was his leading singer and both of them gave many hits of the early 40s.
Khemchand tasted real success when he joined Ranjit Movietone and accomplished nineteen films during his five-year stint. His films, Pardesi and Shaadi became hits. Pardesi had a ghazal, 'Pahle jo Mohabbat se inkar kiya hota' (Khursheed), which became an instant rage. It is said that Khursheed rehearsed this ghazal for fifteen days before recording it.
His biggest hit with Ranjit Studio was the film Tansen in 1943. Songs like "Diya jalaao jagmag jagmag", "Rumjhum rumjhum chal tihari", "More balpan ke saathi", "Sapt suran teen gram", "Hath sine pe jo rakh do to karara aa jaaye" were big hits. It is said that he played a key role in classic songs of Devdas( 1935) sung by KL Saigal: 'Balam aayo baso morey man mein' and 'Dukh ke din ab beetat nahin'. He also did cameo roles in New Theatres' films, and this song, 'Madam lo kha lo khana,' in Street Singer, was picturized on him and Kanan Devi. He was also seen in Debki Bose's Sapera.
After Tansen, the next film he did was Bhanwra (1944), starring K L Saigal. Khemchand Prakash offered a totally different type of music in Bhanwara, as evident in its compositions: 'Thukra rahi hai duniya,' 'Muskratey huey aankh churaya na karo,' 'Hum apna unhey bana na sakey,' 'Diya jisney dil' (Saigal), and a duet with Ameerbai Karnataki, 'Kya humne bigara hai,' became super hits.
Another classic of Khemchand Prakash was' Bhartihari' released in 1944, starring Surendra and Mumtaz Shanti. His compositions were once again in classical mode: 'Chanda des piya ke jaa' (Ameerbai Karnataki), and a duet in a dialogue form, 'Bhiksha de de maa pingla' (Surendra-Ameerbai Karnataki), became a listeners delight.
Prabhu Ka Ghar (1945) was the last film he composed music for Ranjeet Movietone, the same year his movie Dhanna Bhagat directed by Kidar Sharma had 'Panchhi pinjara hua purana' (Khan Mastana), that also became quite popular. He had differences with the owner Chandu Lal Shah of Ranjeet Movietone on the issue of using a new voice in a film. Chandu Lal Shah didn't agree and outright rejected the new voice. The new voice was that of Lata Mangeshkar. Thereafter, Khemchand Prakash started freelancing.
As a freelancerhis significant film was Kishore Sahu's silver jubilee 'Sindoor'(1947) with such unforgettable numbers: 'Kissi Ke Madhur Pyaar Mein' (Nasim Akthar-Sushil Sahu), and Ameerbai's solo, 'O Roothey Huey Bhagwan'
1948 marked yet another significant film of his career, Bombay Talkies’s Ziddi. He gave first major break to Kishore Kumar as a singer for the song "Marne ki duaaen kyun maangu".Ziddi featured a beautiful song of Lata Mangeshkar "Chanda re ja re ja re".Lata sang for him for the first time in Asha released in 1948.
Kishore Sahu had Khemchand in his own home production 'Rimjhim'. He composed a rare gem for Kishore, 'Jagmag jagmag karta nikla chaand poonam ka pyaara' This film also had a super hit number in Shamshad's voice, 'Na tum aaye na neend aayi'. Kishore Sahu and Khemchand again came together in Sawan Aya Re, which had all-time greats of Rafi-Shamshad, 'Aye dil na mujhe yaad dila baatein purani.'In the same year released the film Mahal, its song 'Aayega Aane Wala' became a hit and made Lata a household name. The film and its music became a super hit, unfortunately, Khemchan Prakash died before the release of this film. He died at an early age of 41 on 10 August 1949 due to Cirrhosis.
Rehana got her major break as a heroine in 1946 film Hum Ek Hain which was also Dev Anand's first film. She became the overnight star in 1947 with the release of her next film Sajan opposite Ashok Kumar. She was regarded as Hindi cinema's first "jhatka queen". Whether it was her infamous "lesbian act" with Nigar Sultana in Sunehre Din (1949), or the famous bath scene in Dilruba (1950),
She appeared on the silver screen sometime in the late '30s acting in minor roles but soon took the cine world by storm in 1947, her two films Sajan and Shehnai became hit. 1948 to 1951 was the best phase of her career as she did a variety of films paired opposite most of the top heroes of that time, like Prem AdibinActress(1948), withRaj KapoorinSunehre Din(1949) andSargam(1950), with Dev Anand inDilruba(1950), withShyaminNirdosh(1950) andSurajmukhi(1950), with Shekhar inAda(1951) and withPremnathSagai(1951). Two of her biggest hits from these wereSargam(1950) andSagai(1951). Mushtar Jehan was her real name,her date of birth is not known but her place of birth was Bombay.
After 1952, her career sharply went on the decline as films like Rangeeli (1952), Chham Chhama Chham, Hazar Raatein (1953) and Samrat (1954) all sank at the box office. With her career on the decline in India, Mushtar migrated to Pakistan with the hope of continuing her career there
Recently I was watching a video where five Bollywood lyricists were discussing that the due credit is not given to the lyricist. The whole credit for making it hit goes to the composer, singer or hero or heroine who lip-synced the song on the screen. I believe that a cinema is a collaborative effort, all sections of a movie are in the hands of different professionals. Each one should get their own credit.
A few years back in an award function, Anu Malik was awarded for the Best Song for" Moh Moh Ke Dhaage" and he didn't take the name of Varun Grover, the lyricist of the song
A few days back they ( Lyricists) came out with this video' Credit De Do Yaar'
During the Golden Era of Bollywood, there was a long and rich tradition of poems and lyrics. Many great poets were writing songs for the films. The songs were carrying the story forward. The songs written by them became hits and super-hits but their names were forgotten and with the passage of time not many pause to remember them and their contribution to the world of Hindi film music.
Song of Pyaasa 1957
Lyricist and playback singer Amitabh Bhattacharya feels that lyricists are not being given their due in the film industry. He says singers and composers receive more recognition than lyricists. The today music industry is in the hand of a few music companies, they are not bothered to give any credit to the lyricist. Many Bollywood singers recently shared on Twitter that they are disheartened by the lack of recognition in the entertainment industry. Singer Neha Bhasin, known for the song Jag Ghoomeya (Sultan, 2016) and other hits, is the latest musician to claim that she has faced the brunt of disrespect in the entertainment industry.
Song of Sultan 2016
In Urdu poetry, there is a longstanding tradition of paying tribute or treating a great master’s work as the starting point from where you push off your own lyrical boat. All the Ghazal singers before starting to sing always tell about the name of the poet who wrote the Ghazal. There was the time when in Vividh Bharti or Radio Ceylon, the name of the lyricist, composer, and singer used to be announced. but nowadays in FM radios and many musical platforms, this is missing.
My suggestion to the people, Whenever we see a song and the lyricist name is missing hit comments and enter it. If a couple of million people keep doing it on every song the platforms will change
This immortal song of Pyaasa(1957) was written by Sahir Ludhianvi, sung by Hemant Kumar and composed by S D Burman. This song was inspired by the second stanza of our national anthem, according to a book on celebrated music composer S. D. Burman. "In a conversation with lyricist Pulak Bandyopadhyay, Burman had mentioned that the second line of the national anthem—Punjab Sindh(u) Gujarat Maratha Dravid Utkal Banga—had inspired the line, 'Humne to Jab Khushiyaan Maangi'. "The reference to the national anthem is so subtle that unless someone points it out, it is next to impossible to spot a similarity." Pyaasa had 10 songs, two solo songs were sung by Geeta Dutt, and one duet of Geeta Dutt and Mohammad Rafi, all the other were solo of Rafi except this song. In fact, Guru Dutt wanted this song to be sung by Rafi but Burman Dada insisted on Hemant Kumar. Dada knew that this song suits Hemant Kumar, one of the highlights of this song was the aching frailty of Hemant's rendition. A major argument took place between Guru Dutt, composer Burman Dada, writer Abrar Alvi, and Geeta Dutt. Finally, Dutt, who remained unconvinced, had to give in to the pressure.
This song was picturized on Guru Dutt. He is leaning against a bookshelf, wearing a white shawl, stretching his hands, a wry smile even though he was deserted. Singing in a small gathering organized by his employer Rehman, where he meets his ex-girlfriend Mala Sinha, whoabandonedhim for wealth by marrying none other than the man currently employing him. If you listen carefully you will find a piece of very light music is being played in the background. Burman Dada had arranged the song with delicate piano notes, surprisingly np piano is shown on the screen. Once Burman dada was asked why this song had such little music. He replied that the poetry was the hero of the song and had to be showcased. And it’s true, the soft tune in the background pushes Sahir Ludhianvi’s words to the forefront. Unfortunately, this was the last song of Sahir composed by Dada Burman. They never worked together after this song and film.
