Tedhi tedhi hamse phire saari duniyaa
Posted on: August 30, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
aaj phir jeene ki tamanna hai
aaj phir marne ka irada hai
No better words to express the exuberance and the playfulness of a liberated spirit. A poet’s dream and life’s illustration in reality, all anxieties and caution thrown to the winds and the desires to live the life the way it should be. These words from the pen of Shailendra, and numerous other such gems, of all moods and flavors, embellish the Hindi film screen for 160+ films across two decades. A poet par excellence, Shailendra was a rebel spirit meshed in a romantic mould, whose understanding and expression of human emotions and situations is second to none.
Today’s date (30th august) is the birth anniversary of Shailendra. One of the prolific lyricist that graced the world of Hindi film music, and with many others, instrumental in making the Golden Era of Hindi film music, memorable as we know it. He had an innings with industry that lasted less than two decades, and then he left, at the peak of his blossom, and an age too young to go. He was just 43 when he breathed his last.
Born in Rawalpindi (now in Pakistan) on 30th August, 1923, he was named Shankardas Kesarilal by his parents. He was the eldest of four brothers. The family moved to Mathura, well before the partition. Shailendra lost his mother at a fairly young age, a loss that left him with a near cynical view of life, bordering on atheism. With time, after his education, he joined the Railways. The job brought him to Bombay in 1947. The poet in him was already awakened during his younger years at school and college. And so also, at his job, his superiors had problems with his working habits.
The days were rife with patriotism, and the movement for freedom was at its peak. Shailendra’s contribution was his passionate patriotic poetry. He became a member of IPTA (Indian People’s Theatre Association), and used to present his songs and poems at public functions. At one such public function, he presented his fiery poem, ‘Jaltaa Hai Punjaab’. Raj Kapoor was present at this function. After the function, Raj approached Shailendra, as offered him work as a lyricist for his film Aag that was under way. Shailendra refused, probably with an idealistic thought that he would not sell his poetry for money. But after a year or so, once a son (Shaily Shailendra) was born, it was then Shailendra who went to Raj Kapoor, seeking work as a lyricist. The first assignment he got was the songs of Barsaat. The film turned out to be a musical blockbuster, and Shailendra got paid Rs. 500 for the two songs ‘Barsaat Mein Hum Se Miley Tum, Sajan’, and ‘Patli Kamar Hai’. An interesting anecdote here; Shailendra struck a good friendship with Shankar Jaikishan while working for Barsaat. SJ promised that they will recommend him for other assignments also, whenever they would get a new film to compose for. Some time passed, and seeing that SJ were starting new projects, Shailendra sent them a note with just the lines ‘Chhoti si ye duniya pehchaane raaste hain tum kabhi to milogey’. SJ did get the message. The note resulted in a deeper friendship between them, and also an iconic song that was later used in the film Rangoli (1962).
The team of SJ, Shailendra, and Hasrat Jaipuri, became very close, and together they have created songs for a very large number of films, that include a majority of films from the RK banner and also majority of films for Shammi Kapoor. The complete filmography for Shailendra runs into 167 films, for which he wrote lyrics. Nineteen of these films were to come after his passing away in 1966. The last film carrying lyrics created by him is Vachan, released in 1974. He won three Filmfare awards for best lyrics – for Yahudi (1958, ‘Ye Mera Deewaanaapan Hai’), Anari (1959, ‘Sab Kuchh Seekhaa Hum Ne, Na Seekhi Hoshiyaari’), and the third one for Brahmchari (1968, ‘Mein Gaaun Tum So Jaao’), came after he had passed away.
Shailendra’s lyrics are vibrantly alive – they go far beyond the context of the situation for which they were created, and continue to live on long after the film itself had passed from memory. Like the man himself, who lived the life much beyond its visible limits. His passing away in December 1966 is linked to the box office failure of the one film he produced – ‘Teesri Kasam’. The truth is that yes he was heartbroken, but not at the box office, but on account of failed investments in friendships, that did not stand the test of time when he needed them the most.
Shailendra has made cameo appearances in some films, and has performed two songs on screen. The first one is the softly rendered ‘Chali Kuan Se Des Gujariya Tu Saj Dhaj Ke’, from the film Boot Polish. (This song is already posted on this blog). The second one is this gem of a roadside performers item from the endearing film ‘Musaafir’ (1957). The trio of performers consists of the lead singer with a harmonium carried around his neck, a lady dancer and an associate who is apparently a person afflicted with partial paralysis of limbs, but still making an attempt to dance with the flow of the music (more about this apparently disabled person a little later 🙂 ).
The lead singer on screen in this song is Shailendra himself. Watch as he goes through the movements and presentation; it is a polished performance, and is obviously coming from the heart. The composition by Salil Chaudhry is a wonderful hummable tune, and the words by Shailendra are so true to life, clearly an outcome of his incisive vision into the people and the lives they lead in this world. The singing voices are those of Manna Dey and Shamshad Begum. Try as hard as I may, I am not able to recall the name of the lady dancer in this group, although I have seen her in many a films, and her name is somewhere in my mind I am not able to dig it up. Request for other readers to please identify this actress. Other actors briefly visible in the clip are Nirupa Roy, Mohan Choti (try to catch him in a dark shot inside of the shop, near the end of the song). The shop owner person with whom Mohan Choti is having a very brief face-off is possibly the actor Nawaab (once again, need some confirmation / correction help here).
[Author’s Note: The female dancer in this clip is Heera Sawant. Thanks to Shyam ji for this identification.]
I am not closing this post yet (apologies this may seem long), but it would be a gross injustice to skip one of the most impressive debuts of a comedy actor on Hindi screen. Before I proceed, I would like to acknowledge and thank Sadanand ji for suggesting to post this song on the anniversary of Shailendra.
So coming to the debut character actor in this song. I am sure most readers would have, or will be able to recognize the partially paralyzed dancer, who is the comic relief on this team. Yes, it is Keshto Mukherjee, and Musaafir is his debut into the world of Hindi cinema. The performance that he has put into this song, speaks volumes of his capabilities as a performer, and frankly, it give a lie to the drunkard stereotype that he got imprisoned into during the later years of his career.
Launched into a film career by the legendary director Ritwick Ghatak, in the 1952 Bengali film Naagrik, Keshto was introduced to the Hindi screen by Hrishikesh Mukherjee in Musafir (1957). He had a long association with Ritwick Ghatak, and appeared in many Bengali films directed by him, notably Ajaantrik (1958), Bari Theke Paliye (1958) and Jukti Takko Aur Gappo (1974). In the later 50s and 60s, Keshto continued to do supporting role, notably in Parakh (1960), Aas Ka Panchhi (1961), Asli Naqli (1962), Faraar (1965), Teesri Kasam (1966), Shikar (1968), Sadhu Aur Shaitaan (1968), Padosan (1968), Anokhi Raat (1968), Mere Humsafar (1970) etc. Then came the defining moment in his career, as Asit Sen gave him a role of a drunkard in the film Maa Aur Mamta (1970). The die got cast, and Keshto was to be remembered as the perennial drunkard of the Hindi cinema, forever. If one examines his roles, in reality, he is more likeable in his non-drunk roles, e.g. the Kalkattiyaa in Padosan, the sleepy bus passenger in Bombay To Goa (1972), the neighbor always in long underwear in Piyaa Ka Ghar (1972), as Shivratan in Teesri Kasam, or even as Hariram barber in Asrani’s jail, in Sholay (1975). But then, his portrayal of a drunk is no less arresting. His encounter with Utpal Dutt and Om Prakash at the police station in the climax scenes of Gol Maal (1979) is probably one of the most hilarious interludes in Hindi cinema.
Keshto passed away in 1985.
As you view this video clip, I recommend you may do it more than once. In one cycle, just watch Keshto and his antics, and the fact that he so convincingly plays an autistic handicapped person, trying his best to dance, but not being able to. He falls, he gets up, he tries to wiggle in tune with the music, in what may be really uncomfortable postures for the body. He goes through many contortions of the body during this song, but oh, what a convincing performance.
And finally, the reason I selected this specific clip. It has a very interesting and hilarious tail piece. At the end of the song Keshto goes to Kishore Kumar, who is watching the performance from a distance, and motions in sign language to donate some money. I will say no more; just watch this amusing brief interlude, and you can appreciate what Keshto is all about.
And once again, apologies that this post got so long. But this song needs a significant mention about both Shailendra and Keshto. So enjoy this wonderful philosophy of life song wherein Shailendra is performing his own lyrics, peppered in good measure with an amazing performance by Keshto.
Bon ecoute !
(Happy Listening) 🙂
Song-Tedhi tedhi hamse phire saari duniya (Musaafir) (1957) Singers-Shamshad Begam,Manna Dey,Lyrics-Shailendra,MD-Salil Chaudhary
Shamshad Begam + Manna Dey =Fuchsia
Lyrics
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
har koi nazar bachaa ke chalaa jaaye dekho
har koi nazar bachaa ke chalaa jaaye dekho
jaane kaahe hum se katey saari duniyaa
jaane kaahe hum se katey saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
haaaan gali gali hain roop ke rasiyaa
heyyyy gali gali hain roop ke rasiyaa
gali gali hain roop ke rasiyaa
gali gali hain roop ke rasiyaa
haaa dhoond thakey na mila man basiyaa
haaye dhoond thakey na mila man basiyaa
pyaar mein saudaa karey saari duniyaa
pyaar mein saudaa karey saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
munh mein raam bagal mein chhuri hai
heyyy munh mein raam bagal mein chhuri hai
ho munh mein raam bagal mein chhuri hai
munh mein raam bagal mein chhuri hai
ho baat ye dekho pyaare kitni buri hai
heyy baat ye dekho pyaare kitni buri hai
kyun hum se chhall karey saari duniyaa
kyun hum se chhall karey saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
haaa saans ka kaun thhikaana hai raajaa
heyyy saans ka kaun thhikaana hai raajaa
ho saans ka kaun thhikaana hai raajaa
saans ka kaun thhikaana hai raajaa
haaa kal aaaye kal chaley jaanaa hai raajaa
kal aaaye kal chaley jaanaa hai raajaa
tera mera phir kyun karey saari duniyaa
tera mera phir kyun karey saari duniyaa
tedhi tedhi hum se phire saari duniyaa
tedhi tedhi hum se phire saari duniyaa
har koi nazar bachaa ke chalaa jaaye dekho
jaane kaahe hum se katey saari duniyaa
tedhi tedhi hum se phire saari duniyaa
11 Responses to "Tedhi tedhi hamse phire saari duniyaa"
August 30, 2011 at 2:52 pm
What a lovely write-up, Sudhirji! And what a lovely song too. I remember seeing Musafir many years ago on Doordarshan but don’t remember much of it. I think there were many short stories woven into the story of a place where people come and go.
You don’t need to apologize for a long post, Sudhirji.:-) Your posts are always a pleasure to read. You pour your heart into them – and it shows. You take great pains to describe the song, the movie, the scenes – it is almost like a classroom situation. 🙂
I agree with you that Keshto’s non-drunk scenes are probably better. I think once he got stereotyped as a drunk, his opportunities to do different types of roles got unfortunately reduced. Otherwise he was certainly capable of much more, like he he has shown here.
Just love that last Keshto-Kishore scene. 🙂
And a word about Shailendra. Nice to see him in a song. I like the Bootpolish song too a lot (where he figures). Shailendra’s poetry was often pure and pleasant. He talked about innocence, virtue, nature, humanity, stuff like that. Songs like “sajan re jhoot mat bolo, khuda ke paas jaana hai”, “honthon pe sachai rehti hai” and “kisike muskurahaton pe ho nisaar”. So much goodness in these songs!!!
Lovely to pay tribute to him today.
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August 30, 2011 at 3:36 pm
Sudhir ji,
I 100 % agree with Raja ji about your wonderful writings.You have that Gift.Very good indeed.That I have said so, many times earlier too, does not diminish its importance,please note.
The role of the cook by Keshto Mukherjee in the 1980 film “Khoobsoorat” comes to the mind as a non-drunk roles.Also in ‘Chupke chupke’ he was very hilarious.
-AD
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September 1, 2011 at 12:15 pm
Raja ji, Arun ji, Sadanand ji,
Thanks so much for your kind words of appreciation. 🙂
Raja ji,
You have so well described the hallmark features of Shailendra’s poetry. There is this upbeat quality in his verses that makes one feel good inside, yes.
Sadanand ji,
Same here; I prefer to refer to these word magicians as poets and not lyricists.
And thanks for the additional information about Shailendra’s work at the Matunga workshop. Yes, these people are word magicians; imagine, sitting in a deserted railway wagon, and putting down on paper ‘Barsaat Mein Hum Se Miley Tum. . .’. For them, the inspiration comes from within. His songs are evergreen.
Arun ji,
Yes, Keshto’s role in Khoonsurat and Chupke Chupke are also endearing.
Btw, any suggestions for identifying the lady actor in this dance group.
Rgds
Sudhir
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February 12, 2012 at 11:13 pm
I suffer from OCD (Obsessive Compulsive Disorder) as far as old Hindi movie songs are concerned – that shouldn’t come as a surprise to anybody here. 😉
Anyway, today being Pran’s birthday, I began thinking of nonagenarians still thankfully around (I don’t want to jinx them of course). Two singers’ names came to mind – Manna Dey and Shamshad Begum.
I began searching for duets by these two. I searched – and searched. And searched.
Finally this is what I came up with:
1) Aisa chakma diya kisine – Chamkee (1952) – Manna Dey music
2) Dukh bhare din beete re bhaiya – Mother India (1957) – with other singers also.
3) Peeli peeli sarson phooli peeli ude patang – Upkar (1967) – with other singers
4) Phoolon ka sapna dekhnewaale – Girls’ School (1949) (This is a Geeta Bali starrer).
5) Sun sun ri gore mukhdewaali – Miss Punjab Mail (Manna Dey music)
6) Tedhi tedhi humse phire duniya – Musafir (1957)
If we stick to duets, we can ignore 2) and 3) above. Of the remaining 4, I find song no.6 posted here, so am posting this comment against it.
I could not find the other 3 songs posted here yet (could not find them on youtube either). Would be wonderful if we could manage to post them here.
It is of course very much possible that there are other Shamshad-Manna Dey duets out there. I am sure our experts here (and they know who they are ;-)) may find more songs to add to the above list.
Can we make this a small project and hunt out every Shamshad-Manna Dey duet out there? As a tribute to these nonagenarian legends.
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February 13, 2012 at 6:16 am
Great information, Raja. I was not aware that the two of them have sung so few duets. I will try and locate these missing songs. Then we have experts with us who can tell us about more duets featuring them and who can locate them for us as well.
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February 13, 2012 at 6:57 am
Atulji & Rajaji,
The most hilarious song this two have sung is from movie Bewaqoof – Are Haan Dildar….picturized on I.S.Johar and Krishna Kumari. Atulji, looks like you do have it on the list, but it shows Error 404 not found. I did send you the same song in case you can not fix it or if it’s a different song. My son laughed so much while watching that song.
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February 13, 2012 at 7:06 am
True. I notice that you have sent the lyrics of this song to me. But this song has been posted long back. Thanks for informing that the link was showing error. Here is the correct link:-
Arre haan dildaar (Bewaqoof)
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January 9, 2017 at 11:28 am
Can any body throw some light on female dancer in the song please ?
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November 9, 2018 at 2:58 am
The female dancer in the song is हीरा सावंत. She also appeared in a song from Film मीनार (1954) – शमा पे आके ओ परवाने by आशा भोसले. Mr. Sudheer had a nice write-up for that song too.
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November 14, 2018 at 9:11 pm
Dear Shyam ji,
Thanks for the identification of the female dancer in this clip.
Best regards
Sudhir
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 30, 2011 at 12:42 pm
Thanks a lot for such a wonderful post on Shailendra on his birth anniversary.
Shailendra is one of my favourite poets along with Sahir Ludhianvi and Rajendra Krishna. [I will not like to call them Lyricist as, in my view, their status are much above a songwriter]. Shailendra’s songs woven in simple words, effectively conveyed philosophy of our day to day life and instilled inspiration in people. Perhaps, it is one of the reasons that his down to earth songs are still remembered not only by oldies like me but the younger ones also.
Shailendra joined Great Indian Peninsula Railway ( GIP Railway which became a part of Central Railway after nationalisation in 1951). He was posted at GIP’s Matunga Workshop and was a Chargeman overseeing workers in technical trades such as Turner, Fitter, Welder etc. Those days, railway wagons used to come for repairs at Matunga Workshop and Shailendra wrote his first song for BARSAAT (1949) sitting in one of such wagons, After success of BARSAAT, he found it difficult to concentrate in his job and about a couple of years after the release of BARSAAT, he resigned from his railway job. [As told to me by my brother-in-law, who joined Central Railway in early 50’s].
I agree with Sudhir that this video clip needs to be watched more than once to see actions of Keshto Mukherjee only. The performance of Keshto Mukherjee at the end was the highlight of this song picturisation.
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