MAN MOR HUA MATWALA KIS NE JADOO DALA - Page 9

Thanks to all our wonderful members who take the time to research all these archives and post us these wonderful treasures from the past. I have heard some of her songs, but did not know a lot about her. I have learnt so much about bollywood and so much about Indian composers and singers since I joined this forum.
My knowledge is increasing day by day, thanks to you all. ❤️

Originally posted by: Qwest

Please when you click on the link you will get blank page close that page and wait for 30 sec music will start and you will love it.

This song is adapted from Rabindranath Tagore's Shei din dujone.

Hear the original at http://www.sdburman.net/website/Bur...inaDeewaane.htm

-Afsar, released in 1950, was the first film from the Navketan banner. It marked the beginning of Dada's association with the Film Company which lasted right uptil 'Chupa Rustom' in 1973.

Read the Soundtrack Review of Afsar

-Pandit Narendra Sharma was one of the many talents behind the conception of 'Vividh Bharti', one of the most popular radio stations in India. He not only coined the name 'Vividh Bharti' but also wrote the lyrics for the first song created for this radio station. The song in question...Naach re mayura which was tuned by another maestro from Bengal.. Anil biswas and sung by Manna Dey.




Basics

Song : Naina Deewane, ik nahin maane
Film : Afsar
Lyrics: Pandit Narendra Sharma
Year of Release : 1950
Music : Sachin Dev Burman
Availability : The soundtrack of Afsar has not been released commercially. This song, however, makes an appearance in most Suraiya collections.


Lyrics

nainaa diivaane ik nahii.n maane
kare man maanii maane naa
huye hai.n paraaye man haar aaye
man kaa maram jaane naa, maane naa, maane naa
nainaaa diivaane

(jaanaa na jaanaa man hii na jaanaa
chitavan kaa man bantaa nishaanaa) \- 2
kaisaa nishaanaa kaisaa nishaanaa
man hii pahachaane naa, maane naa, maane naa
nainaaa diivaane

jiivan belii kare aTakhelii
mahake man ke bakul
priitii phul phuule jhuulaa jhuule
chahake ban bul\-bul, mahake man ke bakul
man kyaa jaane kyaa hogaa kal
dhaar samay kii bahatii pal pal
jiivan cha.nchal jiivan cha.nchal
din jaake phir aane naa, maane naa, maane naa
nainaa diivaane

thank you soo much dada ...😊👏👏..

Suraiya: the reluctant goddess

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise. In 1941, she had accompanied her uncle Zahur (then a popular actor) to Mohan Studios to see the shooting of Taj Mahal. A child was needed for a particular shot and Suraiya stepped in. The shot was a success but it did not launch her career. She went back to her studies and occasionally took part in children's programmes for All India Radio. Here she met actress Shammi and Raj Kapoor -- a relative unknown in the filmworld. The young Raj used to teasingly call her 'Kallu'.
From radio, Suraiya moved on to playback singing -- Sharda, Station Master, Sanjog and Kanoon -- and in a surprising volte face one day, Suraiya found herself facing the camera. She first caught the eye of filmgoers in Bombay Talkie's Hamari Baat. Then came DRD Productions Ishara and Suraiya had a chance to act opposite old friend Raj Kapoor's father -- Prithviraj.Soon, Suraiya became synonymous with musical pictures like Phool, Samarat Chandragupta, Anmol Ghadi, 1857, Aaj Ki Raat, Dard, Dillagi, Natak, Afsar, Kajal, Vidya, Jeet, Dastan, Sanam and Char Din.

But Suraiya experienced the greatest thrill of her screen career when K L Saigal strayed onto the sets of Jayant Desai's Chandragupta, where she was rehearsing a song. He asked Desai to cast her against him in Tadbir and Suraiya finally realised one of her greatest dreams. A Saigal fan, she had longed to co-star with him -- a dream that came true again in Omar Khayam and Parwana.

Luck continued to favour this singing sensation. Suraiya was completely besotted by Hollywood's heart throb Gregory Peck -- in 1954, she had a chance to meet him. When Peck broke journey at Mumbai, on his way to Ceylon for the shooting of Purple Plain, he stopped in to meet his most beautiful fan.

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. And when he saved her from drowning during the filming of the song 'Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. But her Nani thought otherwise. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: Dev Anand was a Hindu. A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances.

Today, she neither gives interviews nor makes public appearances. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award.

She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Lights,

camera, ghazal

Film's relationship with ghazal is reciprocal, but in the end the ghazal stands out as an autonomous genre which is not subservient to a situation in a scenario

Films did help in establishing ghazal as a popular form of music. Conversely, many singers who had become famous because of film songs cashed in on their popularity and sang ghazals. The most prominent example is of K.L Saigal who had become very famous as a singer before he rendered ghazals of ustads in his short but hugely successful career as a vocalist.

Similarly, both Lata Mangeshkar and Muhammed Rafi sang many ghazals which do not form part of their film repertoire but these ghazals have an audience primarily because they have established credentials as playback singers in films. Noor Jehan too made her name initially as a film singer and later sang a few ghazals, some of which have been included in the films while the others fall in the so called non-film repertoire.

The main forte of film singing in the beginning was the song or the geet. These geets were sung with a heavy orchestration. Such orchestration has been the contribution of films to our music.

The style of singing in the subcontinent decried the use of too many instruments. The basic problem for the pioneers of film ghazal was the reconciliation of the orchestration with a style of singing which was content with only two or three instruments for accompaniment. The early ghazals sung by Amir Bai Karnataki and Kamala Jariya are good examples of composers struggling to master an emerging form.

Another problem was film songs were written to suit a situation while the ghazal existed as an autonomous form of poetry. To include a pre-written ghazal in a film, a situation had to be created. On the other hand, many poets were made to write ghazals for a specific situation and so many of the well known poets obviously did not consent to write for film primarily for this reason.

It was probably Anil Biswas who introduced ghazal in film music and gradually it became a more specialised form in this most popular medium of the subcontinent. It reached the zenith of its popularity with the release of 'Mirza Ghalib' in the 1950s. Ghalib's ghazals in the voices of Suraiya and Talat Mehmood were crooned by people in the street. The composer was none other than Ghulam Muhammed.

Talat Mehmood was more recognised for his rendition of the film ghazals and Sajjad Hussain and C. Ram Chandra composed ghazals for films but actually the music director most famous for such compositions was Madan Mohan. Many of his compositions sung by Lata Mangeshkar have been outstanding examples of film ghazal compositions. He was influenced greatly by the Hazravi family and he composed ghazals with a definite flare. Khayyam too has to his credit some significant film ghazal compositions.

In Pakistan Rashid Attre and Master Inayat Hussain have composed ghazals for films as has Nisar Bazmi, each one of them lending the ghazal singing his own touch