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humble request for upload of the songs from' ladki sahyadri ki'. - sita. user is offline... film - ladki sahyadri ki 1966 (dubbed) md - vasant. .
movie / album: ladki sahyadri ki (1966). singers: asha bhosle. song lyricists: bharat vyas... other songs lyrics from ladki sahyadri ki (1966) · vandana karo ...
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ladki sahyadri ki movie part 05 / 11 starring sandhya, shalini abhyankar, vatsala deshmukh, kumar dighe, music by vasant ...
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1 - tohri ungli se krishna - suman kalyanpur - film - ladki sahyadri ki (1966) md - vasant desai lyrics - bharat ...
angrezo ne jeet li jhansi from movie / album ladki sahyadri ki 1966. song sung by asha bhosle amarr shaikh mahendra kapoor music composer / music .
ladki sahyadri ki 1966 songs lyrics and videos of all songs: hindi film ladki sahyadri ki film starring prabhakar, sandhya, panshikar, k date. the songs sung by asha bhosle, amar shaikh, mahendra kapoor, suman kalyanpur. ladki sahyadri ki film' s original soundtrack album is composed by vasant desai. the lyrics of all songs are written by bharat vyas. it is produced by v shantaram. it is directed by v shantaram .
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ladki sahyadri ki (1966) by vasant desai - complete information including lyricist, singers and other credits, ratings and user and critic reviews, complete songs ...
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ladki sahyadri ki (1966). music: vasant desai. cast: sandhya, kumar dighe, ranjana, prabhakar. share album: link: embed album. add to my library ...
1 january, 1966... ladki sahyadri ki songs (soundtrack)... this song. the only actress in movie who used her own voice and wasn' t doubled by a bolly - singer .
lyrics of vandana karo archana karo hindi song from ladki sahyadri ki (1966), vandana karo archana karo lyrics | latest hindi songs lyrics... . latest hindi songs lyrics | hindi movie song lyrics | lyricsbogie. latest hindi movie songs ...
india - very old - razzabji ki banni likhayte in hindi - pages 520 .
vyang in hindi - sarak hamare baap ki hai - anup ghai - pages 122 .
awards best director, 1957 jhanak jhanak payal baaje, best film, 1958 do aankhen... some of his songs had to rehearsed several times before which they were... 1961, sehra, 1963, geet gaya patharon ne, 1964, ladki sahyadri ki, 1966, .
the men weren’t lucky at all, but for jeetendra, extra in ‘navrang’ and hero in ‘geet gaya’ the rest made no headway at all. satish vyas in “toofan aur diya”, prashant in ‘sehra’, abhijeet in ‘jal bin’, prabhakar panshikar and kumar dighe in “ladki sahyadri ki” were quickly forgotten .
india - indrajal comics hindi - mandrake - paksi - manvon ki ghati - no. 344
subsequently a star, rajshree was given a sprightly song in ‘subah ka tara’ but had a baby debut in ‘apna desh’ and her grown - up role was that of a court dancer in ‘stree’. sandhya’s niece ranjana, did a bit role in ‘ladki sahyadri ki’ a longer one in ‘zunj’ and a heroine in ‘chaani’ .
india - rare - indrajal comics hindi - haivaniyat ki kimat - vol. 22 no. 13
india - ivan belikan [ stories ] ki khaniyan a. s. pushkin in hindi pages 141
)... up next. kyon lage laaj laaj preet ki asha bhosle ...
) prabhakar, sandhya, ... kyon lage laaj laaj preet ki asha bhosle ...
india - very old & rare - indrajal comics hindi - barf ki aag - vol 21 no. 17
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he introduced and encouraged many new directors. amongst them were character actor keshavrao date with ‘bhakticha mala / mali’ (1944) and ‘andhon ki duniya’ (1947) .
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it makes no mention at all of the wholly indian record label, young india, which was patronised by shantaram through ten years and eleven films, ‘aadmi / manoos’ (1939) to ‘andhon ki duniya’ (1948) .
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monday afternoon, a studio at yari road, andheri, saw the coming together of two venerable musicians: hindustani classical vocalist pandit jasraj and carnatic violinist, composer and conductor dr l subramaniam .
it was a collaboration that saw pandit jasraj lend his voice to a composition by dr l subramaniam – the title song of anant mahadevan’s forthcoming film gour hari dastaan, starring konkona sen sharma, ranvir shorey and vinay pathak in the lead .
( 2008). for dr subramaniam as well, the composition marked his return to hindi film music after 25 long years. he last scored the music for mira nair’s
speaking about the experience, dr subramaniam told mirror, “we wanted jasraj - ji to sing the title track .
will be singing part of the song with him. ” asked about pandit jasraj’s rendition of the composition, he said, “what can i say about jasraj - ji, who is the seniormost performing artiste? he is amazing. he is simply a genius. ”
according to a source from the recording studio, it was all in a day’s work for pandit jasraj, despite his age .
– synonymous with gandhiji and his philosophy. the composition is extremely innovative. international musicians will also feature in the soundtrack, the first of its kind in hindi films. ”
apparently, getting pandit jasraj on board was a mutual decision by anant and dr subramaniam .
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rani (sandhya) comes from a very poor, who have to struggle to make ends meet. she wants a career where she can work, but her parents will not hear of it. but when their temple collapses in... see full summary »
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rani (sandhya) comes from a very poor, who have to struggle to make ends meet. she wants a career where she can work, but her parents will not hear of it. but when their temple collapses in a storm, the parents are forced to admit that they need money to repair the temple, and as such rani gets to act on stage. the owner of the stage company promises to re - store the temple, provided rani continues to work for him, which she agrees. the temple work progresses, and rani acts on stage. she soon becomes a hit. the stage owner starts showing his true colours, and before long he takes to drinking, even while on stage, and when rani refuses to have to do anything with him, he refuses to pay for the temple re - storation. how will rani succeed on stage? what will happen to the temple ?
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rani takes a job as a stage actress to pay for a temple restoration for her family .
directed by v. shantaram. also called iye marathichiye nagari (the land of ...
); music by: vasant desai; singer (s): asha bhosle, amar shaikh, mahendra kapoor, ...
birbal my brother' (1975) and' 1920' (2008). it is interesting to
provided to youtube by sa re ga ma meri jhansi nahi doongi · asha bhosle eye marathichiye nagari ℗ saregama india ...
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many great people have made the indian film what it is today, in the 101st year since its birth. the image of v shantaram hovers around the pinnacle of achievements. in the creative span, number of films made, and in the variety of chores he performed in the production of films, he is second to none .
he was associated with the silents, talkies, colour films, stereo sound - track, as an actor, director and producer, carpenter, choreographer and discoverer of new talent .
he was in showbiz for 80 years of his fruitful 90 years, and in films, for an astounding span of 65 years, through 61 films. fortunately, around 40 of these, all talkies, in hindi and marathi, are still accessible .
he made one film in tamil, ‘namnadu’ (1949), and released its hindi version, ‘apna desh’ with telugu songs (by t suryakumari) in andhra, both not traceable today. when he was making kalidas’ ‘abhignyana sakunthalam’ for the second time in 1986, he wanted to make it in telugu also, with nt rama rao in the lead. alas, this did not materialise. neither did the plan to make ‘navrang’ in telugu for which two songs written by kosaraju and sung by k jamunarani were recorded by c ramchandra .
let’s not break our hearts over the unpicked oysters; let’s count the pearls he left behind, pearls of lasting lustre and pervading influence .
his ‘aadmi / manoos’ (1939), made under the prabhat banner was remade as ‘vachina kodalu nachindi’ (1959, yoganand / ntr, jamuna), was a bad film and flopped inspite of a wonderful score by s dakshnimurthy. this was about a policeman’s love for a prostitute. ‘dahej’ (1950), about dowry and a dying daughter - in - law, was remade as ‘bommala pelli / bommai kalyanam’ (1958, rk krishnaswamy / sivaji ganesan, jamuna). this is one of those rarer films of sivaji, where he delivers a finely nuanced performance, both telugu and tamil versions failed .
the celebrated ‘do aankhen barah haath’ (1958) was first made as ‘pallandu vazhga’ (1975, k shankar) with mgr in the lead, by whose power over the box - office, it just broke even. the next year saw ‘ma daivam’ (1976, ss balan) with ntr in the lead. a damp squib. the film that melded colour, dance, music and lyric to an unprecedented height, ‘navrang’ (1959) was remade as ‘suvarna sundari’ (1984, beeraa mastan rao). ramesh naidu’s pleasant music was lost in the melee created by a new star - cast and inept handling .
in all these films, the adaptations were quite faithful to the originals. the music was created anew and did not lift melodies. and it is not as though the performances were bad; but the magic, the shantaram touch, was absent .
what about stray influences, in framing, treatment, plot - motivation, music et al? these are not skeletons tumbling out of the cupboard, but the genius’ stimuli that led to the re - creation of something worthwhile. the most rewarding of such was ‘jayabheri / kalaivanan’ (1959, telugu / tamil). though its tamil version sank without a trace, not even the beautiful score of pendyala appealing to the public, the telugu version was critically applauded. at least two of the songs, a heavenly combination of lyric / (malladi) and melody, “madi sarada devi” and “rasikaraja”, reverberate in a many a ghantasala homage .
‘matwala shair ramjoshi’ (1947, baburao painter - shantaram) was the matrix. this film in hindi and marathi had the regional folk entertainment tamasha as the background. an essential part of this, the lavni song - dance was not reproduced, in costume, choreography or music in ‘jayabheri’ but an important part of it, a competitive question - and - answer song, was adapted beautifully, and subsequently taken up in telugu social films too, ‘illarikam’ (1959) and ‘zamindar’ (1966) .
‘panthalu pattimpulu’ (1968) directed by kb tilak also had many such sequences, more faithful to the tamasha tradition but that was because it was based on anant mane’s (he supplied the story and collaborated directorially with shantaram in ‘pinjra’ (1972) mega hit ‘kela ishara jata jata’ (1965) .
much before this, the dance form of lavni was utilised in ‘varudu kavali’ (1957) and' rajanandini’, (1958) through the songs “saagi ravoyi bangaru mama” and “ninne ninne”. the way the hero holds the dafli in
siri siri muvva” (1976) is taken from ‘matwala shair’ and hero manmohan krishna’s stance not as people proclaimed then, ignorant of facts, ‘jis desh men ganga bahti hai’ (1960) and raj kapoor .
in the glorious musical ‘annamayya’ (1999), the tail end of “jagadapu chanavula” brings to mind the last fifteen seconds of the holi song in ‘navrang’ (1959) “arey jarey hath” .
in ‘aadmi / manoos’ (1939) and ‘teen batti char rasta’ (1953) shantaram used bits of song in various languages, meaningfully and not as a gimmick. in the first a dancing woman of pleasure is shown catering to clients from various regions and in the second, a man' s wife and daughters - in - law hailing from various parts of india have a happy time extolling their local dance and music (but not claiming,' i' m superior') .
the first telugu film to have a multi - lingual song, was a film with three titles ,
idi ma katha - mangalasutram - excuse me” (1946) and the second, a tri - lingual film ‘strange brothers - apoorva sahodarulu - nishan’ (1950) credited to three directors, acharya, c pullaiah and s s vasan. neither the film with three titles, nor the one with three directors justi - fied it the way the master did .
the tunes from shantaram found their echoes in about half a dozen telugu films. “suno suno” from ‘amar jyoti’ (1936) became “cheli cheli” in ‘rukmini kalyanam’ (1937); vasant desai' s immortal creation, “ghanashyama sundara” from ‘amar bhoopali’ (1951) was lifted listlessly in ‘beedala asti’ (1955), liltingly in ‘sati sakkubai’ (1954) and to better effect in ‘bhakta tukaram’ (1973), devulapalli, adinarayana rao and ghantasala together giving it stature. “gaya andhera hua ujala” from ‘subah ka tara’ (1953) became “sangeethamela” in ‘santhanam’ (1955) by a man rather justly nick - named imitation dakshinamurthy! she most lilting was of course “pagale vennela” from ‘poojaphalam’ (1965) spaced out on “adha hai chandrama” from ‘navrang’ .
a prostitute seducing a saint, so sensitively and sensuously captured by director - star team of p rama - krishna - a nageswara rao, bhanumathi in ‘vipranarayana’ (1954) is a sprout of a similar situation in ‘parbat pe apna dera’ (1944) .
in ‘maya machhindra’ (1932) a girl dances on a huge drum. this was repeated in ‘we two’ (1947) and multiplied in ‘chandralekha’ (1948). ‘apna desh / namnadu’ (1949) showed prophetically how in just - independent india, a nexus formed between crime and high society. this was regurgitated in hundreds of films. and present day society pays obeisance to shantaram by following the screenplay of the movie in real life !
the co - author of this book, experienced journalist sanjit narwekar, sums up shantaram’s greatness in just one sentence (foreword, page 9) “his greatest contribution as a director was that he understood the role (s) of the various technicians and blended their expertise into the making of the film (s) .
from the book: “shantaram rajaram vankudre was born on november 18, 1901, the second of five sons. his reputation as a good mimic” got him into the gandharva natak mandali, where the ruling triumvirate were govindrao tembe, bal gandharva and ganpatrao bodas. shantaram did not care for the menial chores he was given; and he could not be given important roles as he could not sing. he left the troupe and failed at everything else he tried, schooling, trying for a job in the postal services etc. he did work for a while in a railway workshop but an accident put paid to that .
with some difficulty he found a toe - hold in baburao painter’s maharashtra film co. , in kolhapur, which in time turned out scores of personnel for the nascent industry. “his golden moment came when he played the young farmer in a film that has become a classic (all by word of mouth; no one now alive has seen it) ‘savkari pash’ (1925). after doing roles on screen and odd jobs behind it, he was chosen by painter to direct ‘netaji palker’ (1927) “based on the exploits of shivaji’s trusted lieutenant. his co - director was keshavrao dhaiber” .
the maharashtra film co. gave him everything, including the name shantaram when he did the role of krishna in “surekha haran” (1921), the subject familiar to us as ‘maya bazaar’. baburao pendharkar, also in the concern, felt that his name in the railways, sr vankudre was unsuitable for an actor .
on june 1, 1929, v shantaram, keshavrao dhaiber, vishnupant damle and s fatelal, all working for the company, branched out into their own prabhat film co. they soon shifted to pune, built their own studio, and a reputation for quality that is historical. all kinds of films were made to which all contributed their mite but shantaram directed most of them .
path - breaking films, mentioned earlier, rolled out and shantaram was riding the crest of popularity when a hitch developed. he had to leave because he side - stepped a lakshman rekha of the four, no intimacy with the heroines .
shantaram, already married, left for bombay with this young actress jayshree, floated his own concern, rajkamal kalamandir, built a studio and stabilised himself. here too, he produced, directed and acted. the first was ‘shakuntala’ (1943) and the last, ‘jhaanjhar’ (1984) .
but for the first which coasted on splendid music, the other was a write - off. to cousin and photographer v avdhoot, he gave ‘bhool’ (1948); no go. to kumar chandrasekhar, ‘banwasi’ (1948); a dud. to nephew v ravindra “chandannachi choli ang ang jaali” (1975), a worthwhile music - and - dance extravaganza. to son kiran ‘zunj’ (1976), passable effort. to actress sulabha deshpande, a film for children ‘raja rani ko chahiye pasina’ (1979), which turned out a childish exercise .
many of his kith and kin were given small on - screen opportunities; only a few made it big later. first wife’s daughters madhura and charusheela made a baby entry with ‘bhool’ and charusheela made a solo appearance in ‘stree’. both sang in two short films for children released as one programme, ‘kale gore - phool aur kalian’ (1960). son prabhat kumar made an appearance in ‘teen batti’, nephew ravindra in ‘jal bin’, grandson rahul in ‘raja rani’. long - time secretary st eshwar was glimpsed in ‘darchhain’ and ‘toofan aur diya’ .
chandrakantha was seen singing a stammering song, a duet with lata, “do haklon ka” and then a vamp bit, in ‘subah ka tara’ and ‘jhanak jhanak’. reshma and vandana (later asha nadkarni) debuted in ‘mausi’ and vandana had the court - dancer’s role in ‘navrang’ .
nanda and rajendra kumar, introduced as the romantic leads in ‘toofan aur diya’ were exceptionally successful later on .
around a dozen music - directors worked for shantaram. it is a pity that vasant desai who came out of prabhat to be with shantaram, and did the maximum number of films, a dozen, isn’t mentioned at all in the book. shivram krishna got his chance in ‘surang’, did very well in ‘teen batti’ and got a few c class films outside before fading out. purushottam did ‘bhool’ and two songs in ‘apna desh’ to no effect. ramlal turned out lilting melodies in ‘sehra’ and ‘geet gaya’ but lacked lustre in outside films as ramlal hirapanna. satish bhatia in ‘boond jo jan bayo gayo moti” registered well but was not heard of later .
here are little known facts about shantaram i have unearthed over the years. he was no singer but his voice is heard conversing with court dancer rajshree, ‘stree’, on a 78rpm disc (n53981). in the english version of ‘dr kotnis’, he is heard reciting dewan sharar’s lyric, ‘life isn’t a dream’ as khan mastana’s song “zindagi sapna nahin” is heard in the background. he is heard chanting the words of “ai malik” as the male chorus is singing it in ‘do ankhen’ .
the first sound - track recordings from an indian film were from prabhat’s colour film ‘sairandhri’ (1933). these were made in germany, by telefunken, when shantaram took the colour negatives for processing and printing. it is his hand - writing in marathi and hindi, that is on the record labels .
actor mahipal who plays a poet to perfection in ‘navrang’, actually wrote a song for ‘mali’, “ham to bhole bhale mali” .
the book is understandably reticent about certain domestic developments in shantaram’s life. it does not mention sandhya’s marriage to him and shies away from saying that she was the reason why jayshree moved out from shantaram’s household .
on the whole it gives a consolidated picture of the maestro, the man and the film - maker. it omits to mention he did the choreography, termed ‘mukta nritya’, for ‘navrang’ under the pseudonym of sham, and used a picture of his son - in - law in the promotional brochure of the film. the truth came out when the bombay film choreographers assn. chose to give this work the best choreography award for that year .
for an in - house production like this, it contains too many factual inaccuracies. whether it was ignorance or indifference, it remains inexcusable. here are just a few of the many .
sandhya was not just two films old (69) when she was starred in ‘jhanak jhanak’. apart from ‘amar bhoopali’ and ‘parchhain’ mentioned, she had done ‘teen batti’ for shantaram and the role of parvati in a mythological for an outsider before
in ‘navrang’ every title is not heralded with nine colour pots. actually, the pots are only seven; and they splash colour only at the last two titles, ‘navrang’ in hindi and english .
only one scene is from ‘jhanak jhanak’ and the other is from ‘navrang’. the caption says otherwise (76 - 77) .
‘sairandhri’ was made in 1933, not 1935 (10). this is omitted in the filmography. so is ‘boond jo ban gayi moti’ (1967) .
rajshree does not play the small role of shakuntala’s sakhis in ‘stree’ (89); mumtaz does. rajshree plays the role of the court dancer .
caption for a still (106) says that sushant became a big hit as siddharta in ‘jhanjhar’. no way. this is the least seen film of shantaram .
is it true that its hindi version failed to go beyond even the first day and that in some theatres the enraged crowd tore the seats and demanded their money back (102)? it ran peacefully in madras for two weeks .
shantaram wrote his autobiography in marathi, ‘shantarama’ and it was published in 1986, later in hindi. what happened to the promised english version? isn’t it high - time, in the 101st year of the indian cinema, to bring out the life of a truly great man whose life was cinema ?
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the film was declared
super hit
on box office. [ 1 ]
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 cannot 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 .
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 .
voice of asha bhosle used in few lines which was not available on records, but only on film soundtrack .
this page was last modified on 3 april 2016, at 18: 11 .
this article' s content derived from wikipedia, the free encyclopedia (see original source) .
you know the feeling. you are at a supermarket, have finished three - quarters of an hour of shopping, and your cart is full. now you are tired and want to stop heaping the cart. you want to go sit down somewhere, recharge your batteries with some french fries and coffee. or perhaps head home to quiet sanity. but look at this, there are long lines at the checkout counter! it will take you at least fifteen minutes to pay the bill. it’s painful to leave so much hard work behind, but what’s the alternative? maybe come back the next day and hope there won’t be such queues? you are effectively faced with hobson’s choice, a clear ‘take it or leave it’ situation. but what’s that last counter you see over there, with very few people in the line? oh no, that’s an express counter, for people who have bought ten things or less .
figuratively speaking, such an ‘express counter’ also existed in hindi cinema’s ‘supermarket’ for people who exited with ten credits or less to show for their score. composers who scored in under ten hindi films, like dan singh, or even one film, like tushar bhatia (andaz apna apna). even songwriters who wrote for just one film, as did pervez shamsi (nausherwan - e - adil). such a metaphorical counter also existed for many people offering their singing voices on the run in hindi cinema’s recording studios. these are people who recorded ten songs or less .
some of these artistes may have arrived to become singers, but left without contributing too much in any area in hindi films, like anup ghoshal, kabban mirza and shivaji chattopadhyay. there are people who came to become singers, but ended up as composers (khayyam for instance), or composers who offered the odd rendition (like anil biswas, husnlal and ravi). it may have been a director (like raj khosla) who sang a bit. these could be classical vocalists like pandit bhimsen joshi, bade ghulam ali khan, kishori amonkar, shobha gurtu, parveen sultana or pandit pheroze dastoor. these could be film stars who sang for themselves, in a quick honeymoon sort of way. raj kapoor, dilip kumar, nalini jaywant and nutan come to mind right away. of course there are many more .
yes, we need to give a thought to many artistes passing through such an ‘express checkout’ counter at one time. sn tripathi, chitragupt, pg krishnaveni, sridevi, ghulam mohammed, and the brothers gope and ram kamlani, there were dozens more. let’s see some who used the fast checkout, these songs showcasing them just once here :
utth to chale avdhoot (bulo c. rani with geeta roy in jogan, 1950 )
din control ke aaye (pg krishnaveni ‘zikki’ with geeta roy in mr. sampat, 1952 )
in case you were wondering, sandhya mukherji, ashok kumar, satish batra, manmohan krishna, usha khanna, kanchan, bhupen hazarika, pb srinivasan, jani babu, premlata, subir sen and many others were not allowed express checkout, since their cart was much fuller than ten. others who went through the counter above with maybe a few songs over ten may have escaped this attendant’s attention!
ladki sahyadri ki ( girl from sahyadri ) is a 1966 hindi social drama film directed by v. shantaram . also called iye marathichiye nagari ( the land of maharashtra ) in marathi , it was a bilingual for v. shantaram productions under the rajkamal kalamandir banner . the music was composed by vasant desai , with lyrics by bharat vyas . the cast included sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , keshavrao date , and baburao pendharkar . the story revolves around rani , a stage performer from an impoverished family , and her attempts to help repair a temple in her village . 
ladki sahyadri ki (girl from sahyadri) is a 1966 hindi social drama film directed by v. shantaram. also called iye marathichiye nagari (the land of maharashtra) in marathi, it was a bilingual for v. shantaram productions under the rajkamal kalamandir banner. the music was composed by vasant desai, with lyrics by bharat vyas. the cast included sandhya, shalini abhyankar, vatsala deshmukh, kumar dighe, keshavrao date, and baburao pendharkar. the story revolves around rani, a stage performer from an impoverished family, and her attempts to help repair a temple in her village.
ladki sahyadri ki (girl from sahyadri) is a 1966 hindi social drama film directed by v. shantaram. also called iye marathichiye nagari (the land of maharashtra) in marathi, it was a bilingual for v. shantaram productions under the rajkamal kalamandir banner. the music was composed by vasant desai, with lyrics by bharat vyas. the cast included sandhya, shalini abhyankar, vatsala deshmukh, kumar dighe, keshavrao date, and baburao pendharkar. the story revolves around rani, a stage performer from an impoverished family, and her attempts to help repair a temple in her village.