Bulo C Rani - A Forgotten Composer & Singer

Bulo C Rani was a music director of high caliber as well as a singer in the 1940s. He worked as an assistant to Khemchand Prakash in films such as Tansen, Chandni, Dukh Sukh, Baadshah Babar. Khemchand Prakash also gave him an opportunity to explore his singing ability by making him sing ‘Ruth Na Pyar Mein’ for the film “Mehmaan” (1942). 
My generation remembers him with the song "Humen To Loot Liya Milke Husn Walo Ne" and " Ghoonghat Ke Pat Khol" from Jogan 1950.
 In the year 1943, Bulo. C. Rani worked as an assistant to Gyan Dutt in “Paighaam” and “Shankar Parvati”. He got the opportunity to sing for 6 films in the same year. In the film ‘Shankar Parvathi’ the song ‘O Jogan O Bairaagi’ had become popular among listeners.
He was born in Hyderabad, Sindh province, British India (now in Pakistan) on 6 May 1920, there is a confusion about his date of birth, someone known to him has corrected it to 6th March. His father was also a music director, he too decided to join the same profession after graduating from college. He joined Ranjit Movietone in 1939 where he met some very big personalities who were very prominent names in music such as Ghulam Haider, D. N. Madhok, etc. In the early 1940s,
Khemchand Prakash was a very big name in the music industry. He joined him as an assistant. He assisted Khemchand in movies like Tansen, Chandni, Sukh Dukh (1942), and Shahenshah Babar (1944). He sang his first playback song "Ruth Na Pyaar Mein" under Khemchand in the film Mehmaan (1942). 
In 1943, h In e worked as an assistant to Gyan Dutt in two films- Paigham and Shankar Parvati. In the film Shankar Parvati, the song "O Jogan O Bairaagi" became a hit. Despite him composing the song, it was credited as a Gyan Dutt composition. However, he managed to sing in six films that year.
He got the first film as an independent composer in the 1944 film Caravan. It is said that the tunes in the Khursheed song ‘ Ho Dukhiya Jiyara’ for the 1943 film Tansen were supposedly set by Bulo. C. Rani but the credit went to Khemchand Prakash. The film featuring K. L. Saigal and Khursheed Bano in the lead roles.  
His next film as an independent composer was  Pagli Duniya (1944) but he got recognition with his next film Moorti 1945, all the songs were hit. Mukesh sang one of his first hit songs in the film, "Badariya Baras Gai Us Paar".
He made his mark with tracks like 'Ja Parwane Ja Kahin Shama Jal Rahi Hai' from Rajputani 1(946), 'Kaise Bataoon Tum Se Is Dil Ko Pyar Kyun Hai' from Anjuman and the hugely popular track 'Armaan Bhara Dil Toot Gaya' from Wafa.
His best work till date came in the early 1950s - Jogan (1950), Wafa (1951) and Bilwamangal (1954). Bilwamangal was one of his last soundtracks which contained classic songs of Suraiya and C. H. Atma. The songs of that film became popular with one number in particular, "Hum Ishq Ke Maron Ko", which was sung by Suraiya with lyrics by D. N. Madhok.
With the emergence of S D Burman,C Ramchandra,Shankar Jaikishan, Naushad and O P Nayyar,his demand as a composer reduced.However, he continued to compose for films till the mid-sixties. Some of his songs in this period were hits such as "Humein Toh Loot Liya" (Al Hilaal, 1958), "Mangne Se Jo Maut Mil Jati" (Sunehre Qadam, 1966)
He gave music in 71 films, the last released film was Bijli in 1972. As a singer, he sang in 19 films and composed 574 songs.
He died on 23 May 1993 at the age of 73 years in Mumbai,

Some of the Popular songs of Bulo C Rani

The first song as a Singer

Song of Mehmaan 1942

Song of Tansen 1943 

Song of Caravan (1944).

Song of Moorti (1946).

Song of Rajputani(1946).

Song of Anjuman (1948)

Song of Jogan 1950

Song of Jogan 1950

Song of Wafa (1950)

Song of Bilwamangal (1954)

Song of Al Hilaal, 1958

Naushad- The Classical Genius

Naushad (25 December 1919 – 5 May 2006 ) started as an independent music director from the 1940 film Prem Nagar. He made the Hindi songs popular by mixing UP and Bihar folk music with Indian classical music. It was in 1946 he got the superstar status with the two immortal songs from the film Anmol Ghadi.
The simple melody in Raag Pahari in the voice of Noorjehan " Jawan Hai Mohabbat" and the duet of Noorjehan and Surendra"Awaz Do Kahan Ho" mesmerized the music lovers. In the same year, K L Saigal gave one of his immortal songs "Jab Dil Hi Toot Gaya" under his composition in Shahjehan (1946) in Raag Bhairavi.

His classical genius was the 1952 film Baiju Bawra in which he used the voices if the great Ustad Amir Khan and D V Palusjar. The climactic contest between Tansen and Baiju Bawra in the royal court of Mughal emperor Akbar demanded music of the highest finesse to exemplify the capabilities of these historical legends. Naushad introduced classical music with deft handling, making it melodious for mass appeal and yet retaining enough artistry as the situation demanded. 
There could not have been a better composer than Naushad Ali to make this film an unforgettable feature of Indian cinema. The music in “Baiju Bawra” is divine! It is, in fact, the soul of the film.
There are many moments in “Baiju Bawra” when the contribution of Naushad emerges the strongest point of the movie. Mohammad Rafi, lyricist Shakeel Badayuni and Naushad leave you in a trance with the all-time great number “Man tarpat hari darshan ko aaj”. Rafi had reportedly confessed to this being one of the toughest songs of his career as a demanding Naushad sought perfection from the legendary singer.

Raag Pahari, Raag Darbari, Raag Yaman, and Bhairvi were few of his favorite ragas. Many immortal songs in this raga were composed by him. Right from composing Rimjhim barse badarwa in raga Pahadi in film Rattan effortlessly rendered by Zohrabai Amabalewali, Naushad emphasized the durable value of classical mores.
His most durable composition Suhani raat dhal chuki was shaped in Pahadi and was from film Dulari made in 1949 that became legendary and is still considered an integral part of any singer’s repertoire in any musical gathering. 
His other popular number in Pahadi was Tod diya dil mera composed for film Andaz in 1949 and rendered by Lata Mangeshkar. Naushad also utilised Pahadi to create an amazingly profound tune Marna teri gali mein for film Shabab in 1954 sung by Lata 
Naushad was very mich fascinated with Bhairavi He tuned his very fine number Jab dil hee toot gaya in raga Bhairavi in a manner that this raga became his signature tune as Naushadian Bhairavi.
The quality of Naushadian Bhairvi is that it is immediately recognizable. It is amply reflected in his beautiful compositions such as Tu Ganga ki mauj mein for film Baiju Bawrarendered by Rafi that became the standard-bearer for flowing rendition based on classical ragas. Another of his hit songs was Toote na dil toote na picturised on Dilip Kumar in Andaz in 1949 and sung by Mukesh,
In Raag Yaman he composed Jaane wale se mulaqat na hone payee sung by Lata and composed for Mehboob Khan’s powerful drama Amar released in 1954 and later in Mughal-e-Azam, the song once again sung by Lata Mangeshkar "Humein kash tum se mohabbat na woti, "

A Great Trio. of Naushad, Rafi, and Shakeel Badayuni

Two immortal songs in Raag Darbari were created "Beech bhanwar mein aan phasaa hai dil ka safeena, Shah-e-Madina, for film Dard in 1947 for Surraya to render it and another by Mohammad Rafi "O dunya ke rakhwale" for 1952 film Baiju Bawra .
Naushad composed two sequentially modulating numbers in rather unconventional raga Jaijaiwanti This song"Hum aaj kahin dil kho bethe poignantly sung by Mukesh for the 1949 film Andaz and the other great song Mohabbat ki rahon mein chalna sambhal ke composed in 1955 for film Uran Khatol a that was playfully performed by Rafi.
One of the exceptionally brilliant compositions of Naushad, Madhuban mein radhika naache re, famous for an excellent Sitar sequence, for film Kohinoor in 1960 was laid out in raga Hameer, which is very rarely used for light music.
These are a few Raag based songs that made Naushad the Classical Genius but in the end, I must mention the song that made Mohammad Rafi a great "Man tarpat hari darshan ko aaj, a complicated semi-classical composition based on raga Malkauns for film Baiju Bawra released in 1952. 

Song of Rattan 1944

Song of Anmol Ghadi 1946

Song of Anmol Ghadi 1946

Song of Shajehan 1946

Song of Shajehan 1946

Song of Dard 1947

Song of Dulari 1949

Song of Dulari 1949

Song of Andaz 1949

Song of Baiju Bawra 1952

Song of Baiju Bawra 1952

Song of Baiju Bawra 1952

Song of Uran Khatola 1955

Song of Mother India 1957

Song of Kohinoor 1960

Song of Mughal e Azam 1960

Mem Sahib (1956)- A Classic Film with Four Legends in Making

A rare film with a star cast Shammi Kapoor, Meena Kumari, Kishore Kumar, and Mehmood in one film is an attractive proposition to watch. At the time of its release, none of them was a big star. Shammi Kapoor's first hit film was Tumsa Nahin Dekha which was released one year later in 1957. What is more, he is not the hero, he does not get to walk away with the heroine, and he plays a negative character. Mehmood had a small and insignificant role. Kishore Kumar was also not a big name. Meena  Kumari was the only one who was successful, not a Tragedy Queen at that time. 
Meena Kumari played the role of a  modern girl in this film. An unlike Meena Kumari film with full of entertainment. This is also one of Meena Kumari’s non-tragedy roles. 

This film is based on the usual clash between ‘traditional Indian’ and ‘modern/Western’ values. Kishore Kumar(Sunder) who plays the naive young man, brought up in an ashram comes to town to marry which was fixed long ago by the heroine's rich father when both the boy and girl were a child. The girl who lived in a city with a modern lifestyle refuses to marry such a  guy. She gives a matrimonial Ad. in a paper and takes interviews. Manohar (Shammi Kapoor) who plays a negative character in the film reads the Ad and decides to go for an interview. Manohar impresses Meena, both become friendly. Meena introduces Manohar to her uncle as her prospective groom,

Meena's aunt was against this marriage so she calls Sundar from Guru ji ashram to meet Meena, the girl to whom he is betrothed. Meena, on the other hand, wanted to marry Manohar.
Sunder blames Manohar for ‘stealing’ his Meena away, The uncle advises Sunder to forget Meena. In the meantime, Manohar approaches Meena’s uncle for his blessings. Uncle tells Manohar that he has no problem as long as Meena wants to marry him but  Meena’s father’s will states that if Meena marries anyone other than Sunder, the latter will be heir to all her wealth. 
Manohar who is after the wealth of Meena tells Meena about the will. Manohar, along with Meena, steals the will out of her uncle’s safe but their plans fail once again when they come to know that one more copy of this will is lying with Sunder's mother.
Manohar plants the idea of Meena getting the will from Sunder by pretending to fall in love with him. Meena falls for the idea. Initially, she pretended to love Sunder but after a while, she realizes Manohar of wooing her for her money; if he truly loved her, he would take her as she is. 

The film was produced and directed by R C Talwar, music was given by Madan Mohan. 
Music Director  Madan Mohan was inspired by the 1934 song  Isle of Capri for not one but two versions of the song Dil Dil Se Mila Kar Dekho,, sung by Asha Bhosle and Kishore Kumar respectively. Both the songs were picturized on Meena Kumari and Kishore Kumar. The first version (Asha Bhosle) in the film comes more than an hour into the film when Meena Kumari pretends to be interested in Kishore Kumar and who, outside the world of the ashram he has grown up in, is just getting introduced to the ways of the ‘sinful’ world. Meena Kumari is driving the car while Kishore Kumar sits on the front seat.

The second version (Kishore Kumar) comes about half an hour later once Kishore Kumar, now having fallen hook line and sinker for Meena Kumari, has succumbed to the lifestyle of the rich and wealthy. In this song, Kishore Kumar drives the car and Meena Kumari sits on the front seat.
Another popular song "Hamari Gali Aana, Achha Ji" picturized on Meena Kumari and Shammi Kapoor, a sung by Asha Bhosle and Talat Mahmood was also very popular, This film is available on YouTube.

Song of Mem Sahib 1956 (Female Version)

Song of Mem Sahib 1956 (Male Version)

Song of Mem Sahib 1956

Song of Mem Sahib 1956

Song of Mem Sahib 1956

Song of Mem Sahib 1956

Song of Mem Sahib 1956

Raja Harishchandra- The First Indian Film

Cinema is immensely popular in India, with as many as 2,000 films produced in various languages every year. Hindi film Industry is the largest revenue earner, the first film released in India was in Marathi by Dadasaheb Phalke but technically the first full-length motion picture in India was Raja Harishchandra also produced by Dadasaheb Phalke.
Only one print of the film was made, for showing at the Coronation Cinematograph on 3 rd May 1913. It was a commercial success. The most interesting point to note that the female characters in the film were played by male actors.
The status of Raja Harishchandra as the first full-length Indian feature film has been debated. Some film historians consider Dadasaheb Torne's silent film Shree Pundalik, released on 18 May 1912, the maiden Indian film. The Government of India, however, recognizes Raja Harischandra as the first Indian feature film.
Phalke hired around forty people for his film studio known as a factory. The film had an all-male cast as no women were available to play female leads Most of the cast did not have any prior acting experience. Phalke ran several rehearsals with the actors even he had to wear a sari himself and act out the scene.

Harishchandra's role was played by Dattatraya Damodar Dabke, Harishchandra's wife Taramti was played by Anna Salunke, who later in 1917 became the first to play a double role in Indian cinema, by playing the roles of both the hero and heroine in Lanka Dahan.
Other artists in the film were Bhalchandra Phalke as Rohitashva,Gajanan Vasudev Sane as Vishvamitra,  Dattatreya Kshirsagar, Dattatreya Telang, Ganpat G. Shinde, Vishnu Hari Aundhkar, and Nath T. Telang 
The premiere of the film took place at the Olympia Theatre, Bombay on 21 April 1913 at 9:00 pm. He decided to show the film to a select audience With the favorable reviews generated, Nanasaheb Chitre, Manager of the Coronation Cinematograph and Variety Hall, Girgaon, expressed his desire to screen the film.
The film had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall. The show included a dance by Irene Delmar, a comic act by McClements, foot-juggling by Alexandroff, and Tip-Top comic items followed by the film The show's duration was one-and-half hours with four shows scheduled a day at 6:00 pm, 8:00 pm, 10:00 pm, and 11:45 pm.

The film had a houseful run for a week, and it was extended for twelve more days. A special show was scheduled for 17 May for women and children only at half rates. Initially, 18 May was advertised as the last show, but the film continued its screening due to popular demand. It screened continuously for twenty-three days until 25 May and was screened at the Alexandra Theatre on 28 June.1913.
News of the film's success in Bombay spread across India and there were demands to screen the film in various locations. As there were no film distributors in those days, Phalke had to move the film, the projector, an operator, and some assistants from place to place.
The success of this film laid the foundation of the film industry" in the country.

Rare or Forgotten Songs of Nargis

NARGIS(1 June 1929 – 3 May 1981),  one of the greatest actresses in the history of Hindi cinema. She starred in many popular Hindi films of the late 1940s and 1950s. Many of the iconic and immortal songs were picturized on her including Pyat Hua Ikrar Hua or Aaja Re Ab Mera Dil Pukara and many more.
She appeared as a heroine opposite Motilal in the 1943 film Taqdeer. She was only 14 years of age at that time. The song ".O Jaanewale Aaja" sung by Shamshad Begum was her first song as a heroine, Many such unheard songs are collected by me in this blog.

Song of Taqdeer (1943) 

Song of Taqdeer (1943) 

Song of Anban 1944   (Audio only)

Song of Humayun 1945

Song of Romeo Juliet 1947  Audio

Song of Anokha Pyar 1948

Song of Mela 1948

Song of Aag 1948

Song of Lahore 1949

Song of Daroga Ji 1949

Song of Birha Ki Raat 1950

Song of Halchal 1951

Song of Miss India 1957

50 Years of Sachaa Jhutha

Released 50 years ago on 1st May 1970 was a blockbuster film. It was the second-highest grosser of the year. It was an action-comedy film directed by Manmohan Desai. Rajesh Khanna was the hero with a double role as Ranjith & Bhola. The performance of Rajesh Khanna was critically acclaimed and he won the Filmfare Best Actor Award for 1971.
This film was initially offered to Shashi Kapoor but he refused the film because he did not want to work with Mumtaz. At the time Mumtaz was working in a lot of B Grade stunt films. Shashi did not want to work with a small heroine.

Bhola (Rajesh Khanna) is an innocent band musician who lives with his physically challenged sister Belu(Naaz) in a village. He needs more money for his sister's marriage and he sets off to Bombay. In Bombay, there is a wealthy Jewel Merchant as well as a smuggler Ranjit who is a look-alike of Bhola is suspected by the police 

inspector Pradhan(Vinod Khanna). The inspector has no evidence and searches for that. He creates a plan with Rita (Mumtaz) to attract Ranjith and to know his secret plans.
Bhola and Ranjit paths cross at a costume party Bhola in his original costume of a band player surprises Ranjit, he immediately conceives a plan. He takes Bhola to his place and reveals himself. He convinces Bhola to act like Ranjith in front of society as he is suffering from cancer and requires treatment. Until his return from treatment, Bhola has to make trust with everybody that he is Ranjith. Actually, Ranjith makes him himself so that he can continue with his diamond smuggling, meanwhile, there will not be any evidence, as Bhola is going to be Ranjith everywhere. But he did not reveal the reason for him. He also promises that he would give money for his sister's marriage. Innocent Bhola believes him and agrees to the plan.

Ranjith's girlfriend Ruby (Faryal) trains Bhola to be like Ranjith. In the meantime, Ranjith continues his underground work of diamond smuggling. And Inspector Pradhan cannot come to a conclusion. Rita moves intimately with Bhola thinking of him as Ranjith, but Bhola falls in love with her. 
During this time in the village, Bhola's sister loses everything due to heavy floods, decides to go to Bombay along with her dog to search for Bhola.
Pradhan meets Belu and helps her to reach the place. Belu is misguided by some men regarding the whereabouts of her brother and tries to exploit her, but Pradhan saves her from them and takes her to his home. Ruby, who follows Belu to Pradhan's house informs Ranjith about her. Ranjith, posing like her brother, goes to Pradhan's home and takes her with him.

Finally, Bhola unravels Ranjit's evil designs and threatens exposure, but is restrained by Belu's captivity. After a series of gunfights, fisticuffs, helicopter landings, dog chases (animal rights activists will feel tormented at the plight of Moti) both Bhola and Ranjit are arrested.
It’s a fun film with Rajesh doing an excellent job differentiating between the two characters. His chemistry with gorgeous Mumtaz as always is great, one year earlier both came together in a super hit film Do Raste and Bandhan.
Another highlight of the film is its music. All the songs were hit especially "Meri Pyari Behaniya Banegi Dulhania". Kalyanji Anandji gave the music with lyrics by Indivar, Gulshan Bawra, and Qamar Jalabadi,

Songs of Sacha Jhutha

#	Title	Singer(s)
1	"Karle Pyar Karle Aankhen Chaar"	Asha Bhosle
2	"Dil Ko Dekho Chehra Na Dekho"	Kishore Kumar
3	"Meri Pyari Behaniya (Version 1)"	Kishore Kumar
4	"Meri Pyari Behaniya (Version 2)"	Kishore Kumar
5	"Meri Pyari Behaniya (Version 3)"	Kishore Kumar
6	"Yunhi Tum Mujhse Baat Karti Ho"	Lata Mangeshkar, Mohammed Rafi
7	"Ho Kehdo Kehdo"	Lata Mangeshkar, Kishore Kumar

Song of Sachaa Jhutha 1970

Song of Sachaa Jhutha 1970

Song of Sachaa Jhutha 1970

Song of Sachaa Jhutha 1970

Song of Sachaa Jhutha 1970

Manna Dey Songs for Dev Anand

When we think of Dev Anand songs, what we get in mind is S D Burman as Music director and Rafi or Kishore Kumar as Playback singers. But, he has lip-synced with all the great singers of the Golden Era.
One of the great singers of Bollywood was Manna Dey. He started working as an assistant music director first under Krishna Chandra Dey, and then under Sachin Dev Burman. He composed music for a few films also, one of these movies was 1948 film Hum Bhi Hain Insaan starring Dev Anand. In this film, he sang for Dev Anand for the first time.
In this Blog, I have rare songs Of Manna Dey sung for Dev Anand.
Dev Anand became a star after the release of Ziddi in 1948. Kishore and Mohammad Rafi became his screen voice. Hemant Kumar and Talat Mahmood also sang for Dev Anand in the 50s. Manna Dey sang for him after 10 years in the 1958 film Amardeep.
SD Burman took Manna Dey for Dev Anand in Manzil 1960, in this film Burman Da experimented three different singers for the same hero. Manna Dey sang one solo and one duet with Asha Bhosle.Rafi and Hemant Kumar also sang in this film for Dev Anand.
The next film was Kala Bazar in 1960 having a duet with Asha Bhosle"SAANJH DHALI DIL KI LAGI ". In the same year, Bombai Ka Babu released, in this film also the song Tak Dhoom Tak Dhoom was sung by Manna Dey.
Dev Anand – Manna Dey were brought together, once again. for one of the all-time classics Chale Jaa Rahein Hai Kinare Kinare (Kinare Kinare, 1964; Lyrics: Nyay Sharma) by Jaidev.

Song of Hum Bhi Insaan Hain 1948

Song of Amardeep 1958

Song of Bombai Ka Babu 1960

Song of Kala Bazar 1960

Song of Manzil 1960

Song of Manzil 1960

Song of Kinare Kinare 1964