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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
VINTAGE SHAMSHAD BEGUM…..Song No- 5
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1947 was an important year not only for the Nation, but also for the Film industry that sadly said ‘Good Bye’ to many of its popular Muslim artistes, who chose to migrate to the new nation PAKISTAN, created on the basis of Religion. The departure of many talented and popular, successful artistes and technicians was an immediate blow to the film industry, but the void thus created was soon filled up with its own personnel ‘waiting in the wings ‘ to take over. India never had a shortage of talented people, but it was Pakistan, who faced problems in establishing its New Film Industry. Their major problem was shortage of Financiers and Producers-who were mostly Hindus and who either shifted to India or got killed in the riots and their studios were burnt down by the rioters.
Unfortunately, the Pre-Independence Government in India had closed down its “The Information Films of India” institution and so there was no official recording of the vital Historic moments. However, IMPAA had made a film “Festival of Independence” based on strips from various News Reels.
In spite of the turmoil of 1947 in the Film Industry, the number of films produced in 1947 was the highest ever- 181, which remained a record till 1985 when 187 films were made here. So, the number of movies produced in 1947 was a record that stood for 54 years i.e. from 1931 to 1985 !
It was Filmistan which was the most successful maker of movies in 1947, with 4 of its films celebrating Jubilees-namely, Sindoor, Saajan, Shehnai and Do Bhai. Needless to stress that Music was a vital part of their success. Noorjehan’s last two films, Mirza Sahiban and Jugnu were record breaking musicals. Jugnu proved to be a success-precursor to Dilip kumar and Mohd. Rafi in their illustrious careers. K L Saigal’s last film Parwana, Dard and Natak too had excellent music. “Afsana likh rahi hoon” made Uma Devi all India famous name. Two Historicals, Meerabai (M S Subbulaxmi) and Rajkamal’s Matwala Shayar Ramjoshi were landmarks. While Elan was a path-breaking Muslim social, Nateeja, Neelkamal and Samaj ko badal Dalo were other social reform films.
Mohd. Rafi acted in Jugnu and Samaj ko badal dalo. Lata started her historical playback career with ‘Aapki sewa mein ‘,and K L Saigal died in January 47 itself. Master Bhagwan established his Jagriti studio, Kerala built its First film studio ‘Udaya ‘ and Sri Lanka made its first Simhali film in Bombay.
Shamshad Begum had sung 70 songs in 24 films whereas the 181 films produced in 1947 had a total of 1336 songs in that one year. So she sang just 5 % songs in 13 % films produced that year. Considering that Shamshad Begum was on Top in those days,one can imagine how many singers were there in the industry singing balance of 1266 songs.
In the film industry there were many socialist thinkers as well as communists. Anil Biswas, Mehboob and Dr. Safdar Aah were also among them. They had made a film ‘Roti’, together in 1942, underlining the divide between the very Rich and the very Poor. Once again in 1947, Anil Biswas and Safdar Aah came together in the film Bhookh-47. This too was a film depicting the oppression of poor by the rich and how much the poor had to strive hard to satiate their Hunger ( Bhookh).
This was also the First time that Anil Biswas used the voice of Shamshad begum in his films. Anil Biswas had some kind of bias against Shamshad Begum. This feeling had roots in the groupism which had crept in the Bombay Talkies at the time when film Kismet-43 was being made. Anil Biswas was brought into Bombay Talkies by Devika Rani’s group and kavi Pradeep was in S. Mukherjee’s group. Anil Biswas was being paid Rs.2500 pm which was resented by the other group.
Shamshad Begum was the favourite with kavi Pradeep, after her success of Shehnai. However, as a professional, Anil Biswas used her as a Top singer in those days. Anyway Anil Biswas used her only in 2 films(4 songs) in 47, 1 film(6 songs) in 48 and 1 film( 1 song) in 49. In 1957 again he used for for 1 song. Thus in a period of 10 years A Biswas used Shamshad for just 12 songs in 5 films.
Today’s song is the First song Shamshad ever sang for Anil Biswas. Film Bhookh was directed by Dr. Safdar Aah-who also wrote all the 8 songs of the film. The cast was Shaikh Mukhtar, Husna, Kanhaiyalal, Ghulam Hussain, Narbada Shankar, Agha etc .
Shaikh Mukhtar was Bollywood`s first Hunk – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today.
Yet, this rugged man was once a hero.
Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In Ek hi Raasta, or The Only Way, a film directed by Mehboob saab for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as Burma Road, he was Tara Harish).
Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mould. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s Roti with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.
In Wadia`s Krishnabhakt Bodana, Sheikh Mukhtar was the Lord`s devotee. In Bahen – 1941, he portrayed the role of Nalini Jaywant’s brother. His imposing personality fitted well into `period` films which dabbled in history. He played the role of Shahenshah Babar-44; went on to become Chengez Khan-57 and then donned the mantle of Sher Afghan in Noor Jehan – 67, a film which he produced.
He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, Sheikh Mukhtar had a successful celluloid partnership.
Sheikh Mukhtar produced a string of Hindi films, such as Dada, Dara, Ustad Pedro, Toote Tare, Mr. Lambu, Annadaata, Mangu (with another beauty, Nigar Sultan), Do Ustaad, Noor Jehan, among others.
He wove into his films a variety of songs, from Bahaaron ke doli pe aaye hai jawaani, a romantic number from Annadaata, to naughty ditties, such as Dil ka yeh engine seeti bajaaye from Ustaad Pedro, and Namaste, Doctor Paro, hum ko bhi ek injection maaro.
Sheikh Mukhtar`s pair of shoes, of twelve number size, (in Do Ustaad), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of Do Ustaad when he holds his long-lost brother and son to his bosom.
Sheikh Mukhtar blew up his hard-earned money on Noor Jahan, his dream project. However, the `period` film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.
A broken man, Sheikh Mukhtar passed away between these fruitless visits. Noor Jehan, which was released in Pakistan after Sheikh Mukhtar died, kept the box office registers ringing with cash. ( adapted from Shirish Kanekar’s article, with thanks).
Today’s song from film Bhookh-47 is extremely melodious and one may think, if only Anil Biswas had used Shamshad Begum in plenty, they would have probably surpassed Naushad and C Ramchandra’s songs too !
( My thanks to Anil Bhargava ji for some information used here.)
Song-Dekho hara hara ban hawa san san san(Bhookh)(1947) Singers-Shamshad Begam, Anil Biswas, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Male chorus
Female chorus
Lyrics
taka taka taka dhin
taka taka taka dhin
taka taka taka dhin
taka taka taka dhin
ho o o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
ho o o o
o o o
soona soona re joban
laagee piya ki lagan
laagee piya ki lagan
taka taka taka dhin
taka taka taka dhin
ho o o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
ho tora baala re joban
dole dole mora man
dole dole mora man
taka taka tahka dhin
ho tora baala re joban
dole dole mora man
dole dole re ae ae
taka taka taka dhin
taka taka taka dhin
ho o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
liye sir pe gagar
tori dekhoon main dagar
liye sir pe gagar
tori dekhoon main dagar
bal khaaye jaay
haay mori patli kamar
bal khaaye jaay
bal khaaye jaay
haay mori patli kamar
karoon haaye raam
haay raam
kaun jatan
karoon haaaye raam
haay haay
karoon haaye raam
haay raam
kaun jatan
taka taka taka dhin
taka taka taka dhin
ho o o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
taka taka taka dhin
taka taka taka dhin
mori moti moti
?? ki rotiyaan
pakaao
mori moti moti
?? ki rotiyaan
aan aan
tore gore haath
???
mori moti moti
?? ki rotiyaan
aan aan
bole choodiaan dheere dheere
chaanan chhannan chhan
chaanan chhannan
taka taka taka dhin
ho bole choodiaan dheere dheere
chaanan chhannan chhan
chaanan chhannan chhan
chaanan chhannan
taka taka taka dhin
taka taka taka dhin
ho o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
ho o o
o o o
dekho hara hara ban
hawa san san san
taka taka taka dhin
taka taka taka dhin
ho o o
o o o
ho o o
o o o(taka taka taka dhin
taka taka taka dhin)
ho o o
o o o (taka taka taka dhin
taka taka taka dhin)
ho o o
o o o
(taka taka taka dhin
taka taka taka dhin)
