Published on 1 Oct 2013
Surojit Guha and Sangeeta Melekar performing during our Best Of Hemant Kumar Show on 16th Aug 2013 at Tejpal Auditorium.
| Jhanak Jhanak Payal Baje | ||
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 Theatrical poster |
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| Directed by | V. Shantaram | |
| Produced by | Rajkamal Kalamandir | |
| Written by | Dewan Sharar (dialogues) | |
| Story by | Dewan Sharar | |
| Starring | Gopi Krishna Sandhya Keshavrao Date Bhagwan Dada |
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| Music by | Vasant Desai | |
| Cinematography | G. Balakrishna | |
| Editing by | Chintamani Borkar | |
| Release date(s) | 1955 | |
| Running time | 143 min | |
| Country | India | |
| Language | Hindi | |
Cast
- Gopi Krishna as Girdhar
- Sandhya as Neela
- Keshavrao Date as Mangal Maharaj
- Bhagwan as Badlu
- Madan Puri as Manilal
- Manorama as Bindiya
- Nana Palsikar as the Sadhu
- Mumtaz Begum as Roopkala's mom
Plot
Classical dance guru Mangal stumbles on a dance performance in a lavish haveli by Neela. He orders his talented son Girdhar to demonstrate to the audience the true method of classical dance. Entranced by Girdhar's skill, Neela begs Mangal to admit her as a pupil. He finally agrees on two conditions: she must devote her life to art and she must partner Girdhar in the Tandav portion of an upcoming dance competition. As the two practice together, she begins to fall in love with Girdhar. Manilal, a wealthy and jealous man who hopes to have Neera for himself, warns Mangal that the two are falling in love, but he ignores him. When Mangal goes away for some time to buy new costumes for the pair, they confess their love to each other and neglect their dancing in favor of idyllic walks and boat rides. Mangal returns and discovers that the two are in love. Enraged that Girdhar's dancing has suffered and believing that he will now never win the title of Bharat Natarajan, he renounces his son and resolves to leave him. Dismayed that she has endangered Girdhar's career, Neela pretends that she has betrayed him with Manilal and he returns to his father and his art. The devastated Neela tries to drown herself in the river, but is rescued by a kindly sadhu. She decides to follow the example of the minstrel Meerabai and devotes her life to Krishna, but is alarmed when Girdhar appears declaring that he can not forget her. She pretends not to know him and he is enraged; his father takes him away. She becomes ill and the sadhu and her servant Bindiya take her to the temple where the dance competition is being held. Hoping to sabotage his chances, Manilal has bribed Girdhar's new partner to drop out of the competition. Neela takes her place in the Tandav dance and Mangal realizes that she spurned Girdhar to help him win the competition. He then convinces his son to give her a second chance. With the help of Neela, Girdhar wins the competition and Mangal gives the couple his blessing to marry.Music
Vasant Desai composed the music and Hasrat Jaipuri wrote the lyrics for the film. The song "Jo Tum Todo Piya" inspired from Meerabai was later also used for the 1981 film Silsila. Shivkumar Sharma, the Padma Shri and Padma Vibhushan recipient musician has played Santoor in this film. Santoor was used first time in Indian Cinema.| No. | Title | Singer(s) | Length | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 1. | "Jhanak Jhanak Payal Baaje" | Ustad Amir Khan | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2. | "Jhanak Jhanak Payal Baaje" | Lata Mangeshkar, Hemant Kumar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3. | "Jo Tum Todo Piya" | Lata Mangeshkar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4. | "Saiyyan Jao" | Lata Mangeshkar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5. | "Suno Suno Suno Ji" | Lata Mangeshkar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6. | "Kaisi Yeh Mohabbat" | Lata Mangeshkar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7. | "Murli Manohar" | Lata Mangeshkar, Manna Dey | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8. | "Mere Ae Dil Bata" | Lata Mangeshkar, Manna Dey | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 9. | "Nain So Nain Nahi Mila" | Lata Mangeshkar, Hemant Kumar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 10. | "Raag Malika" | Lata Mangeshkar, Manna Dey
Jhanak Jhanak Payal Baje - YouTube
www.youtube.com/watch?v=3kIey2rq0kc
Jun 18, 2008 - Uploaded by Surya Rao
Surya's favorate songs from Jhanak Jhanak Payal Baje movie. Hats off to Gopi.Jhanak Jhanak Payal Baje(1955)-Nain so Nain Naahi Milaao (Lata ...
www.youtube.com/watch?v=YAuqnaI9ZH0
Jan 20, 2010 - Uploaded by toshirani
Jhanak Jhanak Payal Baje(1955)-Gopi Krishna, Sandhya Music: Vasant Desai.
 
classical roots
Raga In Flight
Let's bring back the spirit of the golden oldies
The theme of the films allowed for the use of classical art forms. No wonder, the stalwarts of Indian classical arts willingly performed—Gopi Krishna, Pandit Shamta Prasad, Ustad Amir Khan. The films of Bimal Roy, Guru Dutt and Mehboob Khan were deeply Indian, so the music was rooted as well. Music directors themselves had a sound grasp of the classical and folk music traditions—Vasant Desai, Naushad, C. Ramachandra, Anil Biswas and Madan Mohan. But it was not that these people looked only at Indian classical music for their compositions. They seamlessly blended Indian and Western styles. The best of fusion music happened in Indian films with these composers. Madan Mohan's song Tu jahan jahan chalega mera saya saath hoga...in Mera Saya was composed in raga Nand and was recorded with full symphony orchestra accompaniment. He would take a raga and give it a new colour by highlighting or twisting one note or by adding orchestrations. The outcome was always brilliant. In Woh bhooli dastaan lo phir yaad aa gayee... he made just one note prominent and the entire character of the composition rested on it. The music directors then had an individual stamp. They were like gharanas in themselves. And so were the singers—Noor Jehan, Amirbai Karnataki, Hemant Kumar, Kishore Kumar and Manna Dey. But today, with the excessive use of electronic music, no one has been able to build on any style. All music sounds the same. A majority of the songs are sung and played on the same scale. Hari Prasad Chaurasia and I are classical artistes but have together composed for many films of Yash Chopra—Silsila, Chandni, Lamhe, Faasle, Vijay and Darr. We have been lucky to get the opportunity to work with some great lyricists like Javed Akhtar in Silsila, Sharyar in Faasle and Anand Bakshi. I feel it is important for the music director to sit and listen to the entire story and get a perspective on the film and lyrics before composing. There should be a discussion on why the song should be there. We did that and only then would we start working on the music. We had a lot of freedom in preparing the structure of songs. Yashji would sit with us and listen. Sometimes he made suggestions and we made modifications. Bimal Roy too used to sit with Burman dada and give his inputs. Even V. Shantaram, who was thoroughly adept at every department of filmmaking, gave his inputs. When Mughal-e-Azam was coloured and re-released, there was apprehension that today's youth may not accept it. But it was a big success. Similarly, it would be incorrect to say that raga-based songs will not be accepted by the youth. In fact, in all the competitions or talent-hunts more participants still sing old songs. It's because you don't connect with the new; they just come and go. However, pure melodies stay on forever. Director
V. Shantaram
V.
Shantaram (18 November 1901 – 30 October 1990) is a renowned Indian
filmmaker, film producer and actor. He is most known for his films like
Dr. Kotnis Ki Amar Kahani (1946), Amar Bhoopali (1951), Jhanak Jhanak
Payal Baje (1955), Do Aankhen Barah Haath (1957), Navrang (1959), Duniya
Na Mane (1937), Pinjra (1972), Chani, Iye Marathiche Nagari and Zunj.
He directed his first film, “Netaji Palkar” in 1927. In 1929, he founded the Prabhat Film Company along with V.G. Damle, K.R. Dhaiber, S. Fatelal and S.B. Kulkarni, which made Ayodhyecha Raja, the first Marathi language film in 1932 under his direction. He left Prabhat in 1942 to form “Rajkamal Kala Mandir” in Mumbai. In time, ‘Rajkamal’ became one of most sophisticated studios of the country. He was praised by Charlie Chaplin for his Marathi film Manoos. Chaplin reportedly liked the film very much.
Shantaram was born Shantaram Rajaram Vankudre on 18 November 1901 in the erstwhile princely state of Kolhapur
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