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

Insaaf ka mandir hai ye bhagwaan ka ghar hai

Posted on: August 9, 2011


“Amar” (1954) is a movie starring Dilip Kumar and Madhubala. Those were the days when the two of them were actually romantically involved and their off screen chemistry used to be visible in their on screen performances too.

I have discussed as many as six songs from this movie already. And still I had managed to forget all about this well known song from “Amar” (1954). It is only when nahm sent me the lyrics of this song that I realised the fact that this son is missing from the blog.

In this song, Madhubala goes to the temple and wants to take Dilip Kumar along, but Dilip Kumar is reluctant and dodges going to the temple like most men, though in his case, the reason is something else. I have not watched the movie so I cannot put a finger to it. I request our knowledgeable readers to tell us the reason for the reluctance of Dilip Kumar to accompany Madhubala to the temple.

And this song has not one but two versions. In the first part, Dilip KUmar refuses to go to the temple, but in the second part, he gets “reformed” 🙂 and is seen entering the temple and all is well. 🙂

Here is this song (both versions), which is sung by Rafi. Shakeel Badayuni is the lyricist and Naushad is the music director. As can be noticed, this song is created by the same team that created the immortal Baiju Baawra bhajan Man tadpat Hari darshan ko aaj and one must say that this “Amar” (1954) song, which can also be called a Bhajan has gone on to become just as iconic a song.

Part 1

Part 2

Song-Insaaf ka mandir hai ye bhagwaan ka ghar hai (Amar) (1954) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Naushad

Lyrics(Provided by nahm)

———————————–
Part 1
———————————–
Insaaf ka mandir hai
ye bhagwan ka ghar hai
kehna hai jo keh de
tujhe kis baat ka dar hai

hai khot tere man mein jo
bhagwaan se hai door
hai khot tere man mein jo
bhagwaan se hai door
hai paaon tere
hai paaon tere phir bhi tu
aane se hai majboor
aane se hai majboor
himmat hai to aa jaa
ye bhalaayi ki dagar hai
insaaf ka mandir hai
ye bhagwan ka ghar hai

dukh de ke jo dukhiya se na insaaf karegaa
bhagwaan bhi usko na kabhi maaf karegaa
ye soch le
ye soch le
ye soch le har baat ki dataa ko khabar hai
dataa ko khabar hai
himmat hai to aa ja ye bhalaayi ki dagar hai
Insaaf ka mandir hai
ye bhagwan ka ghar hai

——————————-
Part 2
——————————-
Insaaf ka mandir hai
ye bhagwan ka ghar hai
Kehna hai jo keh de
tujhe kis baat ka dar hai
hai paas tere jis ki amaanat ussey de de
hai paas tere jis ki amaanat usey de de
nirdhan bhi hai
nirdhan bhi hai insaan
mohabbat ussey de de
mohabbat ussey de de
jis dar pe sabhi ek hain
bande ye wo dar hai
Insaaf ka mandir hai
ye bhagwan ka ghar hai

mayoos na ho haar ke taqdeer ki baazi
pyaara hai wo gham
jis mein ho bhagwaan bhi raazi
dukh dard miley
dukh dard miley jis mein
wahi pyaar amar hai
wahi pyaar amar hai
ye soch le har baat ki data ko khabar hai
Insaaf ka mandir hai
ye bhagwan ka ghar hai
Insaaf ka mandir hai
ye bhagwan ka ghar hai

2 Responses to "Insaaf ka mandir hai ye bhagwaan ka ghar hai"

Though in a very circumstantial setting, Amar (Dilip) once did wind up having physical relations with the character played by Nimmi, and felt moral guilt in going into the temple to demonstrate faithfulness to the character played by Madhubala, and hence the reluctance.

Naushad at his melodious best!!

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I have not seen the complete film, only songs and snatches of scenes, or read about the film in various articles. What i have deduced is that Dilip Kumar is a Lawyer in love and engaged to be married to Madhubala. They both belong the socially affluent class. The character of Amar (Dilip Kumar) has negative shades. In trying circumstances, he takes advantage of Nimmi’s naivete and later unable to face the facts and un willing destroy his settled planned future with Madhubala. “Amar” is a critically acclaimed film by Mehbook Khan.
I found a detailed review of the film with pictures in the following blog:
http://nasir-eclectic.blogspot.com/2010/10/rape-of-mehboob-khans-amar-1954.html

Some para’s related to the song “Insaaf ka Mandir hai yeh bhagwaan ka ghar hai ” I am reproducing below :

“As for Amar, his sin of commission weighs heavily on his heart. He is unable to forgive himself. He knows that his slip of youth has made him unworthy of Anju. His love for her is honest. As such, he does not want to deceive Anju into marrying him. His guilty conscience never allows him a moment of peace. He’s shown to be wasting away. He knows that unless he acts justly, God wont forgive him for inflicting pain and suffering on Sonia: DUKH DEKE JO DUKHIYA SE NA INSAAF KAREGAA/BHAGWAAN BHI USKO NA KABHI MAAF KAREGA… Sonia is illiterate and poor. If he is to get rid of the albatross from his neck, the only way of doing so is by marrying her even though he doesn’t love her: NIRDHAN BHI HAI INSAAN/MOHABBAT USSE DE DE. The force of circumstances compels him to accept the voice of his conscience. He relinquishes his love, Anju, and accepts the downtrodden but thankful Sonia. The truth slowly dawns upon Anju. She is faced with the frustration of lost love. But she knows that she shouldn’t be dejected after losing the wager of fate: MAAYOOS NA HO HAAR KE TAQDEER KI BAAZI… She can now only console herself with the thought that dear is the sorrow with which God is pleased: PYAARA HAI VOH GHAM JIS MEIN HO BHAGWAAN BHI RAAZI… After all, is it not the pain and suffering that makes love immortal? DUKH DARD MILE JIS MEIN VOHEE PYAAR AMAR HAI… Her acceptance of fate raises her to almost the Sufistic level since she learns to accept the Fate whether it is as cool as water or hot as fire. Thus the tragedy is intricately woven into these three characters of the drama that finally reaches the moment of truth. Such was the tale of Mehboob Khan’s Amar, as I still remember it. Of course there are other minor characters too but for the sake of brevity they are not being discussed. ”

First version of the song is when Dilip Kumar is unable to go inside the temple and face God, due to his guilty conscious. Second part is when he is finally reconciled with his deeds and ready to accept responsibility for them

Regards.

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