A tribute to Shanta Apte on her 56th Remembrance Day (b. 23 November 1916/1918 – d. 24 February 1964)
I became aware of Shanta Apte quite late compared to her contemporary Kanan Devi about whom I was quite familiar from my very young radio listening days. Today I know that Shanta Apte was to Pune/Bombay what Kanan Devi was to Calcutta. The former was the First Lady of the Prabhat Studios while the latter was the First Lady of the New Theatres. These two great film companies in the studio era occupied the pole position in Poona/Bombay and Calcutta respectively. Kanan Devi was a bilingual actor-singer in Bengali and Hindi, and likewise Shanta Apte in Marathi-Hindi. The two studios often made bilingual films, one in Hindi and the other in their respective regional language. Shanta Apte and Kanan Devi were the top female actor-singers of the 1930s and early 40s. Yet with such uncanny symmetry, it is surprising that while AIR was very enamoured of the New Theatres, they almost completely blacked out, as far as I can remember, early songs of Prabhat Talkies. The vintage female singers featured on AIR comprised Khursheed, Amirbai Karnataki, Zohrabai Ambalewali (thanks to Naushad), Bombay Talkies songs, besides the usual Shamshad Begum, Suraiya and Noorjehan. An hour-long documentary anchored by Harish Bhimani, titled Gaaye Chala Ja (recently repeat telecast on DD), ostensibly as an overview of 60 years of Hindi film music, followed the same pattern, omitting to mention Shanta Apte as well as Prabhat and other songs of the early 1930s from Bombay/Poona. And interestingly, this asymmetry in the recognition of the New New Theatres-Calcutta’s early music and Prabhat-Bombay’s still continues. The Vividh Bharti broadcasts an hour long programme of old film music at 6.30 AM everyday. I don’t recall when I last heard a Shanta Apte song on the radio, though Kanan Devi, Khursheed, Amirbai Karnataki are quite common.
I heard Shanta Apte’s name for the first time courtesy a 4-part series titled Gaata Jaaye Banjara, produced by Siddharth Kak, and anchored by Poonam Dhiilon on Doordarshan in the 1990s. That was my introduction to her songs as also to many other unheard of vintage era singers and music directors. In the Internet era, of course, I have come to know a good deal about her, and I am struck not so much by the similarity but by her contrast with Kanan Devi. Kanan Devi was known to be non-confrontationist; her life was one of pain and inner-conflict about her legitimacy and acceptance in the ‘respectable’ Bengali society. Shanta Apte cared too hoots for the societal norms. She was famous for her rebellious nature and fiery temper. She is said to have barged into the office of Baburao Patel, the editor of Filmindia, known for his sharp pen, and bashed him up for writing something scandalous about her. When she got a raw deal from the Prabhat Talkies, instead of accepting it meekly, she fought it out with them and went on hunger strike before their office for her just demands. Her such actions and rebellion from societal norms earned her the moniker of the ‘Stormy petrel of Indian cinema’.
A decade after her death there was a renewed sensation about her when a Marathi stage artiste Nayana Apte claimed that she was the daughter of Shanta Apte. Publicly Shanta Apte was not known to have ever got married or that she had a child out of wedlock. Nayana wrote that when Shanta Apte had stopped acting in 1947-48 she married a distant relative, also carrying the surname Apte, who was a rich landlord. He was strongly opposed to her artistic ambitions. All her efforts to persuade her husband failed to move the stubborn man. In three months she left him. At that time she was pregnant with Nayana who was born in Andheri. This revelation only adds to the mystique of Shanta Apte.
Born on 23 November 1916/1918 (different sources mention different years of her birth) in a Maharashtrian family, her father was a station master who was also a good singer. She learnt singing in early childhood and made a name for herself as a singer at Ganpati festivals in Poona. Hearing of her fame Bhalji Pendherkar of Kolhapur gave her the role of Radha in the film Shyam Sundar (1932). Interestingly, the role of her husband in the film was played by her brother Baburao Apte. She sang two songs in the film: Darsan do Bhagwan, tarsat hai prem dukhiyari and Daras dikha do jaamon ka saanwariya. The Hindi version did not do well, but the Marathi version was a phenomenal success.
Later she got associated with the Prabhat Film Company, Poona, and had enormously successful career as a talented actor and an excellent singer with them in films like Amrit Manthan (1934), Amar Jyoti, Rajput Ramani (1936), Duniya Na Maane, Wahaan (1937) and Gopal Krishna (1938). After ending her association with Prabhat in 1938, she became a freelancer, perhaps the first actor to do so in the heydays of the Studio Era. Her career as actor-singer continued with other Productions in films like, Apna Ghar, Zamindaar, (1942), Duhaai, Mohabbat (1943), Bhagya Lakshmi, Kadambari (1944), Panihari, Subhadra, Uttara Abhimany, Valmiki (1946) etc. Thereafter, her career virtually came to an end. However, after a long gap of over a decade, she acted and sang a song, Bolo hey Chandimata, bolo meri Bhagya vidhata, in the film Chadi Pooja (1957) under the baton of Ajit Merchant. This was the last song of her career. Her name also appears in the credits of the film Ram Bhakta Vibhishan (1958), also composed by Ajit Merchant, but no song is credited to her in the HFGK.
Most of her Prabhat films were also made in Marathi where they were very successful. She had a very successful career in Gujarati and Marathi theatre and films too. She had also acted in a Tamil film Savitri (1941) which had MS Subbalakshmi playing the role of Narad.
Her wild life-style led to her downfall. She became jobless and an alcoholic, and had a tragic, lonely end on 24 February 1964. I pay my tribute to the long-ignored, but one of the most prominent artists of the Vintage Era on her 56th Remembrance Day with some of her songs.
1. Raat ayi hai naya rang jamaane ke liye from Amrit Manhthan (1934), lyrics Veer Mohammadpuri, music Keshavrao Bhole
Keshavrao Bhole was one of the great trinity of music directors of Prabhat, the other two being Govindrao Tembe and Master Krishna Rao – here also there is similarity with the New Theatres with their Trinity of RC Boral, Pankaj Mullick and Timir Baran, except that the former were unknown to me until the DD series Gata Jaaye Banjara I mentioned earlier. This was one of his most famous compositions, and Shanta Apte’s ghazal brought her great fame.
2. Kamsini mein dil pe gham ka baar kyun from Amrit Manthan (1934)
Another ghazal, said to be the first recorded filmi ghazal, from the same film is another famous song of Shanta Apte.
3. Suno suno ban ke praani from Amar Jyoti (1936), lyrics Pt. Narottam Vyas, music Master Krishnarao
Shatnta Apte continued her successful run with Prabhat with the film Amar Jyoti (1936), which also had Durga Khote in a landmark role as a rebellious female pirate to wreak vengeance.
4. Aaj humein ban behad bhata (duet with B Nandrekar) from Amar Jyoti (1936)
I love this romantic duet with the actor-singer B Nandrekar from the same film. Please note in the romance of the 1930s, the lovers do not come physically closer, they show their love by their looks at each other and the eulogy they both sing of the forest and other elements of nature. Please recall another romantic song on the theme of ‘Ban’ (forest), sung by non-singers Ashok Kumar and Devika Rani, in Achhut Kanya in the same year – Main ban ki chidiya ban ke ban ban dolun re – became a rage. But Aaj humein ban behad bhata grows on you and you start realising it is musically more appealing.
5. Ek tha raja ek thi raani dono oar chhayi thi jawani from Duniya Na Maane (1937), lyrics Munshi Aziz, music Keshavrao Bhole
This is an excellent song of storytelling to children from the path-breaking bilingual film (Kunku in Marathi) for its bold theme of the young lady (Shanta Apte) rebelling against her marriage to a much older widower.
You can click on the link below to watch the beautiful Shanta Apte with a group of gaggling children in her charge on the video.
https://www.youtube.com/watch?v=zMSIr4Om36Y
6. In the world’s broad field of battle from Duniya Na Maane (1937), English poem ‘Song of Life’ by Longfellow
Here is a unique English song sung by Shanta Apte in the same film, which is actually the poem ‘Song of Life’ by Longfellow
7. Kanha sab ko mohe mangal roop tumhara from Gopal Krishna (1938), lyrics SL Srivastava, music Master Krishnarao
This is an extremely melodious song, but rarely heard on the radio. The style is typical of Prabhat-Shanta Apte-Master Krishnarao.
8. Chhota sa sansar hamara from Zamindar (1942), lyrics Qamar Jalalabadi, music Ghulam Haider
Let us now move to post-Prabhat films. Ghulam Haider was the polar opposite of the Prabhat stalwarts like Govindrao Tembe and Master Krishnaro. He burst on the music scene with the ‘Punjabi School’ of music with Khazanchi (1941) characterized by fast rhythm and full-throated songs of Shamshad Begum. In Chhota sa sansar hamara he seems to be making some concession to Shanta Apte’s Prabhat-style Marathi heritage.
9. Giridhari Giridhari meri binati suno Giridhari from Bhagya Lakshmi (1944), music KC Dey
KC Dey makes sure that the song would be extremely melodious. Again a rarely heard song.
10. Mere janam maran ke sathi from Kadambari (1944), lyrics Miss Kamal (Kavi Pradeep), music HP Das
It is said that Pradeep wrote lyrics in some films under the nom de plume of Miss Kamal because of some contractual issues with Bombay Talkies/Filmistan.
11. Main khili khili phulwari (duet with Lata Mangeshkar) from Subhadra (1946), lyrics Moti B.A., music Vasant Desai
We have seen in the year-wise review of 1946 films that Lata Mangeshkar acted and sang in a few films in the year. This duet in which Shanta Apte pairs with the rookie is interesting how Lata Mangeshkar is tentative before the confident star-singer Shanta Apte whose voice carries the day. A great vintage female-female duet, though unknown.
12. Ho pyare pyare swapna hamaare from Valmiki (1946), lyrics Mahesh Gupta, music Shankar Rao Vyas
The banner has changed, but the mythological film with music director who was trained in classical music, retains its classic character in music which was familiar ground for Shanta Apte. You can’t help noticing that she is looking distinctly plumper compared to her early films. That it should happen at the age of 28/30 seems to be the effect of her personal problems which led her to alcohol, besides general lack of concern among the leading ladies of the time about their fitness, compared to the new-age heroines.
Acknowledgements and Disclaimer:
1. VP Sathe has written an exhaustive article on her in 1977 for Cineplot. Most of the information in this article has been taken from this and Anil Bhargava’s Swaron Ki Yatra.
2. Another very interesting article is by Sonal Pandya for Cinestaan.
3. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over them which rests with the respective owners.
{ 62 comments… read them below or add one }
I haven’t read it yet. Want to mention a typo
Birth year wrongly mentioned as 2016 / 18.
Will be back later.
Anup
🙂
Excellent post I must say. And I must confess I wasn’t aware of a number of songs by Shanta Apte.
I particularly liked, the English poem by Longfellow, the story telling song (which reminded me of Ek raje Ke beta lekar by Saigal)
The duet with Nandrekar was really good, so was her duet with Lata Mangeshkar.
In all I enjoyed the post. I always enjoy the 40s a lot. I don’t know what kind of magic the songs have! I feel enchanted and Mesmerised.
Thanks for the treasure Akji.
And
if I may say so, (no criticism intended to anyone) enjoyed your style of writing after a long gap.
Anup
🙂
Anup,
Thanks a lot for your appreciation. And also thanks for pointing out the typo in her year of birth.
Akji,
Thank you for this extremely informative article. We have only memories to fall back upon. That too gets kindled when we reminisce about them. By presenting the tribute to Shanta Apte, you have pulled out another gem from the treasure trove of Vintage era. That is line with the traditions of Soy.
It is surprising that Sahanta Apte did not find a mention even in Ashok Da. Ranade’s book “Hindi Film Song-Music Beyond Boundaries”. Even Meena Kapoor gets a peek. The same goes for Manek Premchand’s book Yesterday’s Melodies Today’s Memories”.
It is sad to note that successful stars of the past are easily forgotten and even institutions like AIR fail to give them their due.
Thank you once again for the effort.
AKji
I have long been aiming at this actor’s biography. You have done a stellar performance in bringing out so much of details from the extremely scarce material available as is your wont.
Shanta Apte refused to have someone render the dialogues in Tamil for the film Savitri (1941). She learnt Tamil, a difficult language for non natives for nearly a year and portrayed Savitri as well as she could. She sang a few songs in the film and I am giving link for one song. Considering it is 1941, this song has a feel of 1950s when you listen. Full film is available and I will try to extract other songs in live video and upload to youtube. If objections are raised, a likely outcome, have to leave it to fate.
https://youtu.be/fk7weIP6ddo?t=56
N Venkataramanji,
Thanks a lot for your appreciation. Ashok Da. Ranade’s book was not a linear history of film music. But now I have some sense of Shanta Apte’s omission. Prabhat and its music was probably seen as distinctly Marathi flavour, whereas the New Theatres was seen as pan-Indian. Saigal, Pankaj Mullick didn’t have a parallel anywhere. Therefore, my drawing parity between the New Theatres/Kanan Devi with Prabhat/Shanta Apte is overdone, and AIR didn’t view like this.
Mr Rangan,
Thanks a lot for your appreciation. I am sorry that I have pre-empted you. That you were thinking of Shanta Apte shows your vast depth of knowledge. The Tamil song you have added is very nice.
AK ji,
‘ The stormy petrel ‘ ,she , indeed, seems to have been! I was aware of DUNIYA NA MANE since childhood. But, the other details of her career and life,I came to know much later.
Nice post with apt songs selection.
Here is another song from ( MAHARSHI) VALMIKI.
Aaj mere naiya kinare lagi…
The movie directed by Balji Pendharkar for Prabhakar Pictures had Prathviraj Kapoor in the title role and Shanta Apte as his leading lady. The novelty of the movie is that it was the debut of Kumar Raj in the role of Narad Muni. The next year, 1947, saw in his first lead role in NEEL KAMAL . Yes, Raj Kapoor, the Showman of the industry.
A clipping from MAHARSHI VALMIKI:
https/ youtu.be// 5wDlpLR2FpO
dprangan ji,
I had heard MSS’s songs from SAVITRI.
But, hearing Shanta Apte’s song for the first time. She sounds like a native Tamilian. Comfortable in the language,no accent. Commendable.
AKji,
A few years ago, an exhibition was held at Rabindra Tirtha, New Town, Kolkata, which documented the early female singers of Tagore songs. A 1935 recording of Kanak Biswas used the word “Rabindrasangeet” for the first time. Before that Rabindranath’s songs were known as “Rabibabur Gaan”. From this exhibition I gathered that Shanta Apte had cut a disc- Rabindra Sangeet- (HMV N27185). Since the word “Rabindra Sangeet” was mentioned in the label of the record, it is safe to assume that the recording was done after 1935. Posting the links;
Side one –
Dnariye Achho Tumi Amar Ganer Opare
https://www.youtube.com/watch?v=77N0Wh2saEY
Side two –
Jagarane Jay Bibhabari ..
https://www.youtube.com/watch?v=hVji_6ehI90
This is a very good post and I like the idea of remembering two ladies of the two reputable film companies thousands of miles apart.
Comparing the voice of Kanan Devi with Shanta Apte is a palatable idea but I personally feel Kanan Devi is softer while Shanta Apte’s a bit sharper.
Prabhat did not have advantage of having Saigal sang for them. I think Saigal did the foundation of the popularity of filmy songs in general and very advantageous to the New Theatres. So in this respect the New Theatres got ahead of any film companies in India at the time.
But from the forties onwards Bombay film companies ruled the roost until seventies. That is the end of song as the king in the Indian films.
There is some confusion over the name of the “Song of Life”. Some verses of the poem “A Psalm of Life” by F.W. Longfellow an American poet was very popular in the English poetry genre, were chosen by the Music Director for the character of Shanta Apte. It was written 1in 1838 at Harvard University campus.
The poetry of Longfellow was always didactic and it was very famous among the Indian Freedom Fighters.
The poem Shanta Apte sung for her aged husband made him feel guilty that he has treated her as a sex object. He goes by the river and commits suicide.
This is the turning point in the film and the film forever becomes a cause for the feminist understanding in India.
Shantaram’s later films also added that he was an early Satyajit Ray.
The story of the film “Duniya Naa Maane” was based on the novel by Narayan Hari Apte a very famous Marathi writer wrote novels about the hardships of female life in the Brahmin families in Maharashtra.
He was a later generation writer. But before him a revolutionary writer slightly inverted name called “Hari Narayan Apte” wrote many novels in the nineteenth century Marathi Literature. These contained all sorts of things presently discussed by the exploitation of women in the case of “Harvey Weinstein’s” court case”.
Shalan Lal
Dr Shetty,
Thanks a lot for your detailed comments and a lot of interesting information. So Raj Kapoor was known as Kumar Raj?
Venkataramanji,
Shanta Apte and Rabindrasangeet, is a new information. Dr Shetty has said she sounded like a native Tamilian. The two songs you have added, One can say she sounds like a native Bengali. Thanks a lot.
Shalan Lal,
Thanks a lot for your detailed comments and the interesting information. You are right KL Saigal (and Punkaj Mullick too) was a big factor in the glory of the New Theatres.
I was aware of Shanta Apte, but knew very little about her. Your post fills a major gap in my knowledge. I enjoyed listening to the songs and going through her life and career trivia. Very well written.
Subodh,
Thanks a lot for your appreciation. I am happy you liked the songs.
Shanta Apte could be the only singer who had sung with two Bharat Ratnas, M S Subbulakshmi and Lata Mangeshkar and Malika E Tarannum Noor Jehan ( DUHAI,1943…I couldn’t find any songs on the net. I think Noor Jehan must have played the second lead, Shanta Apte being the heroine.)
Ms. Shalan Lal
Welcome to SOY after a brief hiatus. Happy to note the cataract operation went off very well. With present day technology, it is a very minor affair. Hope to see active participation from you. Presumed you got such a lens inserted, it will be like a 20 year old one with no necessity of any spectacle for near or far vision. I got my wife such a lens in both eyes more than 5 years ago and she is having normal vision in both eyes.
Dr. Shetty @ 9
In full agreement with you. I was also taken aback to see her lisping Tamil dialogues as if it was her mother tongue. It is particularly hard to correctly pronounce the syllable ‘zhi’ as in vazhai pazham for learners. Even native born Tamilians cannot pronounce it perfectly. She had no such difficulty. That shows the prodigious linguistic talent she possessed .
I am equally amazed at your ability to ferret out details as at @17. I
checked for facts. Film Duhai (1943) had 9 songs with 3 music directors. Shanta Apte sang 2 solos, 3 duets and Noorjehan 2 solos. Details of singers were not available for two songs – Mat Chedo Hame Giridhari and Ab Hovega tumara ho.
dprangan @18
Thanks for your welcome back comment.
Yes, the eye specialist has fixed lenses after taking out the cataract.
I was not sure about the success as in our family my Grandfather, Mother and father all had cataract operations done in their time and all went bad and they died as blind persons.
You are right the modern technology has advantage over the old time.
However the number of persons came to have the cataract operation done was so huge. It was like a cattle market.
But the NHS treated me as VIP and gave A1 support and comfort.
I think every country in the world should have NHS. It is brilliantly run organization and free at the point of reception.
Shalan Lal
AK @14
Thanks for your words.
Shanta Apte went to Calcutta and did one film which is very similar to her role in “Duniya Na Mane. It was called “Swayam Siddha” in 1949. She quickly learned Bengali and did the film along with the Bengali actors. The version I had seen was in Hindi.
Shalan
Shalan Lal for
As a retired govt. servant me and my wife are fully covered for ailments in what is known as CGHS – Central Govt. Health Scheme. My wife’s basic cataract expenses were borne by govt. I paid from my pocket for the extra quality lens. Our blogmaster also enjoys similar privilege. A scheme like NHS is impossible in India because of financial constraints and the habit of governments to squander on freebies like farmer loan waiver periodically for vote bank politics. Tamilnadu leads the field in freebies and has corrupted people there. I was very sorry to learn that your forbears of two generations became blind due to botched cataract operations. Now that is a thing of past. Now you can lead your life like in the past. Shanta Apte remains a puzzle with scant details of her personal life. AKji has indeed done his home work well to string a few facts and do a good writeup. Probably a separate post will be needed to cover her Marathi films and I can only think of Anupji to take up the mantle.
Despite being a Maharashtrian I had very little knowledge about Shanta Apte. But this write up by AKji lead me to search about her on net.
AKji’s article seems to point out that Nayana was the only child of Shanta Apte.
But there is an article on the site marathishrushti.com written by Sagar Maladkar which quotes Nayana saying that she(Shanta) took care of her 2 children very well & taught them in English medium school
As Ranganji has said she remains a puzzle & very scant & perhaps contradictory information is available about her
By the way the article quoted by me gives credit to Daumitra Madgulkar the great grandson of gadima ( Legendary poet & writer in Marathi() for technical assistance.
AK ji,
Thanks for doing justice to the firebrand actress Shanta Apte, by posting an article on her. Many people have written on her personal and professional career. I too have written several times on different aspects of her life, like acting, singing and her on and off relationships with her selfish elder brother, who was an actor and director himself.
I quote here some additional points on her life, collated from my own earlier articles. I feel our readers will get additional information, to some extent, as you have already covered many points.
In 1941, She acted in a Tamil film ‘ Savithri ‘ in the title role while the great M.S.Subhalaxmi played the male role of Narada. Shanta Apte also sang in this Tamil film, in Tamil-in the presence of M.S. and got her appreciation too !
Shanta Apte had the rare distinction of singing and acting with the three “iconic female singers” of Indian cinema: with M. S. Subbulakshmi in Savithri (1941), with Noor Jehan in Duhai (1943) and with Lata Mangeshkar in Subhadra (1946).
Apte has been referred to as a woman who “symbolized women power both on and off the screen”. According to K. A. Abbas, commenting on the vitriolic writings of the cine-magazine editor Baburao Patel of Filmindia, “there was only one example of a spirited star like Shanta Apte taking the law in our own hands when she came to Baburao’s office and hit him with a cane…”. She defied her contractual agreement with Prabhat Films when it hampered her from acting in outside films and decided to stage a fast in front of the studio gates. She was released from her contract by Prabhat Films.
Ten years after Shanta Apte’s death, actress Nayana Apte declared herself to be her daughter. Nayana claimed Apte married a distant cousin in 1947 and left him when she was three months pregnant. According to Vijay Ranchan in his book “Story of a Bollywood Song”, in the section on Shanta Apte titled “The Rebel Commoner”, Shanta was unmarried but had a daughter, the Marathi film and stage actress, Nayana Apte. The noted Marathi Film Historian Isaq Mujawar claimed in one of his books that Nayna was Shanta’s daughter by her own brother Baburao Apte.
Apte died of a heart attack following a six-month illness, on February 24, 1964, at her residence in Andheri, Mumbai, Maharashtra.
-AD
Shalan Lal,
Thanks a lot for the information on Shanta Apte’s Bengali film.
Rabul Bhagwanrao Muli,
It is surprising that so little is known about Shanta Apte. Now I am hearing from you that she had a second child too. Arunji, however, in his comment immediately after yours does not confirm this.
Arunji,
Thanks a lot for the detailed information on Shanta Apte. If there was any truth in the child born of incest, I guess Nayna would have kept quiet. But you are the expert.
https://www.marathisrushti.com/articles/revolutionary-and-sensitive-marathi-actress-shanta-apte
This is the link for the article in which Nayana Apte is quoted.
AK@25 and others as well
It is nice occasionally to remember the bygone time and people who made some kind of impression on the past time. Remembering Shanta Apte and her good, bad and difficult life is the part of our history.
Shanta Apte started her career in the Marathi Mela Theatre. Marathi Mela appeared in Maharashtra after Lokmanya Tilak started ten days festival of Ganpati Ustav. The ten days festival was to stimulate people about Indian Independence movement along with lectures on various subjects and also entertainments.
Marathi Mela was a small playlet compare to the Marathi Natak which often lasted four or more hours. It was also musical. So numerous kinds of artists had opportunity to present their musical and artistic skills.
More information about Marathi Mela could be found from the organization called Marathi Natya Sabha at Poona now Pune.
Marathi musical Mela ended after the Indian Independence arrived.
Shanta Apte and her brother came from a town called “Solapur” on the border of Karanatak and Adhra/Telangan state.
It is not far from the holy cities of Tulajapur and Pandharpur.
It is also the district place and had Tuesday Market. It flourished during 19th and 20th century due to the cotton Mills and had about Twenty film/play houses.
At one time the film producers would taste their success of the film by launching their films in Solapur if the film was successful then it was released in Bombay and elsewhere in India.
The forties and fifties actress Shashikala also was born and raised in Solapur and also was an actress in Marathi Mela.
On Marathi stage in eighties there was a very popular play called “Kachecha Chnadra – Glass Moon” in eighties. This was on the life of Shanta Apte with her brother. I had seen it in Bombay.
Shalan Lal
AKji,
Sharing an interesting information on Shanta Apte’s first film “Shyamsundar” as stated by film historian Shashikant Kinikar in a conversation with Hrishikesh Arvikar.
Just like Hirala Sen (1866-1917) in Calcutta, R N Mudaliar (1885–1972) in Madras, there were other film pioneers too. As per film historian Shashikant Kinikar the first filmmaker in India was Dadasaheb Torney. His film was released in 1912. And almost after one year, Dadasaheb Phalke’s film was released. (We can discuss that later at an appropriate opportunity.)
When the talkie era started, Torney approached Nanasaheb Sarpotdar (founder of Aryan film Co.) to make talkies. Perhaps, he had sustained losses. He had no more interest in making films, we wanted to something else. Torney bought the studio and started Saraswati Cinetone there. The hero of their first film “Shyamsundar” (1932), the actor Shahu Modak was located by Sarpotdar. When they heard that Sarpotdar is not interested in making films. Bhalji Pendharkar was asked to direct the film Shyamsundar. It was his first talkie. And three people went to Ahmednagar (Torney, Pendharkar and one more person) and met Shahu Modak’s father, Reverend Modak, who was a Christian. They said, ‘We want to make a film on Lord Krishna and we want your son to act as Bal Krishna.’ Mr. Modak said, ‘I am Christian. How can you take my son to portray a Hindu God?’ They replied, ‘It does not matter. We shall do it.’ So this is how Shahu Modak was selected. But he was originally selected by Nanasaheb Sarpotdar. The heroine, Shanta Apte, was also cast the same way. She used to stay in Pandharpur at that time. She was learning Hindustani classical music. Somebody approached her and she immediately agreed to work in the Hindi and Marathi version of “Shyamsundar”. I’ll tell you one more interesting story. Both the Hindi and Marathi versions were released on the same day in Pune. Shri Krishna Theatre was a part of a Wada. There the Marathi version was released. Just across the street, opposite the Wada, there was Globe Theatre. The Hindi version was released there. Torney felt that the Pune spectators would not go for the Hindi version, because they would prefer the Marathi version. So what could be done to attract the audience? Shanta Apte was asked to go to the theatre and sing songs from the film, so that people would come and see the film. This was a unique occasion where the heroine had to sing and ask the people to come watch the film.
Rahul Bhagwanrao Muli,
Can you please give a gist of the article in English.
Shalan Lal,
This is great information. I am impressed that SoY has so many patrons who have so much information on Shanta Apte.
Venkataramanji,
Torney and the first Hindi film. Perhaps you are referring to his film Raja Pundalik. I am aware of it and the debate whether this or Dadasaheb Phalke’s Raja Harishchandra be credited as the first Indian feature film. At the core of the debate was the ‘definition’ of what constitutes a ‘feature’ film. There are film historians on both sides, many acknowledging Dadasaheb Torney’s as the first feature film.
Shanta Apte singing on stage to promote her film: Don’t you think it is a precursor of the modern style of promotion? Just before the release of a film, you will find its actors appear on ‘Kapil Sharma Show’ on Sony channel. Kapil Sharma jokes with them, and they in turn sing and dance on the show. I don’t know whether you ever see it, it is too low brow for you.
Yes sir , will take a day or two
dprangan @ 22
Thanks for your comment and the information that there are some government servants have facilities about the health care.
But that means creating a privileged class in the government’s constitutional declared aim for creating a welfare society.
British NHS is a very unique and tried over and fought over system. America wants to introduce it there. EU has alternative system but is not as efficient as British NHS.
Presently according to the government and NHS, they are now ready to deal with the evil “Coronavirus”. This is very comforting.
Just think about if this evil virus gets foothold in India what havoc it will create to all people that includes all privileged classes as well.
Presently Central Government and state governments should spend time and money how to face this universal killer. Only the NHS can do total defense and not the sporadic and separate defenses will meet the evil enemy.
Shalan Lal
AKJi
I am attempting a free translation of the article quoted in my earlier post .In his article titled
Revolutionary & sensitive actress
Sagar Maladkar has penned what was told to him by Nayana Apte about her mother Shanta Apte.
In the introduction Sagar writes that Shanta apte’s portrayal of Nira in Kunku of a woman fighting against injustice & regressive traditions was much ahead of time. It was a daring act performed by her effortlessly.
Then he goes on to narrate what Nayana had told about her mother.
Nayana tells that Ramchandra Apte ( father of Shanta) was in Railways. Shanta was born on 19-3-1923. She had formal education only up to 4th standard, but started learning music since the age of 5 years.
She names Bapurao ketkar , Narayan Biwa (?) Thite & Master Krishnrao as her music teachers. The last one being a famous
She also tells us that her mother used to sing in jalasas ( Shalanji has also mentioned this ) in her childhood.
The movie which gave break to Shanta Apte is named as shamsunder directed by Bhalji Pendharkar in which Radha’s role was played by Her
Nayana also narrates the episode where her mother thrashed a journalist though she does not name him.
Likewise she does not name her father ( Shanta’s husband) but goes on to describe her mother as very caring , family oriented person.
Interestingly at one place she says that her mother had a very watchful eye on her daughter ( Nayna) & immediately in the next line she says that Shanta cared a lot for
BOTH her children ensuring that they got schooling in English medium
Then There is a story in which Pt Nehru asks Shanta to sing Vande Mataram in a function ( inaugurating a road named after Motilalji in Goregaon)
Nayana tells us that Shanta Apte was the first actress to have written an auto biography ( jau ka mi cinemat loosely translated as should I enter film industry?)
The book had received favourable reviews when it was published.
I have tried to give brief account of the important points in the article.
I am a novice at translating these type of writings.
I would request you to ask readers like Arunji & Shalanji Who I believe know Marathi to go through this & correct my mistakes .
Rahul Bhagwanrao Muli,
Thanks a lot for a very nice summary of the article.
AKji @30,
Did I say first Hindi film? I admit I did not mention “first silent film” while referring to Torney. Moreover I was only citing what Shashikant Kinikar had said in his conversation.
The heroine promoting her own film in 1932 was unthinkable.
And I am not a toffee-nosed person. Yes I do watch TV shows when I find time, and I used to watch Kapil Sharma’s show with my son when he was in Kolkata.
BTW, links to three of the songs posted by you, Suno Suno Ban Ke Prani (#3), Ek Tha Raja Ek Thi Rani (#5) and Longfellow’s poem (#6), have been disabled by the video owner. You may replace them with the links available on YT.
Posting the song “Ghadiyan Aayin Sukhdayi” from the film Rajput Ramani (1936), lyrics Narottam Vyas, music Keshavrao Bhole
Seems to be based on Bhimpalasi.
https://www.youtube.com/watch?v=IK41Ox1yWuY
Akji,
It seems V Shantaram had planned to cast Vasant Desai and Shanta Apte in the lead role for the film Manoos/ Aadmi (1939). Later he opted for Shahu MOdak and Shanta Hublikar instead.
Shanta Apte was the music director of the 1949 film Main Abla Nahin hoon along with M Golwalkar. None of the songs are available for listening.
Posting another song from Rajput Ramani (1936), Ab Pyare Pyare Aavenge based on Raag Yaman Kalyan.
https://www.youtube.com/watch?v=YEFcghulLks&list=TLGGmaq7nK46-5UxNzA5MjAxOA&index=19
Venkataramanji,
Thanks for pointing out the problem in the lnks of songs #3, 5 and 6. I have replaced these with working links. I had to make a compromise in #5. The video links could not be embedded in the post. Therefore, I have also given a link of the video link.
Pradeepji,
It seems Shanta Apte had rendered a song, “Bidu Gopi”, based on Raag Kamboji in the 1962 Kannada film Vidhi Vilasa. Pradeepji can you please confirm.
N Venkataraman ji,
” Bidu Gopi Jana Jaarane “( ” ಬಿಡು ಗೋಪಿ ಜನ ಜಾರನೇ ” ) from VIDHI VILASA ( ವಿಧಿ ವಿಲಾಸ ), 1962, is rendered by K Jamuna Rani, a leading singer in all the South Indian languages in the 50s and the 60s.
The credits of the movie also don’t mention Shanta Apte. The other singers:
P B Srinivas, S Janaki, Nagendrappa ( Nagendra of the composer duo Rajan Nagendra) and Sarojini ( Pattabhi _ wife of director Arooru Pattabhi). T Padman was the music director.
The movie is available on the You Tube.
The song is from 1.38 .13 to 1.40.55. The heroine Leelavati is dancing in front of the villain UdayKumar. Rajkumar was the hero of the movie.
Thank you Pradeepji (@42) for the clarification.
Shalan Lal ji,
I have visited Mumbai, Solapur ( Sholapur) and Pune at various points of my childhood because my mausi ( mother’s younger sister ) lived in those places.
Solapur,in those days,was the hub of cotton industry with innumerable handlooms and powerloooms. Asia’s biggest and world’s second biggest Spinning Mill was situated there. Solapur Chaddars and bath towels highly recommended for their quality, longevity and affordable prices. Till recently we had a peacock motiff Chaddar at home…. bought in the 60s!
GOPALAKRISHNA, 1938.
Modamayi Kapila gaay sajaoongi…
A cow is being bedecked with thilak, phool maala etc.
PANIHARI, 1946.
Solah singar sajaoongi
Piya ko rijhaoongi
Main waari waari jaoongi…
The heroine is getting ready_ Bindiya,Kajra,Phool, Mehendi, Kangna,Payal, Jhumka….
Dr. Pradeep Kumar @44
I fully agree with your description of Sholapur. I think the name Soalpur has changed because it was anglicised during the British rule as Sholapur. It is Solapur because it was made from 16 small villages into one unit.
But I liked the old name Sholapur as it was very hot. The word Shola in Urdu means flames. There is a lot of Urdu language and literature dominate Sholapur.
I know this because our family had Textile business there and was looked after by one of my brothers. He then moved further down to Hyderabad.
You have forgotten one more famous production of Solapur that is its “Namdev Chivada” famous all over India. I do not know if it is still produced there.
Shalan Lal
Shalan Lal ji,
Look at my audacity ! Telling about Solapur Chaddar to a Textile Tycoon from the town! ( Half serious and half light hearted statement!)
Didn’t we both leave out the name of a very famous son of the town?
Dr Dwarkanath ShanthaRam Kotnis.
At least,V ShanthaRam should have made us remember him!
Thanks for the article and melodious songs by Shanta Apte .
The name Shanta Apte heard after a very long time but it reminded some funny phrase I used to hear during childhood.
” Shanta Apte aur Jamuna Japtey”
Japtey = keeps eating nonstop
Dr. Pradeep Kumar Shetty @ 47
Just to correct, that our family in business was very comfortable but “Tycoon” no. Our’s was business because of the cotton mills and we did buy a lot of textile material for our various branches in many towns in India. We lived there in Solapur as the import agency and not permanently.
Solapur had various rich persons from the bygone times. One important name was called “Warad”. who built the typical architect novelty building which in our days was used for various purposes as it was acquired by the Municipal Authority. It is a must for all the tourists or those who like to see wonders of architects in India.
Warad also created a very good garden in Solapur when it had water shortage. Solapur is famous for its patron Kannad saint “Sidheshvar” whose temple is in the middle of a lake.
Indeed Dr Dwarakanath Kotnis made all Solapurian vary proud for his selfless and self sacrificing work in China during the Chinese revolution. Indian Government has created a very good place for the house of Dr Kotnis as a national monument.
V.Shantaram’s monumental film on his life is an all time great biographical film and well acted by Shantaram as Shantaram Kotnis. The film is also as great example of a Method Acting of V.Shantaram.
Stopping at Solapur on the way to Hyderabad or Madras was my childhood pleasure.
In many way Solapur is a town of Telgu, Kannad, Maharashtrian and Muslims people who live very happily and respect each other cultural traditions.
One of my childhood experiences was during the “Mohrum” a Muslim festival in which many young Muslim would paint their bodies like “Tigers” and dance.
I never understood the reason behind this traditions. But as a children we were thrilled to see tigers dancing in the streets.
Shalan Lal
AK @ 14
Thanks for your comment.
I think it was Punkaj Mullick who introduced Saigal to R.C. Boral.
Punkaj Mullic was already in Shantiniketan when Saigal was asked by Tagore to sing for him and then allowed him to sing some of his songs.
Between Saigal and Punkaj Mullick , Saigal was more famous before the New Theatres was created. My statement could be wrong.
N.Venkatraman is a better judge for my statement right or wrong.
Shalan Lal
Manoj,
I am happy you liked the post. You were at least aware of Shanta Apte’s name, I had not heard her name until the DD series ‘Gata Jaye Banjara’ in the early 90s.
Shalan Lal,
Pankaj Mullick had a major role in boosting Saigal’s career. But I understand RC Boral first heard him singing somewhere, and highly impressed he called for him and made him a part of the New Theatres.
As for your second part, Pankaj Mullick had acquired some name as a singer before the New Theatres was founded in 1931, but Saigal’s first recorded song that made him a national sensation, Jhulna jhulao ri came out in 1932.
I am sure Venkataramanji would provide more details.
Shalan Lal ji,
Google search for Namdev Chivada gives quite a few addresses in Solapur, notably, of Navi Peth.
Even in North Karnataka, Muharram procession has Tiger dances. I believe the same is the case for Tamilnadu ( Puli Attam) and AP/ Telangana ( Pedda Puli). I have seen self flagellation and piercing of the body parts with sharp objects, too, during the Muharram processions in my childhood in Dharwad district, Karnataka. Shia Muslims observe these rituals as a part of their mourning for the brutal killings of Hussain, the grandson of Prophet Muhammad, and his family by Yazid in the War of Karbala.
I have never found a sensible explanation for the Muharram tigers anywhere.
Shalanj @ 50, Akji @ 52
There are several versions relating to K L Saigal’s entry in New Theatres. Quite a few film personalities of the vintage era connected with Saigal, like Pankaj Mullick, Rai Chand Boral, & Birendra Nath Sircar have their own version/stories.
Shalanji,
You wrote,“Punkaj Mullic was already in Shantiniketan when Saigal was asked by Tagore to sing for him and then allowed him to sing some of his songs.”
K L Saigal’s rendered his first Rabindra Sangeet for the film “Jeeban Maran” (1939). As per Pankaj Mullick’s biography, he recorded Saigal’s rendition and took it to Rabindranath Thakur for approval.
Dilip Sarkar son of B.N. Sarkar, while speaking at a public gathering narrated that once Saigal accompanied Pankaj Mullick to Santiniketan, where he introduced Saigal to Tagore. Gurudev asked Saigal to sing. After listening to Saigal, the poet blessed him and appreciated his performance.
May be the first and second incident might have occurred on different dates.
AK@27
Further information about Nayana Apte.
As she came into the public life of Pune as she is the daughter of Shanta Apte, she gained success on the Marathi stage.
She partnered with Raja Gosavi who was a comic actor on the Marathi stage and films they got friendly with each other.
Raja Gosavi who appeared in one Hindi film “Chhoti Bahan” a film with many famous songs.
His friendship with Naiayana Apte led them to get married. Raja Gosavi was already married. Like many other married persons who marry another woman Raja Gosavi became Muslim and married Nayana Apte and then became Hindu again.
However their marriage did not last long.
All of a sudden Nayana Apte disappeared from the public life.
Her claim that she was the daughter of Shanta Apte was disputed by some Marathi writers and that led her to disappear from the public life.
Shanta Apte’s sexual relationship was a gossip column filler in her flourishing life. Her caning of Baburao Patel often associated with that gossip.
Whatever it was I feel proud of her as she was a great fighter and perhaps the first feminist in the modern times.
In the history of Maharashtrian people there were many women fighters for feminist rights. The wife of Prince Rajaram the second son of Shivaji the Great called Taramati was a great fighter in her days and established the Principality of Sataara Kingdom different from the Kingdom of Shahu of Kolhapur.
Then there was Ahilya Holkar the daughter-in Law of great Holkar a General of Maratha army of Panipat. She not only established her own army of women but did many social works in central India
There was one called Ramabai Ranade wife of Justice Ranade who was a member of the first Congress. Ramabai started women’s education in Modern times for women’s own development.
She established the schools called “Sevasadan” in many cities in Maharashtra. Shanta Apte appeared during her period.
Shalan Lal
Shalan Lal,
So you are debunking Nayana Apte’s claim. Thanks a lot for all the interesting details.
AK,
A much-needed tribute to an artiste who has been ignored by AIR – as you have rightly pointed out – for some unfathomable reasons!
I first came to know about Shanta Apte when her ‘Swayamsiddha’ (Hindi version) was shown on DD when I was in my early teens. There’s a song that she sings in it which has remained in my mind ever since – ‘Shakti de, shakti de’ – and I would have liked to share it here but unfortunately I have not been able to find it on YouTube.
Another Shanta Apte song, albeit in Marathi, that I like is this ‘aarti’ from ‘Kunku’:
‘Jaya devi managala gauri’
https://www.youtube.com/watch?v=CHB-egeqW8U
Ashwin,
Thanks for mentioning this beautiful aarti. It seems its Hindi version Duniya Na Maane also had a similar aarti, Jai Ambe Gauri Maiya, but with a different tune.
These guys have basically the same post. Did they ask for your permission? https://www.cinestaan.com/articles/2020/feb/24/24652/remembering-shanta-apte-the-stormy-petrel-of-indian-cinema
Surjitji,
Thanks for dropping in. I checked up the article. Hers also came out the same day. Mine came in the morning 9 am, hers 10 hours later at 7pm. Yet, I would give her the benefit of the doubt. She might have used some information from my post, but there is no verbatim copy of passages.
Can you send the links to your other articles
Ne,
Welcome to Songs Of Yore. Top of the page you see four links, the third is “Index”. If you click this you get the list and link of all the posts. Further, on the right you have category-wise list of different types of articles. Click them and navigate.