1.Aurat Ka Pyar
Aurat Ka Pyar (A Woman's Love) is a 1933 Indian film directed by A. R. Kardar.The film was produced by the East India Film Company, in Calcutta. Kardar had moved from Lahore to Calcutta where he directed several films for the company from 1933–36, including Aurat Ka Pyar. The music composer was Mushtaq Ahmed and lyrics were by Agha Hashar Kashmiri, who also scripted the film. It starred Gul Hamid, Mukhtar Begum, Mazhar Khan, Anwari Bai, Bacha, Abdul Sattar and Athar. The film was a commercial success at the box-office and proclaimed Kardar as a "talented film-maker
One of the notable songs from this film was the classical, "Chori Kahin Khule Na Naseem-e-Bahar Ki", sung by the famous singer and actress Mukhtar Begum in Raga Darbari. The music director was Mushtaq Ahmed and the lyricist was Agha Hashar Kashmiri.
Songlist
1 "Aaya Hoon Main Lekar Bahaar"
2 "Ae main Toh Lut Gayi Aake Tere Baagh Mein"
3 "Bekas Ki Naav Bhanwar Mein Maula Paar Lagaana"
4 "Chori Kahin Khule Na Naseem-e-Bahar Ki"
5 "Daali Daali Dulhan Bani"
6 "Dil Teer-E-Nazar ka Nishana Hua"
7 "Jo Khiza Hui Who Bahar Hoon"
8 "Karke Chale Teere Gham Ka Nishana Mujhe"
9 "Mohabbat Hi Hai Baag-eDuniya Ko Bahar"
10 "Shums-e-Qamar Ki Hai Shaadi Gao Khushi Ka Tarana"
2.Char Darvesh
Directed by Prafulla Ghosh
Cast included Kanan Devi, Trilok Kapoor, Tulsi Chakravorty, K. Kumar, Radha Bhattacharya, Binoy Goswami, Angurbala, K. Kumar, S. Das
3.Daku Ki Ladki
Directed by M. Gidwani
Cast included D. Billimoria, Sulochana (Ruby Myers), Ghulam Mohammed, Lakshmi, Syed Ahmed, Hadi
4.Dulari Bibi is a 1933 Hindi/Urdu comedy film. It was directed by Debaki Bose and produced by New Theatres Ltd. Calcutta. A short 3 reel film it centred on the story of Our Wives. The film starred K. L. Saigal, Molina Devi, Mir Jan and the music was composed by R. C. Boral. It was listening to K. L. Saigal in this film that Pahari Sanyal realised the uniqueness of Saigal's voice as heard through the microphone. He found it more effective, "sweeter", as compared to him singing live.
Cast
K. L. Saigal, Molina Devi, Mir Jan
Kundanlal Saigal, often abbreviated as K. L. Saigal (11 April 1904 – 18 January 1947), was an Indian singer and actor who is considered the first superstar of the Hindi film industry, which was centred in Kolkata during Saigal's time, but is currently centred in Mumbai.
Saigal was born in Jammu, where his father Amarchand Saigal was a tehsildar at the court of the Raja of Jammu and Kashmir. His mother Kesarbai Saigal was a deeply religious Hindu lady who was very fond of music. She used to take her young son to religious functions where bhajan, kirtan and shabad were sung in traditional styles based on classical Indian music. Saigal was the fourth-born child of five and his formal schooling was brief and uneventful. As a child he occasionally played Sita in the Ramlila of Jammu. Saigal dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company, which allowed him to tour several parts of India. His travels brought him to Lahore, where he befriended Mehrchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Mehrchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those days Saigal was a budding singer and Mehrchand encouraged him to pursue his talent. Saigal often remarked that he was what he was because of Mehrchand's encouragement and early support. He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.
In the early 1930s, classical musician and music director Harishchandra Bali brought K.L. Saigal to Calcutta and introduced him to R. C. Boral. R.C. Boral took an instant liking to his talents. Saigal was hired by B. N. Sircar's Calcutta-based film studio New Theatres on a contract of Rs. 200 per month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal. Meanwhile, Indian Gramophone Company had released Saigal's record containing a couple of Punjabi songs, composed by Harishchandra Bali. In this way, Bali became Saigal's first music director. The first film in which Saigal had a role was the film Mohabbat Ke Ansu, followed by Subah Ka Sitara and Zinda Lash, all released in 1932. However, these films did not do very well. Saigal used the name Saigal Kashmiri for his first three films and used his own name Kundan Lal Saigal (K. L. Saigal) from Yahudi Ki Ladki (1933). In 1933, four bhajans sung by Saigal for the film Puran Bhagat created a sensation throughout India. Other films that followed were Yahudi Ki Ladki, Chandidas, Rooplekha and Karwan-E-Hayat. As a youngster, Lata Mangeshkar is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas (1934). In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay's novel of the same name and directed by P.C. Barua.His songs in the film Devdas (1935), "Balam Aaye Baso Moray Man Mein" and "Dukh Ke Ab Din Beetat Naahi", became popular throughout the country.
Saigal picked up Bengali very well and acted in seven Bengali films, produced by New Theatres. Rabindranath Tagore first heard Saigal before giving consent for the first time to a non-Bengali singing his songs. Saigal endeared himself to the whole of Bengal through his 30 Bengali songs.
Saigal's association with New Theatres continued to bear fruit in the successful films Didi (Bengali), President (Hindi) in 1937, Desher Mati (Bengali), Dharti Mata (Hindi) in 1938, Saathi (Bengali), Street Singer (Hindi) in 1938, Dushman (1939), Jiban Maran (1939) and Zindagi in 1940, with Saigal in the lead. There are a number of songs of this era which form the rich heritage of film music in India. Also, in Street Singer, Saigal rendered the song "Babul Mora Naihar Chhooto Jaye" live in front of the camera, even though playback was becoming the preferred method of singing songs in films.
In December 1941, Saigal moved to Mumbai to work with Ranjit Movietone. Here he acted and sang in a number of successful films. Bhukt Surdas (1942) and Tansen (1943) were hits during this period. The latter film is still remembered for Saigal's performance of the song "Diya Jalao" in Raga Deepak; in the same movie, he also sang "Sapta Suran" and "Tin .. Gaa-o Saba Guni Jan". In 1944, he returned to New Theatres to complete My Sister. This film contained the songs "Do Naina Matware" and "Ae Qatib-e-Taqdeer Mujhe Itna Bata De". By this time, alcohol had become a predominant factor in Saigal's life. His dependence on alcohol had begun affecting his work and his health. It was said that he could only record a song after being fortified with liquor. He survived ten years of drinking; however, his alcoholism was too advanced for even a single attempt at abstinence, and Saigal died in his ancestral city of Jalandhar on 18 January 1947, at the age of 42. However, before his death, he was able to churn out three more hits under the baton of Naushad Ali for the film Shahjehan (1946). These are "Mere Sapnon Ki Rani", "Ae Dil-e-Beqaraar Jhoom" and "Jab Dil Hi Toot Gaya". Parwana (1947) was his last film, released after his death, in which he sang under the baton of Khawaja Khurshid Anwar. The four songs which Saigal sang in Parwana are: "Toot gaye sab sapne mere", "Mohabbat mein kabhi aisi bhi haalat", "Jeene ka dhang sikhaae ja", and "Kahin ulajh na jaana". Saigal was survived by his wife Asha Rani (whom he married in 1935); three children, a son and two daughters: Madan Mohan, Nina (born 1937) and Bina (born 1941); and an adopted child, his late elder brother's daughter, Durgesh Nandani, whom he adopted when he was still single.
In a career of fifteen years, Saigal acted in 36 feature films – 28 in Hindi, seven in Bengali, and one in Tamil. In addition, he acted in a short comedy Hindi film, Dulari Bibi (three reels), released in 1933. In 1955, B.N. Sircar released a documentary film based on the life of K.L. Saigal, Amar Saigal. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal's films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. Of the film songs, there are 110 in Hindi, 30 in Bengali and two in Tamil. There are 37 non-film songs in Hindi, and two each in Bengali, Pashto,Punjabi and Persian. His non-film songs comprise bhajans, ghazals and hori. He has rendered the creations of poets such as Ghalib, Zauq, and Seemab.
Saigal's distinctive singing was revered and idolised by the first generation of post-independence Hindi Film playback singers, including Lata Mangeshkar, Kishore Kumar, Mohammad Rafi, and Mukesh. Lata Mangeshkar and Kishore Kumar have even gone on record in an interview that they consider Kundan Lal Saigal to be their musical guru. K L Saigal became famous because of the "new" technology of 78 rpm shellac records and players. Mukesh started his career as a copycat of K L Saigal, but went on to develop his distinctive style. These records were recorded in one take with all instruments playing along. Today this may not be possible.In 1970 one such record was priced at Rs 15. In today's money, it is equivalent to Rs 1500 for two songs.
5..Karma
Karma is a 1933 bilingual film starring Devika Rani and Himanshu Rai. The film was directed by J.L. Freer Hunt and was a joint production among India, Germany and United Kingdom. Karma featured a four-minute kissing scene between the lead actors—Devika Rani and Rai—the longest in an Indian film
The story is about a princess (played by Devika Rani) who falls in love with a neighbouring prince much to the disapproval of the latter's father.
The female lead Devika Rani, the grand niece of Nobel laureate Rabindranath Tagore was professionally associated with Rai even before the two married in 1929. Impressed by her talent, Rai decided to cast her in the film alongside him. Abraham Sofaer was cast in a pivotal role as a "Holy Man". The screenplay was co-written by Rai and Freer Hunt.The music was composed by German composer Ernst Broadhurst. Devika Rani had recorded a song in the film including the Hindi version.
Karma was made targeting the international audience. The film was entirely shot in India while the post-production process was carried out in Stoll Studios, London. The film was the first talkie produced by Rai. The film initially premiered in London in May 1933. Devika Rani's performance was lauded by the critics in London. However, when the film was released later in Hindi as Naagan Ki Raagini, it failed to impress the Indian audience. The film was among the first in India to feature an on-screen kiss. The four-minute long scene between Devika Rani and Rai, her husband in real life, is also known to being the longest such scene in Indian cinema.[3][4] Upon release, the film became controversial in the then "orthodox India" for featuring a kissing scene.
Though largely ignored in India during its release, Karma is considered a landmark in Indian cinema due to its unprecedented kissing scene. In 2012, The Times of India described it as the "first Indian talkie with English dialogue which set all London talking".
6.Sairandhari
Directed by V. Shantaram
Cast included Master Vinayak, Shakuntala, Leela, Mane, Nimbalkar, Prabhavati, Kulkarni, Salunke
7.Saubhagya Sundari
Directed by Homi Master
Cast included D. Billimoria, Sulochana (Ruby Myers), Jamshedji, Khansaheb, Jilloobai, Khalil, Hadi, Syed Ahmed, Lakshmi
8.Yahudi Ki Ladki
Yahudi Ki Ladki (The Jew's Daughter) is a 1933 Urdu/Hindi costume drama film directed by Premankur Atorthy. Produced by New Theatres Ltd. Calcutta, the cast included K. L. Saigal, Rattan Bai, Pahari Sanyal, Gul Hamid, Nawab and Kumar. The film was adapted from Agha Hashar Kashmiri’s play of the same name Yahudi Ki Larki which had been written in Bengali as Misar Kumari. He also wrote the screenplay and lyrics. The film saw Pankaj Mullick's debut as a Hindi music director. The dialogues were by Wajahat Mirza.The story revolves around the rivalry and revenge between the Jewish merchant Prince Ezra and the Roman priest Brutus. Prince Ezra (Nawab) is a Jewish merchant persecuted by the Romans, especially the Roman Priest Brutus. Ezra lives with his seven-year-old son Yameen. One day while playing with his catapult, Yameen manages to unintentionally hit the Priest Brutus as he’s walking past. The boy is taken prisoner and no imploring can change Brutus’ punishment. He has the boy thrown to the animals. Elias, Ezra’s devoted slave kidnaps Brutus’ young daughter Decia and brings her to a grief-stricken Ezra for revenge. Unable to harm her and missing Yameen, Ezra brings Decia up as his daughter and names her Hannah. Years later, a grown Hannah (Rattan Bai) is rescued by the Roman Marcus (K. L. Saigal) from Roman soldiers who have accosted her. Since Marcus is in disguise of a Jew, Hannah believes him to be one and brings him home. The two fall in love though Marcus is engaged to the Princess Octavia (Tarabai). Hannah soon finds out that Marcus is a Roman. After some pleading and pacifying both Ezra and Hannah, Marcus manages to get Ezra to agree to their marriage. Ezra wants him to convert to a Jew and Marcus refuses and leaves. On reaching home he agrees to marry Octavia; on the day of the wedding Hannah recognises him. Both Ezra and Hannah plead with the Emperor to punish Marcus for being unfaithful. The Emperor orders for Marcus to be put on trial. Octavia begs Hannah to retract her statement. When she does so, Brutus has them arrested for lying against the prince. They are sentenced to be burnt. Ezra first extracts a promise from Brutus that on his telling him where his long lost daughter Decia is he will immediately have Hannah burnt in oil. Brutus impatiently agrees. Ezra now tells Brutus the truth about Hannah being his daughter Decia. Brutus is humbled as he realises the futility of race and religion. Hannah sees a saintly figure and follows him renouncing her life.
One reason for the popularity of New Theatres films was its music. It had three of the renowned music directors of its time working for them: Timir Baran, R. C. Boral and Pankaj Mullick. Yahudi Ki Ladki film was the debut of Pankaj Mullick.Saigal’s rendition of Ghalib’s ghazal "Nuktacheen Hai Ghame Dil" is considered a classic performance. Sung under the direction of Pankaj Mullick who composed it in Raag Bhimpalasi, the only instruments used were the tabla and harmonium. The other popular songs of K. L. Saigal from the film were "Lag Gayi Chot Karejwa Mein", "Yeh Tasarruf Allah Allah" and "Lakh Sahi Ab Pi Ki Batiyan".
Songs
1 "Ye Tasarruf Allah Allah Tere Maikhane Mein Hai" K. L. Saigal
2 "Lag Gayi Chot Karejwa Mein" K. L. Saigal
3 "Lakh Sahi Hain Pi Ki Batiyan" K. L. Saigal
4 "Nuktacheen Hai Ghame-Dil" K. L. Saigal
5 "Ab Shaad Hai Dil" Utpala Sen
*youtube full movie Karma and some songs of daku ki ladki and Miss 1933 are available.
Aurat Ka Pyar (A Woman's Love) is a 1933 Indian film directed by A. R. Kardar.The film was produced by the East India Film Company, in Calcutta. Kardar had moved from Lahore to Calcutta where he directed several films for the company from 1933–36, including Aurat Ka Pyar. The music composer was Mushtaq Ahmed and lyrics were by Agha Hashar Kashmiri, who also scripted the film. It starred Gul Hamid, Mukhtar Begum, Mazhar Khan, Anwari Bai, Bacha, Abdul Sattar and Athar. The film was a commercial success at the box-office and proclaimed Kardar as a "talented film-maker
One of the notable songs from this film was the classical, "Chori Kahin Khule Na Naseem-e-Bahar Ki", sung by the famous singer and actress Mukhtar Begum in Raga Darbari. The music director was Mushtaq Ahmed and the lyricist was Agha Hashar Kashmiri.
Songlist
1 "Aaya Hoon Main Lekar Bahaar"
2 "Ae main Toh Lut Gayi Aake Tere Baagh Mein"
3 "Bekas Ki Naav Bhanwar Mein Maula Paar Lagaana"
4 "Chori Kahin Khule Na Naseem-e-Bahar Ki"
5 "Daali Daali Dulhan Bani"
6 "Dil Teer-E-Nazar ka Nishana Hua"
7 "Jo Khiza Hui Who Bahar Hoon"
8 "Karke Chale Teere Gham Ka Nishana Mujhe"
9 "Mohabbat Hi Hai Baag-eDuniya Ko Bahar"
10 "Shums-e-Qamar Ki Hai Shaadi Gao Khushi Ka Tarana"
2.Char Darvesh
Directed by Prafulla Ghosh
Cast included Kanan Devi, Trilok Kapoor, Tulsi Chakravorty, K. Kumar, Radha Bhattacharya, Binoy Goswami, Angurbala, K. Kumar, S. Das
3.Daku Ki Ladki
Directed by M. Gidwani
Cast included D. Billimoria, Sulochana (Ruby Myers), Ghulam Mohammed, Lakshmi, Syed Ahmed, Hadi
4.Dulari Bibi is a 1933 Hindi/Urdu comedy film. It was directed by Debaki Bose and produced by New Theatres Ltd. Calcutta. A short 3 reel film it centred on the story of Our Wives. The film starred K. L. Saigal, Molina Devi, Mir Jan and the music was composed by R. C. Boral. It was listening to K. L. Saigal in this film that Pahari Sanyal realised the uniqueness of Saigal's voice as heard through the microphone. He found it more effective, "sweeter", as compared to him singing live.
Cast
K. L. Saigal, Molina Devi, Mir Jan
Saigal was born in Jammu, where his father Amarchand Saigal was a tehsildar at the court of the Raja of Jammu and Kashmir. His mother Kesarbai Saigal was a deeply religious Hindu lady who was very fond of music. She used to take her young son to religious functions where bhajan, kirtan and shabad were sung in traditional styles based on classical Indian music. Saigal was the fourth-born child of five and his formal schooling was brief and uneventful. As a child he occasionally played Sita in the Ramlila of Jammu. Saigal dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company, which allowed him to tour several parts of India. His travels brought him to Lahore, where he befriended Mehrchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Mehrchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those days Saigal was a budding singer and Mehrchand encouraged him to pursue his talent. Saigal often remarked that he was what he was because of Mehrchand's encouragement and early support. He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.
In the early 1930s, classical musician and music director Harishchandra Bali brought K.L. Saigal to Calcutta and introduced him to R. C. Boral. R.C. Boral took an instant liking to his talents. Saigal was hired by B. N. Sircar's Calcutta-based film studio New Theatres on a contract of Rs. 200 per month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal. Meanwhile, Indian Gramophone Company had released Saigal's record containing a couple of Punjabi songs, composed by Harishchandra Bali. In this way, Bali became Saigal's first music director. The first film in which Saigal had a role was the film Mohabbat Ke Ansu, followed by Subah Ka Sitara and Zinda Lash, all released in 1932. However, these films did not do very well. Saigal used the name Saigal Kashmiri for his first three films and used his own name Kundan Lal Saigal (K. L. Saigal) from Yahudi Ki Ladki (1933). In 1933, four bhajans sung by Saigal for the film Puran Bhagat created a sensation throughout India. Other films that followed were Yahudi Ki Ladki, Chandidas, Rooplekha and Karwan-E-Hayat. As a youngster, Lata Mangeshkar is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas (1934). In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay's novel of the same name and directed by P.C. Barua.His songs in the film Devdas (1935), "Balam Aaye Baso Moray Man Mein" and "Dukh Ke Ab Din Beetat Naahi", became popular throughout the country.
Saigal picked up Bengali very well and acted in seven Bengali films, produced by New Theatres. Rabindranath Tagore first heard Saigal before giving consent for the first time to a non-Bengali singing his songs. Saigal endeared himself to the whole of Bengal through his 30 Bengali songs.
Saigal's association with New Theatres continued to bear fruit in the successful films Didi (Bengali), President (Hindi) in 1937, Desher Mati (Bengali), Dharti Mata (Hindi) in 1938, Saathi (Bengali), Street Singer (Hindi) in 1938, Dushman (1939), Jiban Maran (1939) and Zindagi in 1940, with Saigal in the lead. There are a number of songs of this era which form the rich heritage of film music in India. Also, in Street Singer, Saigal rendered the song "Babul Mora Naihar Chhooto Jaye" live in front of the camera, even though playback was becoming the preferred method of singing songs in films.
In December 1941, Saigal moved to Mumbai to work with Ranjit Movietone. Here he acted and sang in a number of successful films. Bhukt Surdas (1942) and Tansen (1943) were hits during this period. The latter film is still remembered for Saigal's performance of the song "Diya Jalao" in Raga Deepak; in the same movie, he also sang "Sapta Suran" and "Tin .. Gaa-o Saba Guni Jan". In 1944, he returned to New Theatres to complete My Sister. This film contained the songs "Do Naina Matware" and "Ae Qatib-e-Taqdeer Mujhe Itna Bata De". By this time, alcohol had become a predominant factor in Saigal's life. His dependence on alcohol had begun affecting his work and his health. It was said that he could only record a song after being fortified with liquor. He survived ten years of drinking; however, his alcoholism was too advanced for even a single attempt at abstinence, and Saigal died in his ancestral city of Jalandhar on 18 January 1947, at the age of 42. However, before his death, he was able to churn out three more hits under the baton of Naushad Ali for the film Shahjehan (1946). These are "Mere Sapnon Ki Rani", "Ae Dil-e-Beqaraar Jhoom" and "Jab Dil Hi Toot Gaya". Parwana (1947) was his last film, released after his death, in which he sang under the baton of Khawaja Khurshid Anwar. The four songs which Saigal sang in Parwana are: "Toot gaye sab sapne mere", "Mohabbat mein kabhi aisi bhi haalat", "Jeene ka dhang sikhaae ja", and "Kahin ulajh na jaana". Saigal was survived by his wife Asha Rani (whom he married in 1935); three children, a son and two daughters: Madan Mohan, Nina (born 1937) and Bina (born 1941); and an adopted child, his late elder brother's daughter, Durgesh Nandani, whom he adopted when he was still single.
In a career of fifteen years, Saigal acted in 36 feature films – 28 in Hindi, seven in Bengali, and one in Tamil. In addition, he acted in a short comedy Hindi film, Dulari Bibi (three reels), released in 1933. In 1955, B.N. Sircar released a documentary film based on the life of K.L. Saigal, Amar Saigal. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal's films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. Of the film songs, there are 110 in Hindi, 30 in Bengali and two in Tamil. There are 37 non-film songs in Hindi, and two each in Bengali, Pashto,Punjabi and Persian. His non-film songs comprise bhajans, ghazals and hori. He has rendered the creations of poets such as Ghalib, Zauq, and Seemab.
Saigal's distinctive singing was revered and idolised by the first generation of post-independence Hindi Film playback singers, including Lata Mangeshkar, Kishore Kumar, Mohammad Rafi, and Mukesh. Lata Mangeshkar and Kishore Kumar have even gone on record in an interview that they consider Kundan Lal Saigal to be their musical guru. K L Saigal became famous because of the "new" technology of 78 rpm shellac records and players. Mukesh started his career as a copycat of K L Saigal, but went on to develop his distinctive style. These records were recorded in one take with all instruments playing along. Today this may not be possible.In 1970 one such record was priced at Rs 15. In today's money, it is equivalent to Rs 1500 for two songs.
5..Karma
Karma is a 1933 bilingual film starring Devika Rani and Himanshu Rai. The film was directed by J.L. Freer Hunt and was a joint production among India, Germany and United Kingdom. Karma featured a four-minute kissing scene between the lead actors—Devika Rani and Rai—the longest in an Indian film
The story is about a princess (played by Devika Rani) who falls in love with a neighbouring prince much to the disapproval of the latter's father.
The female lead Devika Rani, the grand niece of Nobel laureate Rabindranath Tagore was professionally associated with Rai even before the two married in 1929. Impressed by her talent, Rai decided to cast her in the film alongside him. Abraham Sofaer was cast in a pivotal role as a "Holy Man". The screenplay was co-written by Rai and Freer Hunt.The music was composed by German composer Ernst Broadhurst. Devika Rani had recorded a song in the film including the Hindi version.
Karma was made targeting the international audience. The film was entirely shot in India while the post-production process was carried out in Stoll Studios, London. The film was the first talkie produced by Rai. The film initially premiered in London in May 1933. Devika Rani's performance was lauded by the critics in London. However, when the film was released later in Hindi as Naagan Ki Raagini, it failed to impress the Indian audience. The film was among the first in India to feature an on-screen kiss. The four-minute long scene between Devika Rani and Rai, her husband in real life, is also known to being the longest such scene in Indian cinema.[3][4] Upon release, the film became controversial in the then "orthodox India" for featuring a kissing scene.
Though largely ignored in India during its release, Karma is considered a landmark in Indian cinema due to its unprecedented kissing scene. In 2012, The Times of India described it as the "first Indian talkie with English dialogue which set all London talking".
6.Sairandhari
Directed by V. Shantaram
Cast included Master Vinayak, Shakuntala, Leela, Mane, Nimbalkar, Prabhavati, Kulkarni, Salunke
7.Saubhagya Sundari
Directed by Homi Master
Cast included D. Billimoria, Sulochana (Ruby Myers), Jamshedji, Khansaheb, Jilloobai, Khalil, Hadi, Syed Ahmed, Lakshmi
8.Yahudi Ki Ladki
Yahudi Ki Ladki (The Jew's Daughter) is a 1933 Urdu/Hindi costume drama film directed by Premankur Atorthy. Produced by New Theatres Ltd. Calcutta, the cast included K. L. Saigal, Rattan Bai, Pahari Sanyal, Gul Hamid, Nawab and Kumar. The film was adapted from Agha Hashar Kashmiri’s play of the same name Yahudi Ki Larki which had been written in Bengali as Misar Kumari. He also wrote the screenplay and lyrics. The film saw Pankaj Mullick's debut as a Hindi music director. The dialogues were by Wajahat Mirza.The story revolves around the rivalry and revenge between the Jewish merchant Prince Ezra and the Roman priest Brutus. Prince Ezra (Nawab) is a Jewish merchant persecuted by the Romans, especially the Roman Priest Brutus. Ezra lives with his seven-year-old son Yameen. One day while playing with his catapult, Yameen manages to unintentionally hit the Priest Brutus as he’s walking past. The boy is taken prisoner and no imploring can change Brutus’ punishment. He has the boy thrown to the animals. Elias, Ezra’s devoted slave kidnaps Brutus’ young daughter Decia and brings her to a grief-stricken Ezra for revenge. Unable to harm her and missing Yameen, Ezra brings Decia up as his daughter and names her Hannah. Years later, a grown Hannah (Rattan Bai) is rescued by the Roman Marcus (K. L. Saigal) from Roman soldiers who have accosted her. Since Marcus is in disguise of a Jew, Hannah believes him to be one and brings him home. The two fall in love though Marcus is engaged to the Princess Octavia (Tarabai). Hannah soon finds out that Marcus is a Roman. After some pleading and pacifying both Ezra and Hannah, Marcus manages to get Ezra to agree to their marriage. Ezra wants him to convert to a Jew and Marcus refuses and leaves. On reaching home he agrees to marry Octavia; on the day of the wedding Hannah recognises him. Both Ezra and Hannah plead with the Emperor to punish Marcus for being unfaithful. The Emperor orders for Marcus to be put on trial. Octavia begs Hannah to retract her statement. When she does so, Brutus has them arrested for lying against the prince. They are sentenced to be burnt. Ezra first extracts a promise from Brutus that on his telling him where his long lost daughter Decia is he will immediately have Hannah burnt in oil. Brutus impatiently agrees. Ezra now tells Brutus the truth about Hannah being his daughter Decia. Brutus is humbled as he realises the futility of race and religion. Hannah sees a saintly figure and follows him renouncing her life.
One reason for the popularity of New Theatres films was its music. It had three of the renowned music directors of its time working for them: Timir Baran, R. C. Boral and Pankaj Mullick. Yahudi Ki Ladki film was the debut of Pankaj Mullick.Saigal’s rendition of Ghalib’s ghazal "Nuktacheen Hai Ghame Dil" is considered a classic performance. Sung under the direction of Pankaj Mullick who composed it in Raag Bhimpalasi, the only instruments used were the tabla and harmonium. The other popular songs of K. L. Saigal from the film were "Lag Gayi Chot Karejwa Mein", "Yeh Tasarruf Allah Allah" and "Lakh Sahi Ab Pi Ki Batiyan".
Songs
1 "Ye Tasarruf Allah Allah Tere Maikhane Mein Hai" K. L. Saigal
2 "Lag Gayi Chot Karejwa Mein" K. L. Saigal
3 "Lakh Sahi Hain Pi Ki Batiyan" K. L. Saigal
4 "Nuktacheen Hai Ghame-Dil" K. L. Saigal
5 "Ab Shaad Hai Dil" Utpala Sen
*youtube full movie Karma and some songs of daku ki ladki and Miss 1933 are available.
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