Chaahe ye maano chaahe wo maano
Posted by: Atul on: February 18, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Listening to the lines in this qawwaali, one can get a feeling that they are coming from the pen of Sahir Ludhianvi, such is the power and the style of messaging that his poetry ensconces. ‘Dharamputra’ (1961) is one of the best films I remember, on the theme of social integration, and the oneness of humanity. Coming from the banner of BR Films, Bombay and directed by Yash Chopra, who was a novice and a very young director way back then. After ‘Dhool Ka Phool’ (1959) this was only his second venture as a full director. And he had not yet seen his 30th birthday.
Looking at the first decade of his career, the list of his films reads like a list of blockbuster films. After the two listed above, he went on to direct ‘Waqt’ (1965) and then ‘Aadmi Aur Insaan’ and ‘Ittefaaq’ both in 1969. In 1973, he setup his own banner, Yashraj Films, and has gone from strength to strength in producing / directing a string of successful and acknowledged films.
The story of ‘Dharamputra’ revolves around the friendship and closeness between two families of different faiths. They reside in houses across the street from each other, and they actually have a passage that joins the two houses at the roof level. The crux of the story is as follows – a child is born in one of the families, and the circumstances create such a grave situation for the newborn and his family, that the child has to be disowned and taken away from the family. In such trying circumstances, the second family secretly adopts the child an brings him up as their own. The amity and camaraderie between the two families continues to be wonderful, but destiny has a very turbulent trial in store for them. The adopted child grows up, learning to respect both the faiths and family values. But somewhere along the way, communal fundamentalism intervenes, and the (now grown up) young man begins to hate and work against the other faith. The situation boils to a climactic communal riot, in which both homes are damaged and both families are injured in more than one ways. The culmination of this burning hatred happens when the young man takes a flaming torch to the home of his lifelong neighbors, with the intent to burn it down. In these climatic scenes, the history is revealed to him, and he discovers that he is the blood of the family whose home he was almost successful in destroying. The subsequent sequences are very poignant and sensitive, as the young man confronts a crisis of identity. At first he rejects the truth, and blames one and all for his (now) peculiar plight. And then there are passages as he comes to terms with the reality and understands the hollowness and vanity of the voices that scream for communal divide in the society. Both the homes are severely damaged, but the passage that connects them at roof level is still intact. And thence starts the process to reconstruct and rediscover the amity and love between the two families.
One of the film that I had seen as a very small child, on Doordarshan. And I was / am verily impressed and influenced by the theme of this film. Many of my lifelong ideals of social harmony and amity, have their origin in the viewing of this film. Later, I would see this film again, and every viewing never fails to impress me with the symbolism that represents the state of the society – the connecting passage at the roof level; we are all connected and one at the levels which rise above the streets and homes; a child that belongs to two families, and two families of different faiths put together all their nurturing to raise a complete individual; the concept of a human being, that belongs to both faiths, and is in some ways, larger and more everlasting than the individual faiths; the color of blood that flows from people, it is the same regardless; and so on. One song in this film is actually a very poignant statement on this last sentiment. The song, “Ye Kis Ka Lahoo Hai, Kaun Maraa”, sung with emphatic emotions by Mahendra Kapoor, is waiting to be posted here on this blog. The film contained many such messages, that somehow settled into the naïve brain of a small child without understanding; and the import of which were revealed and realized over the years, as the child grew up.
This qawwaali, in many ways, represents the thread of idealism and practical philosophy, that weaves through the entire film. The words by Sahir are simple, and the truth they represent is painfully obvious.
“Ye Masjid Hai Wo Butkhaana”
“Maqsad To Hai Dil Ko Samjhaana”
“Chaahe Ye Maano, Chaahe Wo Maano”
One is a masjid (of Islamic worhip)
Another one is a temple (of Hindu worship)
It does not matter which you believe
The intent is to find solace for the heart
The star cast of this film is impressive and includes Ashok Kumar, Mala Sinha, Rehman, Shashi Kapoor, Nirupa Roy, Manmohan Krishan, Indrani Mukherjee, Tabassum, Babloo, Deven, Rohit, Jagdish Raj, Baalam, Narbada Shankar, Nazir Kashmiri, Master Nissar, Ranjit Sood. The songs for this film are written by Sahir Ludhianvi and the music composition is by N Dutta. In this qawwaali, the singing voices are those of S Balbir and Mahendra Kapoor, supported by a chorus.
On screen, I am sure the folks will recognize the two main singers. Yes, they are Baalam and Master Nissar. If one may recall the fun qawwaali from the film ‘Azaad’ (1955), “Marna Bhi Mohabbat Mein Kisi Kaam Na Aayaa” – that is also performed on screen by the same two artists. In the video clip, one can also see other actors, and a piece of the story line is enacted during this qawwaali. Initially one sees a bearded Ashok Kumar and Mala Sinha walk into the place of worship where this qawwaali is being performed. Near the end of the rendition, as these two are leaving, they come face to face with an unshaven Rehman. From the expressions and the dialogue that follows, it becomes clear that Rehman has been missing for some time, and from the expressions on Mala Sinha’s face, one can make out that the visit to this place of worship is to pray and seek blessing for his return. In the storyline, it is the alliance between Rehman and Mala Sinha that does not initially take place due to some circumstances; and Mala Sinha is carrying a child who cannot be given a father’s name. That child is adopted by the family of Manmohan Krishan, and he grows up to be the young man played by Shashi Kapoor.
All in all, a very impressive and moving saga of communal divide and reconciliation. This qawwaali is a basic truth of human existence that is valid, whatever the time or era may be. If one can perceive, and if one can look up above the street level, there is a passage that connects us all at the roof level. Lest we forget – lets listen to this qawwaali.
kaabe mein raho yaa kaashi mein, nisbat to usi ki zaat se hai
tum Ram kaho ke Rahim kaho, matlab to usi ki baat se hai
One may reside in the Holy Kabaah
And another may have Holy Kaashi as his abode
Yet they belong to His flock only
One may chant the name of Lord Ram
And another may worship Rahim
Yet both kneel in front of the same One
Kaabe = the holy pilgrimage of Kaabaah in Mecca
Kaashi = the holy city of Kaashi (aka Benares, Varanasi) on the banks of river Ganges
nisbat = relationship, connection
zaat = category, caste
ye masjid hai, wo butkhaanaa
maqsad to hai dil ko samjhaanaa
chaahe ye maano, chaahe wo maano
One is a masjid (of Islamic worhip)
Another one is a temple (of Hindu worship)
It does not matter which you believe
The intent is to find solace for the heart
butkhaanaa= home of idols / images, a Hindu temple
ye sheikh o brehman ke jhagde, sab nasamjhi ki baaten hain
hum ne to hai bas itna jaanaa, chaahe ye maano chaahe wo maano
The quarrel between the Sheikh and the Brahmin
Results from lack of understanding
What I have realized is
It does not matter which you believe
gar jazb-e-mohabbat saadiq ho, har dar se muraaden milti hain
har ghar hai usi ka kaashaanah, chaahe ye maano chaahe wo maano
If the sentiment of love is true, sincere
Then the wishes are fulfilled
No matter which doorstep one prays at
Every home is His abode, and only His abode
It does not matter which you believe
Audio
Video
Song-Chaahe ye maano chaahe wo maano (Dharmputra)(1961) Singers-Balbir, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-N Datta
Balbir + Mahendra Kapoor =Red, Chorus=Fuchsia
Lyrics
kaabe mein raho yaa kaashi mein
haaan
nisbat to usee ki zaat se hai
haaaan
tum Ram kaho ke Rahim kaho
matlab to usi ki baat se hai
matlab to usi ki baat se hai
ye masjid hai
wo butkhaanaa
ye masjid hai
wo butkhaanaa
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
maano ye maano
chaahe wo maano
ye masjid hai
wo butkhaanaa
chaahe ye maano
chaahe wo maano
bhai maqsad to hai dil ko samjhaanaa
maqsad to hai dil ko samjhaanaa
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
ye masjid hai
wo butkhaanaa
ye masjid hai
wo butkhaanaa
maqsad to hai dil ko samjhaanaa
maqsad to hai dil ko samjhaanaa
ye masjid hai
wo butkhaanaa
maqsad to hai dil ko samjhaanaa
samjhaanaa
samjhaanaa
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
aaaaaa
ye sheikh o brehman ke jhagde
aaaaaa
aaaa
ye sheikh o brehman ke jhagde
sab nasamjhi ki baaten hain
ye sheikh o brehman ke jhagde
sab nasamjhi ki baaten hain
ye sheikh o brehman ke jhagde
jhagde
jhagde
aji haan haan
ye sheikh o brehman
aaaaaa
ye sheikh o brehman ke jhagde
sab nasamjhi ki baaten hain
ye sheikh o brehman ke jhagde
sab nasamjhi ki baaten hain
sab nasamjhi ki baaten hain
hum ne to hai bas itna jaanaa
ji hum ne to hai bas itna jaanaa
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
ooooooooo oooooo ooooo
gar jazb-e-mohabbat saadiq ho
aaaaaaa
gar jazb-e-mohabbat saadiq ho
har dar se muraaden milti hain
gar jazb-e-mohabbat saadiq ho
har dar se muraaden milti hain
mandir se muraaden milti hain
hooo
masjid se muraaden milti hain
aaaaaa
mandir se muraaden milti hain
masjid se muraaden milti hain
kaabe se muraaden milti hain
kaashi se muraaden milti hain
gar jazb-e-mohabbat saadiq ho
har dar se muraaden milti hain
har dar se muraaden milti hain
har ghar hai usi ka kaashaanah
bhai har ghar hai usi ka kaashaanah
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
har ghar hai usi ka kaashaanah
ye masjid hai
wo butkhaanaa
maqsad to hai dil ko samjhaanaa
hum ne to hai bas itna jaanaa
ye masjid hai
wo butkhaanaa
maqsad to hai dil ko samjhaanaa
ye masjid hai
wo butkhaanaa
maqsad to hai dil ko samjhaanaa
samjhaanaa
samjhaanaa
[dialogue between Ashok Kumar and Rehman overlaps with remaining lines in background]
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
chaahe ye maano
chaahe wo maano
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5 Responses to "Chaahe ye maano chaahe wo maano"
May 15, 2017 at 2:48 pm
Sahir is living in my heart and soul, I’m crazy about his words.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 18, 2012 at 10:16 pm
sudhir ji,
Thanks for posting this song.
Dharmaputra,based on the story of acharya Chatursen is known to be a real story during partition days.This is one of my favourite films.What 100 political leaders can not do is done by just one film.
-AD
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February 24, 2012 at 3:56 am
Arun ji
Thanks for the information about the story. And yes, it must be true. Families of both my parents are from Lahore, and they had to relocate when the misfortune of partition was inflicted on this nation. And some times, they have shared similar experiences from their tribulations of that time.
Thanks again.
Rgds
Sudhir
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