Jhoola (Hindi: झूला) is a 1941 Hindi film directed by Gyan Mukherjee. The film starred Ashok Kumar, Leela Chitnis, Shah Nawaz, Aruna Devi, Mumtaz Ali, Rajkumari, Minoo Cooper and V H Desai. Those were early days of film making in India and the concept of playback singing was not completely accepted by the film fraternity and Indian audience. An actor who could also sing was a big plus those days.
Two step brothers Ramesh (Ashok Kumar) and Mahesh (Shah Nawaz) have something common. While Ramesh works as a postman and Mahesh takes over his father’s estate, both fall in love with the same girl Geeta (Leela Chitins). But Mahesh has promised to marry Kamala earlier and she plans to ruin his marriage with Geeta. Whom he marries forms the crux of the storyline.
Achhut Kanya (Hindi: अछूत कन्या) is a 1936 Hindi film by Bombay Talkies. The film was one of several successful Bombay Talkies collaborations between Franz Osten, who was a German filmmaker, Niranjan Pal, Himanshu Rai, and their leading lady, Devika Rani. Ashok Kumar played the male lead. Music was by Saraswati Devi. Among the early super-hits in the Hindi film industry, the film dealt with the social position of low caste girls and the problems they faced.
The film opens at a railway crossing where a man is about to kill his wife when the narrative spins into the past via a song. The story is of the unhappy love affair between Kasturi (Devika Rani), the Harijan (untouchable) daughter of a railway crossing guard, and Pratap (Ashok Kumar), the Brahmin son of a grocer. At first, rumour and mob violence are deployed to lethal effect in order to maintain a traditional and oppressive morality. Later, when the main protagonists are about to marry, rumours and malicious methods are employed to trigger renewed violence until the on-rushing train of fate stops the strife.
Ashok Kumar & Devika Rani – Khet Ki Muli :
Ashok Kumar & Devika Rani – Main Ban Ki Chidiya Banke :
Ashok Kumar – Kise Karta Moorakh Pyar Pyar :
Ashok Kumar – Peer Peer Kya Kahe Pyare :
Devika Rani – Udi Hawa Mein Jati Hai :
Mumtaz Ali & Sunita Devi – Chooriyan Laya Anmol :
Saraswati Devi – Kit Gaye Ho Khewanhar :
Kusum Kumari – Nadiya Dheere Baho, Hum Utrat Paar :
P.S: Some visitors on this blog, particularly Mr Surjit Kohli and Mr Sanjay Jain have been large hearted and magnanimous enough in correcting me whenever I commit errors in naming the songs or the singers. Their support is a big help in carrying this blog deeper into the mist of Hindi film music of the old era. Thank you all.
In the early days of Indian film industry, actors mostly recorded the songs they were shown singing on the screen. However in the 1940s playback singers began to be increasingly used. This was not immediately accepted. Part of the audience’s enjoyment of early sound films came from their knowledge that the actor on the screen was actually singing the songs they heard. When playback singing first became common, the sudden disjuncture between the voice of the singer and the body of the actor was a source of ‘discomfort’ for audiences. Particularly unnerving was the use of one singer’s voice for many different actors. While playback singing was seen by some at the time as unauthentic, others sensed in it the possibility for greater creativity and entertainment.
Noor Jehan – Shala Jawaniyan Mane (Gulbakawali 1939) :
Ashok Kumar & Devika Rani – Mere Jeevan Ke Path (Anjaan 1941) :
Suraiya – Aise Mein Agar Tum Aa Jate (Balam 1949) :
Lata Mangeshkar – Yad Rakhna Chand Taro (Anokha Pyar 1949) :