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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Dil jaltaa hai to jalne de

Posted on: January 3, 2010


All these days, I thought that I had already posted this song. It is only just now that I have realised that this song is still missing.

This song is from “Pehli Nazar” (1945) and it is with this song that Mukesh announced his arrival as a playback singer of note.

As can be noticed, Mukesh sang this song in Saigal style. Those were the days when Saigal ruled the roost and every aspiring male singer needed to sing in Saigal style if he hoped to get opportunities in playback singing.

This song is written by Safdar Aah Sitapuri and Anil Biswas is the music director. This song is picturised on Motilal, who incidentally was Mukesh’s relative.

How this song came into existence is an interesting tale which was recounted by Film Historian Mr Nalin Shah to our own Sudhir jee. Here are the juicy details in Sudhir jee’s words-

Mukesh was already on the music scene since 1941, with ‘Nirdosh’ as his debut film as a singer. By 1945, he was still struggling, not having made an impression with the producers, music directors, or the public. Despite the fact that his cousin brothers, Motilal and Moti Sagar tried their best to prop up his career, by 1944, Mukesh was toying with the idea to return to Delhi. During this time, ‘Pehli Nazar’ came to the floors. Motilal, the hero in this film, insisted to the producer director Mazhar Khan to have Mukesh sing for him. At first Mazhar Khan refused. When Motilal insisted and threatened not to proceed with the film, Mazhar Khan put the onus of the decision on Anil Da, the music director. The same story repeated itself. Anil Biswas also refused to take in an (as yet) unsuccessful Mukesh as the singing voice in the film. Motilal and Moti Sagar used the same coercion technique that Motilal will abandon the film. And so both Anil Biswas and Mazhar Khan were brow beaten to accept Mukesh as the playback singer.

Mukesh was very low on morale and confidence, and was actually afraid to even rehease with Anil Biswas, who was a very renowned music director at that time.

Comes the day of the recording. Mukesh prepared to go the recording studio, but suddenly lost his nerve completely. At the recording studios in Malad area, Anil Biswas and the complete orchestra is prepared and waiting for this novice singer, who is late and is no where to be found.

True to his devotion to Saigal Saab, Mukesh got the idea of putting down one or two drinks, before going to recording, to build his self confidence. He belived if Saigal Saab could drink and sing, then so could he. So instead of going to Malad, he headed to Juhu Chowpatty, and made way to the Venus bar, and started to drink. But of course he did not stop at two drinks but continued to drink.

At the studio, Anil Da was losing his patience. Moti Sagar was around, but was afraid to say what he knew about Mukesh’s whereabouts. After some time, Anil Da lost his cool and took Moti Sagar to task, asking him where was Mukesh. Sheepishly, Moti Sagar told where the young singer was and what was he doing.

In a fit of continued anger, Anil Da immediately called a taxi and drove to Venus bar. The bar was on the first floor of the hotel. He stormed up the stairs. When Mukesh saw him coming, he was terrified. He tried to get up from the chair, but was completely out of balance. Anil Da caught him by his collar, and literally dragged him down the stairs to the waiting taxi. Mukesh was drunk and incoherent with his apologies, and Anil Da was fuming. When they reached the studio, Anil Da, still holding Mukesh by his collar, dragged him to the bathroom, opened the tap full and shoved Mukesh’s head under the stream of water – and held him there for many minutes till Mukesh became more coherent. Then he let go of Mukesh, and ordered him to report for recording in five minutes.

The fear and the cold water made Mukesh sober up very quickly. And the result of that day’s recording is this iconic song.

What a way to create a timeless hit song.


Song-Dil jalta hai to jalne de (Pehli Nazar) (1945) Singer- Mukesh, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

dil jaltaa hai to jalne de
aansoo naa bahaa fariyaad naa kar
dil jaltaa hai to jalne de
aansoo naa bahaa fariyaad naa kar
dil jaltaa hai to jalne de
tu pardaa nasheen kaa aashiq hai
yoon naam-e-wafaa barbaad naa kar
tu pardaa nasheen kaa aashiq hai
yoon naam-e-wafaa barbaad naa kar
dil jaltaa hai to jalne de

maasoom nazar ke teer chalaa
bismil ko bismil aur banaa
maasoom nazar ke teer chalaa
bismil ko bismil aur banaa
ab sharm-o-hayaa ke parde mein
yoon chhup chhup ke bedaad naa kar
ab sharm-o-hayaa ke parde mein
yoon chhup chhup ke bedaad naa kar
dil jaltaa hai to jalne de

ham aas lagaaye baithe hain
tum waadaa karke bhool gaye
ham aas lagaaye baithe hain
tum waadaa karke bhool gaye
yaa soorat aake dikhaa jaao
yaa kah do hamko yaad naa kar
yaa soorat aake dikhaa jaao
yaa kah do hamko yaad naa kar
dil jaltaa hai, dil jaltaa hai, dil jaltaa hai

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11 Responses to "Dil jaltaa hai to jalne de"

One of the best song’s ever sung by Mukesh. Still rings in the ears.I would be interested to know the female in the clip, though looks like Rehana or Vijya Laxshmi, please correct me.
Anil Biswas was genius.

wat an awesome song…glad tat u’ve listed it here 🙂

Atul ji, Arun ji,

A very interesting history of the the making of this song. But first let me mention about the activity that has kept me busy for past week or so. I had the good fortune to play host to two stalwarts of Hindi film music – Shri Harmandir ji “Hamraaz”, the compiler of the Hindi Film Geet Kosh, and Shri Nalin ji Shah, the famed film historian from Mumbai. The time spent during the last few days has been full of very interesting discussions and music listening sessions, plus of course some discussion on the Geet Kosh project itself.

It is during one such discussion that Nalin ji narrated this episode. Mukesh was already on the music scene since 1941, with ‘Nirdosh’ as his debut film as a singer. By 1945, he was still struggling, not having made an impression with the producers, music directors, or the public. Despite the fact that his cousin brothers, Motilal and Moti Sagar tried their best to prop up his career, by 1944, Mukesh was toying with the idea to return to Delhi. During this time, ‘Pehli Nazar’ came to the floors. Motilal, the hero in this film, insisted to the producer director Mazhar Khan to have Mukesh sing for him. At first Mazhar Khan refused. When Motilal insisted and threatened not to proceed with the film, Mazhar Khan put the onus of the decision on Anil Da, the music director. The same story repeated itself. Anil Biswas also refused to take in an (as yet) unsuccessful Mukesh as the singing voice in the film. Motilal and Moti Sagar used the same coercion technique that Motilal will abandon the film. And so both Anil Biswas and Mazhar Khan were brow beaten to accept Mukesh as the playback singer.

Mukesh was very low on morale and confidence, and was actually afraid to even rehease with Anil Biswas, who was a very renowned music director at that time.

Comes the day of the recording. Mukesh prepared to go the recording studio, but suddenly lost his nerve completely. At the recording studios in Malad area, Anil Biswas and the complete orchestra is prepared and waiting for this novice singer, who is late and is no where to be found.

True to his devotion to Saigal Saab, Mukesh got the idea of putting down one or two drinks, before going to recording, to build his self confidence. He belived if Saigal Saab could drink and sing, then so could he. So instead of going to Malad, he headed to Juhu Chowpatty, and made way to the Venus bar, and started to drink. But of course he did not stop at two drinks but continued to drink.

At the studio, Anil Da was losing his patience. Moti Sagar was around, but was afraid to say what he knew about Mukesh’s whereabouts. After some time, Anil Da lost his cool and took Moti Sagar to task, asking him where was Mukesh. Sheepishly, Moti Sagar told where the young singer was and what was he doing.

In a fit of continued anger, Anil Da immediately called a taxi and drove to Venus bar. The bar was on the first floor of the hotel. He stormed up the stairs. When Mukesh saw him coming, he was terrified. He tried to get up from the chair, but was completely out of balance. Anil Da caught him by his collar, and literally dragged him down the stairs to the waiting taxi. Mukesh was drunk and incoherent with his apologies, and Anil Da was fuming. When they reached the studio, Anil Da, still holding Mukesh by his collar, dragged him to the bathroom, opened the tap full and shoved Mukesh’s head under the stream of water – and held him there for many minutes till Mukesh became more coherent. Then he let go of Mukesh, and ordered him to report for recording in five minutes.

The fear and the cold water made Mukesh sober up very quickly. And the result of that day’s recording is this iconic song.

What a way to create a timless hit song. 🙂

Rgds
Sudhir

Thanks for sharing the anecdote which adds another dimension to the song while listening it again.

There is one more stage in the above anecdote. After having brought to the studio and Anil Biswas giving him dressing down, Mukesh threatened not to record the song. Anil Biswas gave him a slap and told him to wash his pretty face and come for recording bearing the grief and pain in his heart and bring it to the song. Mukesh came back and sang so soulfully that it earned him an indelible identity.

[Source : HINDI FILM SONG – Music Beyond Boundaries by Ashok Da. Ranade]

New video link : http://youtu.be/-el2yAu2Psg

Sudhir ji,
Thanks for elaborating on the famous begining of Mukesh’s walk to the glory.
As Kamath ji has pointed out,I have also read about it in the same book which lists so many such incidents,However,listening to such instances from a personality like Nalin ji is a differnt experience altogether.It not only adds authenticity but also credibility to such episodes.
I have heard one or two lectures-live- by Nalin ji Shah,in Mumbai.Despite his advancing age,his memory is very sharp and he is a gold mine of info on Hindi film world.
You are very lucky to have been hosting such personalities who are very important to us,cinematically.
Thanks once again.
-AD

Sudhir,

If I remember correctly, one gentleman named Shah had presented a few episodes on the old Hindi film songs on Doordarshan many years back. While anchoring the programme, he used to speak Hindi mixed with Urdu words. I found him to be exceptionally knowledgeable about old Hindi film songs.

Since you mentioned Nalin Shah as Film Historian, my guess is that he may be the same gentleman. Please confirm with him if possible.

Sadnand ji,

I am certain that you are talking about the same person. Nalin ji did a series on Doordarshan in 1998-99. The series is about famous personalities in Hindi film music. During this visit, he presented me a copy of three of the episodes relating to Saigal Saab, Noorjehan and Surendra.

As Arun ji mentioned, he has a huge treasure of information stored away in his brain. As a gentleman, Nalin ji is a very friendly, amiable and un-assuming personality. For this reason, he has made a very successful career as a film journalist, critic and historian. He has sustained lasting relationship with luminaries in the world of films and film music, to the extent that even a personality such as the impatient and short tempered Sajjaad Hussain considered Nalin ji to be a friend. For many years, his home used to be the regular meeting place where folks of the ilk of Anil Biswas, C Ramchandra, GM Durrani, Rajkumari, Naushad, Zohrabai, Kavi Pradeep, Manna Dey, Indeevar, Qamar Jalaalabadi, Shamshad Begum, and many more, would join for a regular get together. He has shared many photographs of such gatherings with me. He has shared very close friendships with Naushad Saab, Anil Da, OP Nayyar and C Ramchandra.

He tells of an incident when he was probably just 4 or 5 years old, and some musical group had come to their village for a program. The program lasted for some days, and he would daily go to listen. He was very fascinated by a young girl with a very beautiful voice, and he would just sit and watch her sing from very close to the stage. The girl singer once called him up on the stage after the program ended and talked to him generally. Some years later when he met her again in Bombay, he mentioned this meeting as a child. And Lata Mangeshkar, was so thrilled and excited – ‘So it was you, as a child’ she remarked.

Nalin ji has many other such episodes about meeting stalwarts like Surendra, Mumtaz Shanti, Amir Bai (his favorite singer), Kanan Devi, Zubeaida, Suriayyaa, Juthika Roy, Vinod, Husnlal Bhagatram, Shyam Sunder, Vasant Desai, Bulo C Rani, and many more. I will share more of his interesting anecdotes in the comments.

Nalin ji has a very sharp ear for music, and he is able to catch tunes that have been repeated and re-used by composers.

Nalin ji still continues to do present stage shows. There are two programs that he currently does. One is “Saigal Ki Yaad”, on the life and music of Saigal Saab. And the second is “Yaadon Ka Safar”, which is very interesting presentation of the journey of Hindi film music from its start in the 1930s to the current years. The programs are approximately 3 to 4 hours each.

More later. 🙂

Rgds
Sudhir

Thanks for all these details which are fascinating to read.

Thank you so much for the information about Sir Nalin Shah. From the information given by you, he is indeed the Dronacharya of Hindi films and songs. My salute and paay lagu to him.

Fantastic to read all this! Thank you SO MUCH! Like I’ve said before, the comments section of this blog is a big treasure-trove in itself.

Again I came across a name that was unfamiliar to me. Just checked it out on wiki. http://en.wikipedia.org/wiki/Mumtaz_Shanti .

This sentence saddened me:
“The woman celebrated for her sensational dancing and considerable acting talent who once guaranteed the success of any movie that she was associated with, died without any notice having been taken of her death by those among whom she lived, in what can only be called dignified poverty.” 😦

can somebody give the meaning of this song for this non hindi speaking mukesh fan

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