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Gaata Rahe Mera Dil 50 Classic Hindi Film Songs
by Balaji Vittal, Anirudha Bhattacharjee
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Authors' Description
Look behind the scenes of fifty celebrated songs, from an estimated repository of over one lakh! 'De de khuda ke naam pe': when Wazir Mohammed Khan sang these words in India's first talkie, Alam Ara, he gave birth to a whole new industry of composers, lyricists and singers, as well as an entirely new genre of film-making that is quintessentially Indian: the song-and-dance film. In the eight decades and more since then, Hindi film songs have enraptured listeners all over the world. From 'Babul mora, naihar chhooto jaye' (Street Singer, 1938) to 'Dil hai chhota sa' (Roja, 1992); from the classical strains of 'Ketaki gulab' (Basant Bahar, 1956) featuring Bhimsen Joshi to the disco beats of Nazia Hassan's 'Aap jaisa koi' (Qurbani, 1981); from the pathos of 'Waqt ne kiya' (Kaagaz Ke Phool, 1959) to the exuberance of the back-to-back numbers in Hum Kisise Kum Naheen (1977), here is an extraordinary compilation, peppered with trivia, anecdotes and, of course, the sheer joy of music. Find out answers to questions like: With which unreleased film did Kishore Kumar turn composer? In which song picturization was dry ice first used? Which all-time classic musical was initially titled Full Boots? Where was the title song of An Evening in Paris shot? The idea for which song originated when the film-maker visited Tiffany's in London? Which major musical partnership resulted from the celebrations around an award function for a commercial jingle for Leo Coffee? How many of your favourites find mention here? Make your own list!
Errata for the Second Printing
For Talat Mehmood, please read Talat Mahmood everywhere. For C Ramachandra, please read C Ramchandra everywhere.
Page No |
Row / Line |
What is there |
What should be there |
3 |
Credits |
Lyrics: Kavi Pradeep |
Lyrics: <Unknown> |
11 |
3rd / 4th |
Featured separately on a 78 rpm record |
Featured on the other side of the same 78 rpm record |
14 |
Last |
The songs from Mahal were very well received by audiences and musicians. One number, ‘Mujhse mat pooch mere ishq mein kya rakha hai’, surely served as the inspiration for composer Ravi’s song: ‘Badle mere sarkar nazar aate hain’ from Chaudhvin Ka Chand (1960) sung by Asha Bhonsle. |
Please delete this |
24 |
2nd / last |
Humraaz [1967] |
Gumrah [1963] |
27 |
3rd / 2nd |
a young Asha Parekh |
a young Tabassum |
28 |
2nd / 6th |
Naushad’s brother-in-law |
Naushad’s good friend |
61 |
1st / 2nd |
(Baazi) |
( Baazi , 1951) |
64 |
last / 3rd last |
Dhanyeshswari nadi re |
Dhaleshwari nadi re |
66 |
Box |
Salil Chowdhury, probably as a tribute to his Bengal compatriot, used it in the voice of S.D. Burman in Gulzar’s film Achanak (1973). |
Gulzar also used the line in the background of Achanak (1973). |
70 |
1/9 |
But they clinch the return match with ‘Pehchanta hoon khoob’ (rendered by Asha Bhonsle, Sudha Malhotra and Balbir) |
But they clinch the return match with ‘Pehchanta hoon khoob’ (rendered by Asha Bhonsle, Sudha Malhotra, Balbir and Bande Hasan) |
71 |
3rd last / last |
Sahir Ludhianvi innovates as Urdu gently makes way for a few words of Hindi like ‘kathin’ instead of ‘mushkil’. |
Sahir Ludhianvi innovates, however, he does borrow couplets from Amir Khusraw, as Urdu gently makes way for a few words of Hindi like ‘kathin’ instead of ‘mushkil’. |
71 |
last / 2nd last |
Barsaat Ki Raat was initially offered to Khayyam by Chandra, |
Barsaat Ki Raat was initially offered to Khayyam by Chandra (real name Rameshchandra Gupta), |
72 |
Box |
7 a.m. |
7:30 AM |
72 |
Box |
With a record ten playback singers (five male, five female), |
With a record twelve playback singers (seven male- Rafi, Manna, Batish, Balbir,Shankar, Shambhu, Bande Hasan, five female - Lata, Asha, Sudha, Suman, Kamal Barot), |
80 |
2nd / 7th |
4/7 |
7/4 |
80 |
2nd / 10th |
4/7 |
7/4 |
82 |
last / 3rd last |
Vijay Anand, who was officially neither the director nor the producer of the film, but is supposed to have ghost-directed it. He moved to his flat on Pali Hill and had a table lamp custom-made to play the chime whenever the lamp was switched on. |
Vijay Anand was the ghost director of the film, but was not officially credited for the same, as told to the authors by Dev Anand in an interview in his studio in 2010. Vijay was so much in love with the tune, that when he moved to his flat at Pali Hill, he had a lamp custom-made to play the chime whenever the lamp was powered on |
97 |
1 / 1 |
Rafiq Ahmad Khan |
Rafiq Ali Khan |
101 |
Titles |
Lyrics: Shamsul Haq Bihari |
Lyrics: Shamsul Huda Bihari |
121 |
last / last |
Talat Mehmood |
Talat Mahmood |
124 |
3rd / 5th |
( House no 44 ) |
( House no 44 , 1955) |
124 |
3rd / 6th |
Chalo ik baar |
Chalo ek baar |
130 |
1st / 3rd |
continued to use till 1982 |
continued to use till 1986 |
138 |
2nd / 7 |
Guide is also the only film |
Guide is one of the few films (other films are Eight Days (1946) and Zindagi Zindagi (1972) |
142 |
1st / 12th |
Na na pyar karte |
Na na karte pyar |
154 |
2nd / 1st |
Humne dekhi hain |
Humne dekhi hai |
154 |
2nd / 6th |
dekhi hain |
dekhi hai |
164 |
1st / 7th |
Producer L.B. Lachman stepped in |
L.B. Lachman, who was producing Annadata , and was very close to Hrishi da, stepped in |
164 |
2nd / 1st |
Raj holds a doll |
Raj holds a doll (the doll was prepared by veteran music director Madhavlal Damodar Master) |
172 |
last / 4th |
other percussionist was Lala Sattar. |
other percussionist was Lala Gangawane. |
193 |
Titles |
Caravan (1972) |
Caravan (1971) |
195 |
2nd / 4th |
Vyjantimala |
Vyjayantimala |
213 |
Footnote |
Add a box at the end- Kolkata based Jayati Mukherjee, an amateur singer who has been sining the song for years, adds : There were two more lines in the first antara - Pyar ke jalte zakhmoon se jo dil mein ujala hai, Aab jo bichad ke aur bhi zyada bharne wala hai - which would be played on AIR during the initial days. However, the version which later made it the cassettes and CDs were sans these lines . Sanjeevani, an upcoming vocalist, had also sang the song with these two lines in a TV show |
|
232 |
1st / 9th |
insturments, |
instruments, |
234 |
3rd / last |
Kajri's |
Kajli's |
235 |
Titles |
Singers: Mohd Rafi, Kishore Kumar, R.D. Burman, Asha Bhosle, Kishore Kumar |
Singers: Mohd Rafi, Kishore Kumar, R.D. Burman, Asha Bhosle |
239 |
3rd / 2nd |
HKKM |
HKKN |
242 |
3rd / 6th |
27 Down (1972) |
27 Down (1973) |
255 |
5th / 2nd |
Kulliaat |
Kulliyat-e-Mir |
255 |
5th / 2nd |
13000 words |
13,000 couplets |
256 |
2nd / 3rd |
Sardar Ali Jaffri |
Ali Sardar Jafri |
256 |
3rd / 2nd last |
Varmaji |
Sharmaji |
268 |
1st / 4th |
both written by Sameer, who was also the scriptwriter of the film. |
both written by Sameer |
270 |
2nd / 2nd |
We had a red Maruti van |
Mansoor had a red Maruti van. The number was 1887 with Maharashtra registration |
275 |
1st / 2nd |
Keezhmadu in Kerela's Aluva District |
Keezhmaadu, near Aluva in Eranakulam district |
275 |
1st / 4th |
Periyamukham |
Periyamugham |
275 |
3rd / last |
Joban George |
Job & George |
276 |
4th / 5th |
Mountain Misty |
Mountain Mist Tea |
276 |
2nd / 5th |
What many people don’t know is that Dilip had composed Disco Disco (1987) with singer Malaysia Vasudevan, the Sufi-based album Deen Isai Malai (1989) and the English album Set Me Free (1990)with singer Malgudi Shubha. |
What many people don’t know is that Dilip had composed the Sufi-based album Deen Isai Malai (1989) and the English album Set Me Free (1990) with singer Malgudi Shubha. |
283 |
3rd / 2nd last |
seventy-odd |
seventy eight |
283 |
3rd / 3rd last |
in 1997 |
in 1998 |
284 |
2nd / 1st |
On the Republic Day of 1963 (some reports say the date is January 27) |
On January 27, 1963 |
298 |
2nd / 9th |
Waseem Altaf of Toba Tek Singh, Pakistan, |
Waseem Altaf of Islamabad, Pakistan, |
- Details
Volume 2 (1981-2000) has been published.
Link for India
https://pothi.com/pothi/book/dr-venkata-s-vutukuri-telugu-filmography-volume-2-1981-2000
I am happy to announce the publication of Telugu Filmography Volume1 (1932-1980) Bt Dr V S Vutukuri. In his words,
Telugu film industry is one of the most prolific in Indian film scene. Between 1932 and 2000, some 5,100 Telugu films were produced. The present book, Telugu Filmography Volume 1, lists the details of 2017 films produced between 1932 and 1980. Under each title are included the following details: Banner, Producer, Director, Writers of Dialogues, Lyricists, Music Director, Playback Singers and Cast. The information was gathered from various sources such as recordings on VHS Tape, VCD and DVD, films screened on TV, Songs Books, Covers of Gramophone Records, Audio Cassettes and CDs, Film Posters and Newspapers. This book will be of immense interest to film enthusiasts. It will serve as a valuable source of reliable information to people engaged in Telugu film industry, academic researchers and the Government departments of Culture and Literature.
The book is in English, paper-size Letter, 320 pages with Film Title Index.
and in India
https://pothi.com/pothi/book/dr-v-s-vutukuri-telugu-filmography-volume-1-1932-1980
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professor toofaanii publishers is happy to announce their 9th book
"Forgotten Artists of Early Cinema and The Same Name Confusion"
by Arunkumar Deshmukh (it is first book) and Prof Surjit Singh (it is his 7th book and 5th on Hindi cinema)
Tens of thousands of artists have contributed to Hindi cinema since 1931. Barring a few famous ones, others are long forgotten and are destined for obscurity. Here you will read about more than 30 such artists, eg Khalil, Baakre, Baby Akhtar and Latika. There are scores of others with similar names. Their biographies and filmographies are often mixed up even in well-known books and popular websites. Here you will find reports on more than 25 such cases, eg 2 Shyams, 5 Rajkumars, 9 Gauhars and 2 Shashi Kapoors.
The book is illustrated by more than 60 rare and not-before-seen pictures of these long forgotten artists.
International Edition at lulu.com
On Pothi (in Rupees)
Page 4 of 47