Sunday, June 29, 2014

DR. MOHD. AYOOB KHAN PREMI 'S BOOK : PRATINIDHI KASHMIRI KAVITAAYEIN.


                                                                                  



 "PRATINIDHI   KASHMIRI   KAVITAAYEIN" BY Dr Mohd Ayoob Khan " Premi "

With me is a Book Published by J&K Academy of Art Culture And Languages titled “ PRATINIDHI KASHMIRI KAVITAAYEIN ” . The Book has been edited by Dr Mohd Ayoob Khan “ Premi ” who has also done wonderful Hindi translation of Select Poems representing a cross section of kashmiri poets From Laleshwari ( Lal Ded ) to Sajood Sailani .The Book Has been published in 1975 and accordingly the later generation of kashmiri poets do not find a place in this Book . I am impressed by Dr Ayoob Premi’s Scholarship and deep knowledge of kashmiri culture and ethos .The foot notes at some pages are commendable . In his detailed foreword to the book ,The author expresses deep gratitude to Shri Dina Nath Naadim and Prof Rehman Rahi , Both progressive and Modern poets of kashmiri Language . Both poets have immeasurably helped Dr Premi in compilation of this Book.
Between Lal Ded and Sajood Sailani , Dr Premi has covered almost all other poets namely Sheikh Noor Ud Din ( Nund Reshi ), Habba Khatoon, Arinmaal ,Sochh Kraal ,Mahmood Gaami ,Rasul Mir ,Maqbool Shah Kralwari,Prakash Ram , Parmanand , Mirza kak ,Wahab parray , Wahab Khaar ,Ahmed Batwaari ,Muhammed waza ,Krishen joo Razdan,Abdul Ahad Azad ,Mehjoor ,Rasa Javidaani ,Master Zinda Kaul,Amar Chand wali ,Samad Mir ,Ahad zargar ,Mir Ghulam Rasool Nazki ,Dina Nath Naadim,Mirza Arif ,Gh. Nabi Ariz , Gh Nabi Firaq ,Amin kaamil ,Rehman Raahi ,Mohi Ud Din Nawaz Rattanpuri ,Makhan Lal Bekas , Mohi Ud Din Gowhar and Chaman Lal Chaman . At least two poems of each poet have been incorporated this compilation .
I have liked the compilation and the superb translation . I quote some select translation done by Dr Mohd Ayoob Khan Premi ..
(1)
Lines from a Kashmiri Poem of Haba Khatoon
(Tcholhamaa Roshe roshe 
Valo Myaani poshe madano
Valaai Veiss Gatchhavayee Aabus 
Duniyaa chhu Nendre Khwaabus 
Chhus Praaran jawaabus 
Valo Myaani poshe madno )
Hindi translation of Dr Ayoob Premi 
( Bhaage aankh Micholi Kar Ke
Meray Madan Suman Priya Aao
Aao Mast Chalein Panghat par 
Duniya mast Swapan Mein Pal Bhar 
Raah Nihaaruun Kyaa ho Uttar 
Meray Madan suman Priya aao )
(2)
Lines from a Kashmiri Poem of Abdul Ahad Azad

(Ghulama Chhussa Na Kaanh thhaaveium
Me Panjarunn Haankalan andhar 
Ivaan chum Zindagi Hundh Soz
Safarun Manzilunn andhar )
Hindi translation of Dr Ayoob Premi
(Daas Nahin Huun Bandh Jaaon 
Zanjeeron mein Hathakadiyon mein 
Jeevan Ka sangeet Mila Hai 
Puthh mein manzil ki Garriyon mein )

I request J&K Academy of Art Culture and languages to reprint the book and ensure its availability for a vast section of lovers of kashmiri poetry more particularly the apt Hindi translation of Dr Mohd Ayoob Khan Premi .
( Autar Mota 29.06.2014 )


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THE MELODIOUS TUNES OF VASANT DESAI " SAIYAAN JHOOTHON KA BADAA SARTAAJ NIKLAA "


                                                                 


“ SAINYAAN  JHOOTHON   KA   BADAA   SARTAAJ  NIKLAA ”

VASANT   DESAI  ( 1914 -1975 )

He was perhaps the only musician in  Mumbai’s  Film world  who  had thorough knowledge of Film Technique and classical Music.  A tragic  Lift accident outside his flat , cut short  the life of this gifted  Musician who  gave some memorable , haunting and melodious composition to us . Yes I mean  VASANT DESAI  ( 1914- 1975 )   )who  joined Prabhat Film Company in 1940 as a music assistant.
To describe his music , I shall only discuss four  movies . My mind goes to the 1959 super hit  GOONJ UTHI SHEHNAI. Thanks to Vasant Desai , the viewers were also made to enjoy the Shehnai of Great Bismillah Khan  apart from a Jugal Bandhi  between him and the sitar mastero Ustad Halim Jaffer Khan . The movie had also some classical  Vocal patches sung by Ustad Amir khan .The  comforting   tunes are still fresh in my mind . How can one forget the melody of almost all the songs that he composed  for this movie ? I quote some
(1 )  Jeevan Mein Piya tera saath Rahe
(2) Mein Piya Teri Tu Maane Yan a Maane
(3) Tere Sur Aur Mere Geet
(4) Akhiyaan Bhool Gayee hain sona
(5)  Haule Haule Ghoongat Pat Khole
(6) Dil Ka Khilona haaye toot Gaya
Prior to this he had also scored music for V Shantaram’s DO ANKHEIN   BAARAH   HAATH ( 1953 ). Can we forget his songs like “ Aey Maalik Tere Bandhe Hum “ , “Ho Ummad Ghumad ke aayi Re Ghata “and Saiyaan  jhoothon ka Bada Sartaj nikla ”. For   the song “Sainyaan Jhoothon ka Badaa Sartaj Nikla”  ,  Picturized on  talented SANDHYA ,he used wonderful  Ektaara  notes .
                                                                 

                       ( Right to left  Vasant Desai , O P Nayyar and mangeshkar sisters )

Jhanak Jhanak Payal Baaje (1955 ) was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustad Amir Khan for the title song  ( Jhanak Jhanak Payal Baaje ) of the film. The movie had  talented actress  Sandhya and classical dancer  Gopi Krishna  in lead roles . Some memorable  classical tracks that he composed for this film are
(1)    Jo Tum Todo Piya
(2)    Nain So Nain Nahin Milaao
(3)    Saiyan Jaao
(4)    Murli Manohar
(5)    Suno Suno Suno Ji

And then the 1968 “ Aashirwaad ” under  Hrishikesh Mukherjee’s Banner . What a memorable music he scored for this movie?  “ Ek Thha Bachapan  ” remains my faourite to this day. Other songs that he  composed for this movie are " Hum Ko Mun Ki Shakti dena ", “ Rail Gaadi Chhuk Chhukk Chhukk  “, Jeevan se Lambe Hain Bandhu Yeh Jeevan Ke raste ” and “ Jhir Jhir Barse Saawan Akhiyaan Saanwariya Ghar Aa “
He also scored music for many more films that include  Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) ,Toofan Aur Diya (1956 ) , Yaadein (1964 ) , Guddi ( 1971 ) and Achanak (1973 ). He introduced Vani Jairam  ( Bole Re Papihara )in Guddi.

Though a Maharashtrian , he  was proficient  in   Gujrati , Marathi , Hindi and Konkani  . I end this post with a couplet of Makhdoom ..

Bazm Se door woh gaata raha tanhaa tanhaa
So gaya saaz pe  sar Rakh ke sehar se pehley

( He kept singing his songs alone , away from the gathering ,
And slept  off on his instruments , Much before the dawn.)


( Autar Mota  29.06.2014 )



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Saturday, June 28, 2014

THE GOLDEN VOICE OF TALAT MEHMOOD:"“ AAHAA RIM JHIM KE YEH PYAARE PYAARE GEET LIYE ”


                                                                                   









“ AAHAA   RIM   JHIM   KE YEH PYAARE PYAARE GEET LIYE ”

TALAT MEHMOOD (1924-1998 )

Although he started as a Gazal singer at AIR Lucknow, he moved to Calcutta and then to Mumbai to try his luck in films . Looking handsome and elegant ,he also got offers to act in films apart from singing under some renowned music directors that included Anil Biswas ,C Ramchandra , Chitragupt , Madan Mohan , Khayyam, Naushad ,Shanker jaikishen and kalyan ji Anand ji.
About working in Calcutta and Mumbai , Talat once said ,
“ I noted the difference between filming in Bombay and filming in Calcutta. Unlike the more artistic Calcutta where movies were made at a slow pace, Bombay was commercial. Life was hectic. Everyone was in his own world and was, of course, very professional.”
He acted in more than 12 films with some leading heroines of those days that included kanan Bala , Suraiya , Nutan , Mala Sinha and Nadira . His last acting performance was for a 1958 movie SONE KI CHIDIYA with Mala sinha . For this movie , O P Nayyar had brought in Asha and made the hero Talat Mehmood to sing some memorable songs .One song that became all time hit is
“ PYAAR PAR BUSS TO NAHIN HAI MERA LEKIN PHIR BHI ”.
After hearing the final recording of the song , O P Nayyar told Talat Mehmood..
“ Kyaa Baat Bhai ? Sahir sahib ki Nazm ki saari Tanhaayi Aur Udaasi Aap ne Gaane Mein Nikhaar di “.
And Talat was a king of his own style. Loved , sought after and respected for his mannerism , elegant dresses and social etiquettes . Some memorable songs sung by Talat that come to my mind at the moment are :-
1 Shame Gham ki kasam
2 Aey sanam aaj yeh kasam khaayein
3 Itnaa na Mujh Se Tu Pyaar Badaa
4 Nazar Uthaa ki yeh Rangeen samaa rahey na rahe
5 Mein Dil Huun Ek Armaan Bhara
6 Aey meray dil kahin Aur chal
7 Woh zaalim Pyaar kyaa jaane
8 Yeh hawa yeh Raat Yeh Chandini
9 Chal Diya kaarwaan
10 Hain sab se Madhur woh Geet
11 Aey gham e Dil Kyaa Karuun
12 Ishq Mujh Ko Nahin Wahashat hi sahi
13 jaayein To Jaayein Kahaan
14 Bechain Nazr Betaab Jigar
15 Raat ne Kyaa kyaa Khwaab Dikhaaye
16 Aankhon Mein Masti Sharaab ki
17 Dekh Li teri Khudaayi
18 Phir Wohi Shaam Wohi Gham Wohi Tanhaayi Hai
19 Chamka Chamka Subah Ka Tara
20 Raahi Matwaale
Talat has sung innumerable songs , duets , Non film Geets , Gazals, Bhajans and Naats . He sang More than 30 Bangla popular songs . He sang , Malyalam , Tamil , Telgu , oriya ,Awadhi ,Assamese . Bhojpuri , Gujrati , Maarwari , Maraathi , Sindhi , and Punjabi songs . He worked with almost all the lyricists of the film Industry . He must have sung about 900 songs . I need to add something more that goes as under:-
(a) He was always elegantly dressed . A two piece suit , enviable ties , polished shoes , stylish smoking and his soft voice attracted attention. He got his suits stitched from England .
(b) He had the largest Fan following world over . I quote a few like Maharaja of Patiala . Pandit Nehru , Cricketer Imran Khan, King Zahir shah of Kabul, President Anwar Sadat of Egypt and General Thimaaya .
(c) He always encouraged New Comers . Radio singer Suman Hemmadey's ( later Suman Kalyanpur ) first film song was a duet with Talat Mahmood in "Darwaza". A total newcomer, she made it to the big league when Talat agreed to sing the duet with her. The film Industry took immediate notice of her talent .
(d) He toured US,UK , GULF and West Indies and had successful shows tickets for which were always fully sold in advance.
(e) Doordarshan's documentary on Talat Mahmood "Sham e Gham Ki Qasam" was a wonderful production..Viewers loved "Sham e Gham Ki Qasam" and Doordarshan was always flooded with requests for repeat telecasts of this show.
(f) He had a romantic image and the largest Fan following amongst women of all age groups. He was always a ladies man. They loved and adored him. But inspite all this female , he was never involved in any controversy or scandal. His music directors , co singers , female co-stars and even Dilip Kumar , Raj Kapoor and Sunil Dutt have spoken extremely highly of his noble personality. His heroines would say that he is too shy for romantic scenes . He was equally misfit for fight sequences in his films.

Will there be any one like Talat Mehmood ?

( Autar Mota 28.06.2014 )

PS
For the above photograph, i remain grateful and indebted to Khalid Mehmood son of the legendry singer.

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SAHIR LUDHIANAVI AND N. DATTA : " JHUKTI GHATAA GAATI HAWAA SAPNE JAGAAYE "


                                                                                


                                                                                           

                          
( MOHD RAFI, TALAT MEHMOOD ,INDRANI MUKHERJEE , SAHIR AND N DATTA )


' JHUKTI GHATAA GAATI HAWAA SAPNE JAGAAYE "


Music director N Datta was a simple man. He was born at Goa and was also known as Datta Nayak . N Datta and sahir created three masterpieces with superb music and lyrics . These films are Dharmputra ( 1961 ) and Dhool Ka Phool( 1959 ) and sadhana ( 1958 ). 

sahir recommended Asha to N Datta for some songs of Dharmputra . And he was right . Asha sang the memorable song "Mein jab bhi akeli Hoti huun" for Dharmputra.. 

For Dhool Ka Phool sahir wrote " Tu Meray Pyaar Ka phool hai ki Koyee bhool hai " . When lata ji sang it ,the song turned immortal. Sahir requested N Datta to give a song or two to Sudha Malhotra as well. And Sudha ji sang the beautiful " Ka se Kahuun Mun Ki Baat ".
                                                                                   

While recording songs of Sadhna , lata ji choked with emotions thrice when she sang " Aurat ne janam diya Mardon ko ". She told sahir 
' sahir sahib ,yeh kyaa Shabdh Likhein hain. Gaa nahin Pa rahi huun. Mein shayad yeh gaana nahin gaa paaoongi.' and sahir Replied " lata ji agar aap nahin ga paayeen to hindustaan mein yeh gaana koyee nahin ga saktaa. " Lata asked for a glass of water and started singing once again.

For the Bhajan " Tora Manwa kyon Gabraaye Re " sahir recommended the  comforting  voice of Geeta Dutt.That proved a perfect selection.
                                                                       


( Autar Mota 28.06.2014 )

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SAHIR LUDHIANAVI AND S D BURMAN ..'' PHAILEE HUYEE HAIN SAPNON KI BAAHEIN "


                                                                           
                                                         ( SAHIR LUDHIANAVI )

PHAILEE HUYEE HAIN SAPNON KI BAAHEIN ”
SAHIR AND S D BURMAN 
SARDAR Begum ( Died 1976 ) , mother of Sahir Ludhianavi was from a kashmiri muslim family that had settled in Punjab. She was the youngest child of  Abdul Aziz , a kashmiri contractor of Ludhiana . She was well known to the family of Shorish kashmiri and during the communal frenzy of 1947 , she was brought by this family to Lahore from Ludhiana. Sahir’s father , who had divorced his mother , had also moved to Lyallpur ( Now Faisalabad )from Ludhaina where he died in 1964. 
                                                                                

                 ( left to right  Sahir , His Mother sardar Begum and a cousin of Sahir )

Sahir was in Delhi when his mother moved to Lahore. He went to Lahore in September 1947 to bring her back to india. At the same time , his close friend Hameed Akhtar had come to Lahore from Mumbai. Hameed insisted on sahir’s staying in Lahore . Very reluctantly sahir agreed and started editing a newspaper after taking up rented accommodation at Abott Road opposite Nishaad cinema in lahore . But he had to pack back when arrest warrants were issued against him for writing Anti establishment editorials including one wherein he questioned the legitimacy of Two Nation Theory . His belief in Marxism did not find favour with the rulers of the new born country . Sahir fled Lahore and returned to Delhi . From Delhi, he requested his friend Prakash Pandit to go to Lahore to bring back his mother . 
                                                                  

Staying for some time at Delhi , sahir moved to Mumbai. To make both ends meet in Mumbai, he even copied Manuscripts for publishers that also included Krishen Chander’s poorly handwritten pages . For this he earned Rs150 . With no regular income , he once sold his mother’s bangles to pay water and electricity bills . Inspite of all this he did not lose patience .He kept moving from studio to studio for work but did not get a break or work from some established film company .And Ishar Kour , the sikh girl whom he loved during his college days had also moved to Mumbai. She tried to look for him in vain and was finally married to a distant cousin by her parents . This all happened before Sahir landed in Mumbai. No one knows what happened to her thereafter. 

                                                                          
( Left to right ..Sahir , Majrooh, Naushad Ali , Jan Nissar Akhtar , R D Burman, Akhtar Ul Imaan , Faiz Ahmed Faiz , Rajinder singh Bedi )


And then One day, his friend Mohan sehgal recommended him to S D Burman who stayed permanently in GREEN HOTEL located at Khar . Sahir landed at the Hotel early in the morning and knocked at the door of Burman dada 's room. Burman dada was gracious and made him sit comfortably. Sahir introduced himself and spoke about the purpose of his visit to the hotel . S D Burman neither knew urdu nor was much familiar with poetic nuances. He was essentially a composer . Burman asked sahir to listen carefully to a tune that he had prepared for a film song and then pen words to fill up the tune . And sahir wrote 
“ Thandi havaayein , 
Lehra ke Aayein ,
Ruut Hai jawaan ,
Tum ko Yahaan ,
Kaise Bulaayein …..


A visibly overjoyed Burman jumped from his seat . He took sahir to producer A R Kardar saying that the desired poet had arrived. When lata ji sang the song , it was an instant hit. Burman ensured sahir’s song writing in more films including Jaal,Taxi Driver ,Munim ji , Devdass , House No 44, Pyassa and Funtoosh etc. For 1957 superhit movie Pyassa , Guru Dutt ,Sahir and S D Burman pooled their Heart and soul . 



“PHAILEE HUYEE HAIN SAPNON KI BAAHEIN ” …..When sahir wrote this song for House no 44 starring Devanand and kalpana kartik, an overjoyed S D Burman kissed his hands . 

“Komaal Hai ! Komaal Hai ! ”Burman kept crying . And once Lata ji gave her voice to the song, it turned immortal.

Burman had already composed the tune and sahir just filled in the words . Sahir also wrote “ Chup Hai Dharti “ another beautiful song for this movie on a tune already prepared by S D Burman.

( Autar Mota 28.06.2014)

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GEETA ( ROY ) DUTT, A GOLDEN VOICE THAT SUDDENLY TURNED SILENT..." NA JAAO SAIYAAN CHURRA KE BAIYAAN , KASAM TUMHAARI MEIN RO PARRUNGI "


                                                                                  
                                                                       

                                                                     
                                                                               
                                                                                     

‘’NA    JAAO    SAIYAAN   CHURRA  KE    BAIYAAN   -KASAM  TUMHAARI    MEIN  RO  PARRUNGI ”

GEETA DUTT ( 1930-1972 )

 Geeta Roy or Geeta Gosh Roy chowdhary was born at Faridpur ( Now Bangla Desh ) to a family of landlords on 23rd  November 1930 .She was one of the ten children born to Debendranath Ghosh Roy Chowdhuri and Amiya Devi.
 From east Bengal ,the family moved to Calcutta  and finally settled in Mumbai.  Geeta was a gifted singer since her birth . A little training under   Hirendernath Nandi  made her an accomplished singer and she started singing from an age of 16 years .
 Though some assignments as play back singer came her way immediately , But it was S D Burman only who gave her a major break in DO  BHAI . After that , She never looked back. Burman Dada offered her six songs in BAAZI  thereafter .  And All the six turned all time hits . I quote some
(1)          Suno Gajar kya Gaaye
(2)          Aaj Ki raat Piya
(3)          Tadbeer se Bigrri huyee taqdeer Bana le
To  “Tadbeer se  Bigrri Huyee “ ,  Burman Dada gave a western touch  to the general feel  of the song. That made it super hit.  Devanand once said that  almost all the officers of jodhpur Airforce station would come to a particular cinema hall in the city, buy tickets , see the song and leave . This was a daily affair for that cinema and that was the popularity of the song.
BAAZI  was directed by Devanand’s close friend Guru Dutt. During the shooting of  Baazi , a  serious love affair  between Geeta Roy and Guru Dutt  too flourished  .  Geeta  lived  with her parents at Dadar while Guru Dutt had taken up a residence at Matunga , hardly 1 km away. They would meet quite frequently.

After BAAZI ,Another directorial venture proved a big success for Guru Dutt . It was JAAL. Thereafter,  Guru Dutt formed his own production house and  married   Geeta Roy on 26th May 1953  inspite of  stiff opposition from his family. Tarun was born in 1954 followed by another son  Arun in 1956  and a lovely daughter  Nina in 1962.


                                                                                                     

Geeta Dutt now sang for all the movies that Guru Dutt Produced and directed . She sang all time great songs like ..
(1 ) Waqt Ne kiya kyaa Haseen sitam for KAGAZ KE PHOOL 
(2) Aaj sajan Mohe aang Lagaa lo janam safal Ho jaaye for PYAASA
(3) Na Jaao Saeyaan Churra ke Baeyaan for SAHIB BIBI AUR GHULAM

Other memorable songs that she sang are Babu Ji Dheere chalna , Jaata kahaan hai Deewane , Mera naam chin chin ,Thandi hawa Kaali Ghata Aa Hi Gayee Jhoom ke , Mera Sunder Sapna Toot Gaya ,Kaisa jaadoo Balam tune dara ,Piya Aiso jiya mein samaayi gayo re,Aye dil Mujhe bataa De ,Aan Milo Shaam Saanware etc. and many more.
                                                                                              

PYASSA ( 1957 ) had brought Guru Dutt close to Waheeda Rehman. This proximity became a cause of some unpleasantness in his family life. It created a gap that went on widening with passage of time. A chapter in the book “ YEARS WITH GURU DUTT – ABRAR ALVI’S JOURNEY ” makes you to believe that Guru Dutt was almost ready to perform a Nikaah and marry Waheeda Rehman but for some reasons spurned the idea at the last moment .

And then Guru Dutt completed KAGAZ KE PHOOL. Kagaz ke phool was perhaps a movie much ahead of its time. It proved a commercial disaster for Guru Dutt. He behaved abnormally after the failure of this project. He went into bouts of depression ,started some more movies like PROFESSOR and RAAZ but abandoned the projects halfway. He turned almost a Bankrupt. A sensitive Geeta was saddened and depressed with all this around her. It was during this period only that Geeta Dutt took to Drinking. She lost interest in work . She started refusing offers for singing .She refused to sing for S D Burman and O P Nayyar who considered her as their primary play back voice. And Guru Dutt some how managed to salvage himself and create another master piece CHAUDAVI KA CHAAND followed by SAHIB BIBI AUR GHULAM in 1962 .SAHIB BIBI UR GHULAAM was a commercial success. Things appeared to be settling down for Guru Dutt but Geeta had not given up her drinking and the family tension kept mounting. By 1964, Geeta had left Guru Dutt to live separately .She took her children along. Guru Dutt died in October same year . The tragic day of Guru Dutt’s death is described in detail in the book “ YEARS WITH GURU DUTT – ABRAR ALVI’S JOURNEY ” . I quote 


“That day Guru Dutt had some tiff with his estranged wife Geeta . He was having his drinks with Gole an Income Tax officer . I told them to have diner as I was busy writing a scene. Geeta had refused to send their baby daughter to Guru Dutt so that he could spend some time with her .He kept calling her again and again and with each call his anger kept mounting . At last he delivered an ultimatum : “Send the child or you will see my dead body.”
I wrote the scene and asked Gole not to serve more drinks to Guru Dutt . I left for Lekh Tandon’s house at Napean sea Road. I never saw Guru Dutt alive thereafter . And Inspite of her refusal to send the baby , Geeta Dutt could not sleep that night . She had some premonition as to what was going to happen. She was restless. She wanted to come personally to see her husband but her mother did not allow her to go alone at 2 AM. She made many calls to Guru Dutt in the morning but the maid informed that sahib was asleep . Geeta kept calling after every half hour but failed to get any satisfactory reply. She finally asked the maid to break open the door and Guru Dutt was found dead . His driver used to buy SONORIL tablets for him from a chemist’s shop in khar ”


When Geeta came to know about Guru Dutt’s death , she had a major nervous breakdown. She could not recognize her own children for six months . She was in financial crisis . Her brother Mukul Roy stood by her like a rock during this period. Some how she started her stage shows , acted in a Bengali movie and also sang again for Hindi Movie ANUBHAV in 1971. All the three tracks ‘Koi Chupke Se Aake’, ‘Mera Dil Jo Mera Hota’ and ‘Mujhe Jaan Na Kaho, Meri Jaan’ sung for ANUBHAV were hits once again. These were her last recorded songs .But by now she had badly damaged her liver. This great artist with a magical and charming voice , finally breathed her last in a Mumbai hospital in 1972 . She died of liver cirrhosis . She was just 42 at that time. 

After her death, all the three children were looked after by Mukul Roy ( Geeta’s brother ).Mukul had quite often intervened for patch up between Geeta and Guru Dutt.

Her son ,Arun Dutt adds

"Mummy was an extrovert, a fun-loving, happy person, extremely generous, while my father was an introvert, an intense man. She was very sentimental and would fall for any sob story. Though they had their problems, she never let us witnesses them. We were more attached to her we hardly saw him [Guru Dutt]."

Bade shauq se sun raha tha zamana
Ham hi so gaye dastaan kehte kehte
Nasheman na jalta nishaani to rehti
Hamara tha kya theek rahte na rahte

( Autar Mota 29.06.2014 )


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HINDI CINEMA SHALL ALWAYS MISS GURU DUTT:"JAANE WOH KAISE LOG THHAY JIN KE PYAAR KO PYAAR MILAA "


                                                                  



“ JAANE WOH KAISE LOG THHAY JIN KE PYAAR KO PYAAR MILA "

GURU DUTT .( 1925 -1964 )

His real Name ; Vasanth Kumar Shivashankar Padukone or Guru Dutt ( 1925-1964 ). From a telephone Operator to a prominent Film Actor , Director and Producer ; the Journey was knotty and full of troubles for this restless spirit .

His core team consisted of Abrar Alvi ( Screen play or story writer ) , V K Murthy (Cinematographer ) and the comedian Johny walker .

In an Interview , Shri V K Murthy , his Cinematographer , who worked with him in most of his   classics like Pyaasa, Kaagaz Ke Phool and Sahib, Bibi Aur Ghulam informs as under ..

“Working with him was a terrific experience. He worked on serious subjects, the intellectual type of work. He was hesitant to face the camera as actor, but he did so at my insistence. I was sure because he understood the roles so well.His process involved finalisation of the screenplay and dialogues. This involved many rewrites between him and Abrar Alvi. He could not critique his acting adequately, and so this job was up to Abrar and me.  He would never compromise on the way the film turned out, the way each scene linked with the other.
He was an obsessive director, and until the shot came out just as he wanted he would continue with as many takes as he needed, without a break.

Kaagaz Ke Phool was India's first Cinemascope film. We had seen it in foreign films, and Guru Dutt wanted to do something novel for this film. We were inspired by one man, Prabhu, the manager of 20thCentury Fox. They had come to India to shoot a film in Cinemascope and, after the shooting, left their lenses in their Indian office.Prabhu asked Guru Dutt if he would like to try the equipment. Guru Dutt was intrigued and we tried some shots, saw the rushes and decided that we would do Kaagaz Ke Phool in this format.

“Waqt ne kiya kya haseen sitam”was a milestone in terms of lighting.
He was a 'normal' person, very jovial. His lifestyle was that of a lower-middle-class person, and he maintained that despite his success. We often went to eat Dosa and Bhelpuri. We played cricket in the studio compound, and later, we prepared a badminton court with chattai ( MAT ).

I met him over drinks eight days before his death. He was perfectly fine then. I had warned him once or twice not to get excited and to stay calm. During his last days, he was very tense and people would not go near him. They would stay away."

Guru Dutt married the famous play back singer Geeta Dutt in 1953. It is widely believed that his close proximity to one of his leading heroines broke his family life .

Jab Hum Chalein To Saaya Bhi Apna Na Saath De,
Jab Tum Chalo Zameen Chale Aasman Chale,
Jab Hum Rukein To Saath Ruke Sham-e-bekasi,
Jab Tum Ruko Bahaar Ruke Chandni Ruke

( A Popular Poetic Dialogue from his Movie Pyaasa That remains a "Time " readers choice for top 10 movie of all times )

(When I walk, even my shadow doesn't accompany me;
when you stroll , the earth and the sky strolls with you.
When I discontinue , This evening of helplessness comes to stay along ,
When you halt , The spring comes to stay
And the moonlight too halts ...)

Guru Datt also led an undisciplined personal life. He was a chain smoker , drank heavily, and quite often left his house at sunrise and returned past midnight .

And then One day, his wife Geeta Dutt took the children with her and went to live in her parental House . He sold his house and shifted to a rented accommodation at Peddar Road. To ward off loneliness , he took to heavy drinking . He also got addicted to sleeping pills while trying to treat his sleep disorder and restlessness .
Nothing helped him.He died an Unnatural death in 1964 at a young age of thirty-nine . Guru Dutt had scheduled appointments the next day of his death with actress Mala Sinha for his movie Baharen Phir Bhi Aayengi, and Raj Kapoor to discuss making colour films .
Some believe it was due to an accidental overdose of sleeping pills and alcohol.

Adds V K Murthy

“Before I shifted to Bangalore, I met him and Abrar Alvi. Guru Dutt told me, 'I have become an orphan now. Gharwale nahi hai, tum Bangalore ja rahe ho, Abrar doosra film likne ke liye Madras ja raha hi. (My family is gone, you are going to Bangalore, Abrar is going to Madras to write for a film.). I have become an orphan. Kya karuun mein?'’

Guru Dutt had three childen , Arun , Tarun and Neena . Tarun , the eldest , also committed suicide . Arun is looking after his father’s Rich lineage . Neena is married to Actress Minu Mumtaz's son.

Shy to face camera , he turned to direction and production. His movies are a class apart . His songs explore passionate human situations with intense lilting poetry. He engaged masters like Sahir , Majrooh , Shakeel and kaifi Azmi as lyrics writers for his movies . The classics that he created include Pyassa ( He also acted as hero in this Masterpiece apart from Producing and directing it) , kagaz ke Phool , Chaudavi Ka Chand , Sahib Beebi Aur Ghulam , CID, Mr and Mrs 55, Baazi and Aar Paar . Can one forget his movie songs like

(1 ) Badle Badle Meray Sarkar Nazar Aatay Hain..
( 2 ) Dekhi Zamaane Ki Yaari
( 3 )Waqt ne kiyaa Kyaa Haseen Sitam.
(4 ) aaj sajan mohe aang Lagaa Lo
(5) Jaane woh Kaise log thhay Jin Ke
(6) Jinhe Naaz hai Hind Par Woh Kahaan Hain
( 7 ) Tang Aa Chuke Hain
(8) Piya aiso Jiya mein Samaayi Gayo Re
(9) Na Jaao Saiyaan Chhurra Ke Baiyaan
( 10 ) yeh Lo Mein Hari Piyaa
(11 ) Babu Ji Dheere Chalnaa
(12 ) Kabhi aar Kabhi Paar

Some times I believe that he lived the last days of his life exactly by what he sang in his masterpiece PYAASA …

lo Aaj hamne torr diyaa rishta-e-ummeed
lo Ab kabhi Gilaa Na Kareinge kisi se hum

Gar Zindagi Mein Mil Gaye phir ittefaaq se
Poochheinge apnaa haal teri bebasi se hum
………………………Tang aa Chuke Hain Kashmakashe Zindagi Se Hum
Thukraa na Dein jahaan Ko Kahin Bedilli Se Hum

( Autar Mota 28.06.2014 )

PS

He was a Padukone Sarswat Brahmin from  karnatka . There is a strong belief that these People are from kashmir . This is specific to the Sarswats who inhabit Coastal Karnatka , Maharashtra and a part of Konkan . I spoke to some of them in Goa , Bangaluru and Manglore and they partly confirmed my doubts . Some of them Proudly trace their Genealogy to Kashmiri Pandits . This is also based on extensive research by some scholars and is apparent from various other aspects like their customs , Colour of Skin , Religious Ceremonies , Festivities and their tendency to go for Pursuit of knowledge and fine Arts . These Sarswat Brahmins are Mostly Shaivites and their Kuldevta is either Mangeshi or Nageshi or any other form of Lord Shiva. 

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Based on a work at http:\\autarmota.blogspot.com\.

Friday, June 27, 2014

MY LATEST KASHMIRI POEM WITH ENGLISH RENDERING


 A kashmiri poem with English rendering . I wrote this poem in May 2014.

( Ye Tchaadar Tulithh Vuchh ) 

Yeh Tulakh na ye Tchaadar,
Yousi Vajeimitch Chheiyee ,
Yim saet chhiyee,
Yim Ang , Baandhav,
Taaeth , vataahaavuk ,
Hana Thavukh Pathh..
Ta Paakh Bronh me kunn.
Beh Kathhaa Vannaai,
Ye vuchh ye myon Khoon ti chhu na Vozul Naar Hui ,
Yeim Acchhi ,
Ye zeiuvv,
yeum Kunn ,
Yeumm athhaa za,
Yeumm Zangaa,
Bochhi,
Treish ,
Shaahetch khassa vuss ,
Vadhunn,
Assun,
Chha kunuyee kin na !
Kathh Kar sa !

Yeli Tchaadar Tulakh
Na Chhukh Tche !
Na Chhus Ba!
Huum Ang , Baandhav,
Taaeth , vaetihaavuk
Maaya Zaaleik Bagh ,
Posh Byon Byon,
Byon Byon Kueil ,
Byon Byon Janaawaar
Akh Vaav !
Akh Shabnam !
Akh Gaash !
Akh Soant !
Akh Harud !
Akh ,Faqat Akh
Yina Raavukh……..

( Autar Mota 27.06.2014 )

( See After you Remove The Blanket )

Would you remove this blanket
That you keep around yourself ?
These companions,
These kith and kin ,
These relations ,
These sweethearts ,
These guides ,
Keep them away ,
And come closer to me ,
Sit, I need to tell you something ,
Look ! This blood that runs in my veins,
Isn’t it also deep red ?
These Eyes,
This tongue,
These Ears,
These Two Hands ,
These Legs ,
Hunger ,
Thirst ,
This rise and fall of breaths ,
These Sobs ,
These Smiles,
Aren't  these alike ?
Say something Dear ,
And when you throw away this blanket ,
Neither me nor you remain,
Those companions,
kith and kin ,
Relations,
Sweethearts ,
And guides,
Like Gardens of Maaya Jaal,
Varied Flowers ,
Dissimilar Trees ,
Different Birds,
But one Breeze,
One Morning Dew ,
One Light ,
One Spring ,
And one Autumn.
One , Just One ,
Don’t get Lost ……..

( Autar Mota 27.06.2014 )

Creative Commons LicenseCHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.