Arre hum to dil dete hain yaaron
Posted on: May 25, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the film Pyase Panchhi-1961.
The film was directed by Harsukh Bhatt,brother of the famous director Vijay Bhatt of prakash Pictures. Lyricist qamar Jalalabadi wrote 9 songs, set to music by Kalyan ji-Anand ji. Some of these songs had become popular during those times. The cast of the film was Ameeta, Mehmood, Agha, Mallika (Sister of Mumtaz), Leela Mishra, Jeevan, David and many others.
This film was supposed to be a Romantic, musical comedy. It was expected, looking at its starcast itself. Indian filmmakers are never tired of using the same storyline again and again, hoping that like earlier films, this film will also be a hit. Some of the stories based on look -alikes, mistaken identities and from Rags to Riches are particularly their favourites. The Indian audience also is never tired of seeing the same stories – with minor variations – again and again. One wonders whether there is a shortage of stories for films. Films made by Manmohan Desai and Nasir Hussain confirm that, yes, there is a shortage.
In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy .
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.
Why I am discussing all this is that today’s film is partly based on the story of film Panghat-1943, which was based on a story of Mistaken Identity. The last part of this film was almost the same as Panghat-1943. Later on another film – Rajashree’s Chitchor-1976, starring Amol Palekar, also had the same theme of mistaken identity. The only difference in this film was that it had 2 comedy actors, namely Mehmood and Agha and so there were many artificially created situations to force the audience to laugh !
1960s was the period of eclipse for actor Agha while it was a rising time for Mehmood.Mehmood had many hit films during the period 1961 to 1975 period. he had a natural art of comedy in his acting. he was also famous for changing his dialogues and suggesting comic situation to his story writers, so that he got enough space in the films. Unlike Agha, mehmood had earned his place in the starline with hard work and hard times, without any God Father in the Industry.
The story of the film revolves around the antics of Kiran Kumar (Agha) and his friend Mahesh(Mehmood). Kiran is in love with Jyoti (Mallika). His father Ganga prasad Trivedi (David) wants him to marry Sheela (Ameeta), daughter of Jamuna prasad Chaturvedi (Jeevan and Leela Mishra). Kiran is asked to visit Jamuna Prasad’s town to see and approve of the girl. He is not willing to do this and sends his friend Mahesh to visit the town. When Mahesh goes and sees Sheela, they fall in love with each other. In due course of time after half the film and many songs, this secret is exposed and there is a great commotion. However, all the four lovers are firm on marriage of their choices. In the end they get what they want and the audience is spared further torture with the far strtched comedy in the film.
(Mahesh was a favourite name of Mehmood and the statistics say that he chose this name in as many as 24 films ! ).
During the career of Leela Mishra, there were some more actresses called ” Leela” in the films. One was Leela Desai (daughter of a Gujarati father and a Bengali mother from Bihar. She was born in America.). The second was Leela Chandragiri. The third one was Leela Chitnis. Then there was Leela Naidu, Leela Mehta and minor artistes like Leela Gupte, Leela Sawant, and Leela Pawar. Only Leela Chandragiri and Leela Desai caused Same Name Confusion. All other Leelas were known with surnames.
Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received the Best Actress award at the age of 73.
Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli, and she and her husband were from zamindar (landowners) families.
Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.
The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.
Their next film was Gangavataran-37, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela played the role of Parvati. This became her first film.
She faced a similar problem while working in another film titled Honhaar. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.
Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.
She acted in the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.
Her roles varied from mothers, benign or evil aunts, to comic roles.
She acted in 344 films. Her last released film was Aatank-96. 8 films were released after her death. ( Thanks to wiki, Ateet ke sitare, muVyz, HFGK and my notes).
Today’s song is the last and final song of this film, thus making it a YIPPEE film.
Song-Arre hum to dil dete hain yaaron (Pyaase Panchhi)(1961) Singers- Rafi, Balbir, Shamshad begam, Lyricist- Qamar Jalalabadi, MD- Kalyanji Anandji
Male chorus
Female chorus
Lyrics
aa aa aa aa
jhuka ke sar ko baithhe hain
magar qaatil nahin aaya
bahut aaye
magar koi mere
kaabil nahin aaya
aa aa aa
aa aa aa
aa aa aa
haseenon ki kami hai
ya khata hai apni aankhon ki
haan aan aan
haan haan aan aan
bahut dekhe haseen lekin
kisi pe dil nahin aaya
achchaa arre waah
ajee isiliye to
arre kya bhai
are hum to dil dete hain yaaron
achchi soorat dekh ke
ajee hum to dil dete hain yaaron
achchi soorat dekh ke
achchi soorat bholee soorat
pyaaree soorat dekh ke
hum to dil dete hain yaaron
achchi soorat dekh ke
hum bhi dil lete hain saahib
achchi soorat dekh ke
arre hum bhi dil lete hain saahib
achchi soorat dekh ke
jaao tum sheeshe mein aao
apni soorat dekh ke
hum bhi dil lete hain saahib
achchi soorat dekh ke
ajee humto dil dete hain yaaron
achchi soorat dekh ke
chaahne waalon ko tadpaana
ajee achcha nahin
haan ajee achcha nahin
bin bulaaye yoon chale aana
ajee achcha nahin
bin bulaaye yoon chale aana
ajee achcha nahin
aashiqon ke dil ko thhukraanaa
ajee achchaa nahin
achchaa nahin
achchaa nahin
ajee khud chale aaoge tum
meri mohabbat dekh ke
arre khud chale aaoge tum
meri mohabbat dekh ke
hum to dil de
o o o o
hum to dil de
o o o o
hum to dil dete hain yaaron
achchee soorat dekh ke
jaao tum sheeshe mein aao
apni soorat dekh ke
hum bhi dil lete hain saahab
achchi soorat dekh ke
ajee hum to dil dete hain yaaron
achchi soorat dekh ke
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 25, 2024 at 12:02 pm
Nice article and the song too.
In the article, there is a mention about a book (2004) “Why we tell stories’, written by Christopher Booker. The book is about 7 basic plots that are recycled in Novels, movies, Plays and Operas.
This book may be inspired by the book “The Thirty-Six Dramatic Situations” by Georges Polti. The original French book was published in 1895 and an English translation in 1916.
The detailed information is available at Wikipedia and many more websites. One can download the PDF version of this book from Internet Archives.
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