O main banke jogan aayi tori gali
Posted on: September 28, 2011
“Preet” (1945) is a by now obscure movie. Few people seem to have any idea about this movie. From the little I have been able to find about this movie, it was directed by Ram Daryani and it had Chandramohan, Nazir , Snehprabha , Swarnalata , Pahari Sanyal, Gope , Gulab etc in lead roles.
I had discussed a song from this movie in the past which was sung by Amirbai Karnataki. There I had no idea about the picturisation of that movie since only the audios of the songs of this movie are available.
Here is another song from this movie. This song is sung by Snehprabha Pradhan. I have no idea who she was and this is the first song sung by her in this blog. I can see from the list of the actors that one Snehprabha is actually mentioned there. So I assume that she is the same one. In other words, I assume that this song is picturised on the singer herself.
D N Madhok is the lyricist. Music is composed by Bulo C Rani.
This song has to be one of those rare forgotten gems that few people may have heard in the last six decades. But this is a lovely song to listen to, especially for those who like to make trips down memory lanes to distant past of Hindi movie music.
Song-O main banke jogan aayi tori gali (Preet) (1945) Singer-Snehprabha Pradhan, Lyrics-D N Madhok, MD-Bulo C Rani
Lyrics
O main banke jogan
aayi tori gali
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
khidki mein aa jaa
khidki mein aa jaa
khidki mein aa jaa
khidki mein aa jaa
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
khidki mehal ki ??
main khadi gaaun
khidki mehal ki ??
main khadi gaaun
pehre dwaar pe lagen kaise bulaaun
pehre dwaar pe lagen kaise bulaaun
batla jaa
haan haan
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
jaldi karo milne ka koi bahaanaa
jaldi karo milne ka koi bahaanaa
tere siwaa aur mera kaun thhikaana
tere siwaa aur mera kaun thhikaana
samjha jaa
haan haan
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
o main banke jogan
aayi tori gali
khidki mein aa jaa
4 Responses to "O main banke jogan aayi tori gali"
September 29, 2011 at 3:06 pm
Sudhirji,
An excellent article on a forgotten actress,who was very beautiful indeed.
In last few days some songs from 40s were posted and I thought that Mr.Arunkumar deshmukhji will elaborate on those films,as usual,but he is not to be seen these days on this blog.
you have really taken pains to collect information from other sources,so that we get it at one place.
this is what I like about this blog.One gets information not only on songs,but also on those films and its personalities,which is unique.
Thanks,Atulji and Sudhirji.
……Boodhemiyan,Saudi Arabia.
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September 30, 2011 at 2:16 pm
Boodhemiyan ji,
Adaab,
Thanks for your appreciation.
(and yes, Arun ji is back online today. 🙂 )
Rgds
Sudhir
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 29, 2011 at 12:23 am
Atul ji,
I am able to excerpt the following information about Senprabha Pradhan, from http://www.cineplot.com and http://www.marathichitrapat.com. Her brief biography makes a very interesting reading. It would be an education to know how the film artists, especially the actresses, fared and fended for themselves in an industry that is known for its whims and fancies.
Rgds
Sudhir
Snehprabha Pradhan (1920 – 1993)
Snehprabha Pradhan (actress, singer, screenplay writer, biographer) was very much part of the socialistic movie intelligensia in the ’30s and ’40s. She was born around 1920. Her father, Vitthalrao Pradhan was a social worker, and mother Tarabai, was a crusader at 25, and was the first woman to complete a degree at Poona’s reputed Ferguson college.
Snehaprabha spent a culturally diverse childhood. The first 10 years of her life took her to Nagpur, Bombay, Poona, Delhi, Calcutta, Lahore and other places. By the age of 18, she was already fluent in 4 languages. She wanted to be a doctor. As it happened, she never went past a couple of years of college. In the late ’30s, the youngster got the first jolt of reality. The father had left the family some years ago, and was now an infrequent visitor. Tarabai was taken ill, and could no longer support the family. Movies were the last thing on the daughter’s mind, but circumstances and a good contact (Chimanbhai Desai of Bombay Talkies) led to the first few assignments. Oddly, the movie roles she got initially were from the National/Sagar Movietone camp, more the territory of Mehboob, Anil Biswas, Ashok Ghosh, Anupam Ghatak, and such stalwarts. Her first films include productions from late ’30s like CIVIL MARRIAGE, SAUBHAAGYA, SAJNI etc. Here is where one will find Snehaprabha’s first movie songs.
Snehaprabha was known to shun makeup. The truth is, she was allergic to most cosmetics used during that period. Another little known fact. She had lost quite a bit of hair due to some never quite diagnosed bout of illness during her teen years. It just wasn’t a leading lady’s face any more. Or so they claimed every time they cast her as the good sister to some prominent on-screen character. More liekly that Snehaprabha never quite aligned herself with a production company (vis-a-vis Apte/Prabhat and Hansa Wadkar/Bombay Talkies). She was the incorrigible freelancer, in a day and age where company affiliation was the only ticket to a possible (not guaranteed) career in the cinema.
Thanks again to Chimanbhai Desai, she got the first lead role of her career opposite Kishore Sahu in Bombay Talkies’ PUNARMILAN (1940) – music by Ramchandra Pal with possibly some orchestral guidance by Saraswati Devi. The most popular song of Snehaprabha’s music career was “naacho naacho pyaare man ke mor”. It has a duet version, and then there is a solo by Snehaprabha. PUNARMILAN was the biggest hit of her movie life. It also introduced her to Kishore Sahu. They met, fell in love, and tied the knot, but the marriage lasted about a year. In the early ’40s, she was fending for herself all over again.
In the early ’40s she did movies with Khwaja Ahmed Abbas (NAYAA TARAANA – was this Abbas’s first directorial venture?), New Theatres (KAALIDAS – she has apparently sung a couple of Bengali songs here with Pahaadi Sanyal), Roop K Shorey (DIN RAAT – she plays a doctor in this movie, a pre-lara lappa production) etc. The list is, sadly, very limited. One now attributes that to (a) her primary interest in literary ventures (b) her weakness for the stage (c) total appreciation and admiration, but lack of real sponsorship from any one front (d) a desire to get back to Poona, away from the Hindi world. In the ’40s, as she was drifting back into the Marathi fold, she managed to write the screenplay for LADAAI KE BAAD. Around this time, she connected with the Master Vinayak circle. This was the veteran movie maker’s last year at Navyug Chitrapat. Coincidentally, a 13-year old Lata Dinanath Mangeshkar was desperately looking for a job, also around 1942. A Vinayak colleague (RS Junnarkar) was in the process of making PAAHILI MANGALAAGAUR, and Snehaprabha fitted right in as the leading lady opposite Shahu Modak. The movie is a landmark. It got an A certificate on account of a suggestive bedroom sequence (dark screen, hushed background sounds, people saw this movie over and over again, and some even carried strong flashlights into the theatre, hoping to get more out of that one scene). PAAHILI MANGALAAGAUR is Lata’s first movie as a child actress and also her first movie as a singer. Snehaprabha and Lata sang a duet, picturized on themselves. HMV probably never released a recording of it. Snehaprabha herself confirmed this in an early ’90s interview.
There were other Snehaprabha movies in the Marathi space. TUZAACH, a Navyug production, and then VAR(A) PAAHIJE was released in the early ’50s. After Master Vinayak left Navyug, the company stayed on to finish remaining projects. Some of them took years to find an outlet. Some never did. In the bargain though, Snehaprabha had the opportunity of her life – a place among her kind of people, the Marathi literati. PK Atre and Snehaprabha have done a few plays together. PRAHASAN became famous, as did LAGNAACHI VEDI (perhaps the first and the only time Shanta Apte and Snehaprabha worked together in a play).
In her later years, Snehaprabha tried to document the story of her life through random jottings, a compilation titled SNEHAANKITA. She was a nut when it came to Shakespeare’s works. In her own way, she immortalized Desdemona in JUNJAAROO, a smashingly successful Marathi stage production from the late ’40s. There are other Shakespeare adaptations in existence. Some time in the ’50s, Snehaprabha Pradhan married a Dr. Shirodhkar, and came back to Bombay. She lived the last nearly 40 years of her life in peace and relative oblivion, totally dedicated to social work and the stage. She died in 1993.
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September 29, 2011 at 12:30 am
That is fantastic information about an actress whose name is just a footnote for most people now. Thanks a lot for this painstaking research.
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