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

Maang ke saath tumhaara maine maang liyaa sansaar

Posted on: March 4, 2012


This song is one that I thought I had already discussed in the blog. The first time I became aware of O P Nayyar was in mid 1970s, when I read about him in a Hindi magazine (Dharmyug,perhaps, where it was mentioned that he made a successful career for himself without using Lata Mangewshkar’s voice even once). This got by curiosity roused. I found out that “Naya Daur” (1957) was a breakthrough movie for him as well as for many others associated with the movie. Ao I became aware of all the songs of this movie. One can see the lyrics of several songs from this movie noted down in a a diary where I used to note down the lyrics of songs that I liked those days. One can say that my diary showed which songs I liked in 1970s. And I liked the songs of “Naya Daur” (1957).

When I look up at the list of songs from this movie, I find that four songs (all extremely well known ones) have been discussed so far. This song, as well a few others have not yet figured in the blog. That way, this song belongs to the “how come this song was not discussed earlier” category of song.

Here is this song from “Naya Daur” (1957) which wears many hats. It is a Rafi Asha Bhonsle, duet song, tanga song,expression of love song and also a song whose lyrics have been contributed by a regular. In fact that is how I became aware that the song belonged to the “how come…” category 🙂 .

The song is written by Sahir Ludhianvi and it picturised on Vyjyanti Mala and Dilip Kumar riding a tanga.

So here is this iconic song from “Naya Daur” (1957) whose lyrics were sent to me by nahm.

Audio

Video – Black & White


Video – Colour

Song-Maang ke saath tumhaara maine maang liya sansaar (Naya Daur)(1957) Singers-Asha Bhonsle, Rafi, Lyrics-Sahir Ludhianvi, MD-O P Nayyar
Asha Bhonsle + Rafi

Lyrics

Maang ke saath tumhaara
maine maang liyaa sansaaaar
maang ke saath tumhaara
maine maang liyaa sansaaar
maang ke saath tumhaara
main ne maang liyaa sansaar
maang ke saath tumhaara

ho ooooo
aaaa aaa
Ho ooooo
Aaaa aaa
dil kahe dildaar milaa
ham kahen hamen pyaar milaa
dil kahe dildaar milaa
ham kahen hamen pyaar milaa
pyaar mila hamen yaar milaa
ek nayaa sansaar milaa
pyaar mila hamen yaar milaa
ek nayaa sansaar milaa

aaaa aaaaa
aas mili armaan milaa
Oh hoooooo
jeene ka saaman mila

mil gayaa ek sahaara
ah ha ha haaa
maang ke saath tumhaara
main ne maang liyaa sansaar
maang ke saath tumhaara

Ho ooooo
Aaaa aaa
Ho ooooo
aaaa aaa
dil jawaan aur rut haseen
chal yoonhi chal den kahin
dil jawaan aur rut haseen
chal yoonhi chal den kahin

tu chaahe le chal kahin
tujh pe hai mujh ko yaqeen
tu chaahe le chal kahin
tujh pe hai mujh ko yaqeen
Oo ooo ooooo
Oooooooo
Jaan bhi tu hai dil bhi tu hi

Aaaa aaaa
Aaaaaa aaaaa
Raah bhi tu manzil bhi tu hi
aur tu hi aankh ka taara
ah ha ha haa
maang ke saath tumhaara
main ne maang liyaa sansaar
maang ke saath tumhaara

22 Responses to "Maang ke saath tumhaara maine maang liyaa sansaar"

‘Naya Daur’ was an extremely well made movie with a socially relevant theme. Dilip Kumar and Vyjyanthimala were superb. As were Ajit and Chand Usmani. Not many people today know that Madhubala was signed as the heroine. Her overbearing father made life hell for B R Chopra and she was summarily sacked and in stepped Vyjyanthimala!
Poor Madhubala! Her career was cut short by her ill health. And her father! O P Nayyar outdid himself in ‘Naya Daur’. A lion’s share of this movie’s success was the unforgettable songs…….

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I agree – poor Madhubala! and what a tyrant of a father she had! I guess he didn’t like to lose the golden goose, and in the process, he lost the golden goose itself. She wasn’t allowed to marry the person she loved, and her career was dictated by the whims and fancies of her father. I wonder if he was alive to see the suffering she underwent before her death and if he regretted his mistakes.

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Atul ji,
NAYA DAUR-1957 was a fine movie in terms of acting,story,music,cast and other matters.
In fact Naya Daur was a movie which had more intersting stories behind its making than its actual story.
Abhijit Desai has written a book,’stories behind the making of the films”.In this book he has devoted about 20 pages to Naya Daur describing in details the ‘behind the film’ events.This is in 3 parts,one,the story and casting,second the madhubala episode and the third its Music.writer akhtar mirza had written one story based on mahatma Gandhi’s speech,
‘man v/s machine’ or Aadmi mahaan ya machine balwaan ? Gandhi ji was a staunch believer in the superiority of Man over Machine and Nehru advocated use of Machines.
Akhtar mirza had written a story how man wins against machines.He went to Mahboob khan with the story,but being a stauch Nehruwalla,he refused the story.Then Mirza cought Raj Kapoor,who also rejected the story.finally he narrated the story to B.R.Chopra,who immediately realised the immense potential of the story and they spent days together to develop the story.
When it came to casting,BR went to Ashok kumar,who could not see himself in the Tangawalla’s role and he said NO.He suggested Dilip’s name and phoned him.A.Kumar being a senior personb DK agreed to listen to the story.The shooting of mughal e Azam was in progress,but DK got 3 day’s holidays from shooting
.He came one morning to BR’s house.Young Ravi chopra was about to go to school.Dilip Shouted from the gate,”abe,tera Baap kahan hai? use bol story sunane aaya hun”.BR called Akhtar mirza and then for the next 3 days and nights they discussed the story to the satiasfaction of Dilip.On the Third day Dilip called BR’s wife and asked for 1 rupee.Then he told BR,”this is my signing amount,aajse tu mera director.Shuru kar picture’.

Then the Music directors selection came up.Those days OP was in full form,with CID and Mr and Mrs 55 as hits.BR called OP.Both were from Punjab and knew each others on personal levels.When OP heard the story that a Tanga wins against Bus,he started laughing,”Baldev tu to gaya re.pehle din teri picture dabbe mein jayegi”
BR coolly said,”Meri picture ka kya hoga main dekh loonga,Music ka Tu kya
karega wo dekh”
And really, OP ne music ko aisa dekha ki poocho mat !

-AD

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Thanks for these interesting details.

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Thanks Arunji for “Parde ke pichhe” ki story ke liye. I have few questions.
1)Who gets to choose MD? Producer or Director?
2)After Naya Daur in 1957, why BRChopra never used OPNayyar as MD? Sadhna(1958), Dhool Ka Phool (1959), Kanoon (1961) no songs, Dharamputra (1962), Gumrah (1963), Waqt (1965), Humraaz (1968), Ittefaq (1969) no songs, Aadmi Aur Insaan (1970) all has Ravi as MD. Then in Daastan (1972), LP was MD and again in Dhund (1973), Ravi was MD. So, by looking at BR’s movie index, we can see that he favored Ravi. I read somewhere that during the making of Naya Daur, BR had some conflict with either Rafi or OPNayyar. So, for the next movie, when he called OP as MD, he put the condition of not using Rafi as a singer, with which OP never agreed and hence, all movies were by Ravi and without Rafi (Mahendra Kapoor) till Daastan (1972). In which LP was MD and Rafi was given a chance.
I may be wrong, so any clear info on this?
Thanks.

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Khyati ji , your second question is exactly my question. Also, it is clear that MD Ravi has used Rafi in many films except BR films. The same question applies to Manoj Kumar’s home production films too. Btw, waqt(1965) had a Rafi song , which plays alongwith titles, i.e
‘Waqt ke din aur raat
waqt ke kal aur aaj
waqt ki har shai gulam
waqt ka har shai pe raaj’

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Khyati ji,
In those days,it was the Director who chose the cast,composer etc. and generally the producers did not interfere in this.Sometimes,Producers or the Production house,with consultation of the Director,chose the Composers.In the case of NAYA DAUR, BR was the Director,Producer and the Production house also belonged to him.
These days,ofcourse,it is the Distributors who decide the Director,cast,composer etc,because they invest money in advance.
-AD

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Khyati ji/nahm ji,
Till NAYA DAUR,there was no BR Camp or any fixed composer for BR.
For Afsana-51,it was Husnalal-Bhagatram and for Ek Hi Raasta-56,it was Hemant kr.
The story of Naya Daur was set with a Punjabi background and BR wanted Punjabi jhatka and Theka in the music.Considering the composers of that time only OP fitted the slot.As such he was in Top gear too.
BR never liked OPN for his arrogance,but like a true professional,he kept aside his likings.OPN also had mutual dislike,but he wanted big banners and big actors.As a professional,he accepted and gave his best music.
Even after Naya Daur,for his next film SADHANA-58,BR had chosen N.Dutta and not Ravi.His association with Ravi came much later.
BR never interfered in composer’s work nor did he select PB singers.If Rafi’s songs were less in his later films,he had nothing to do with it.I have not found anything to suggest rift in these two.
-AD

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You brought back some wonderful memories from my childhood, Atul! In fact, that is probably the main reason why I visit your blog regularly, though it has been a little difficult of late, due to various circumstances at home. This was one of the first songs I learned from my favorite uncle, and I can still see him, in my mind, singing this song to me and telling me about the scene, with the little brother sticking his head at times, between the singing duo. I saw the movie many years later and I remember watching out for the little brother to show his head.
You have no idea how much pleasure it gives me, especially on days when I feel overwhelmed by all that is going on around me, to be able to sit down late at night and listen to the songs here. I can forget all the problems of my day and just listen to the beauty in the songs. Thank you, Atul!

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Naya Daur bagged the Best Music Filmfare Award for the year 1957, pipping C. Ramchandra’s Asha, the other nominee.

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For me, apart from the song, the lyrics, the write-up, the comments here on this blog are a BIG reason to come here. What a wealth of information we get from these comments!!!

Arunji, my question is also the same as that of Khyatiji and nahmji. When Rafi saab delivered such hits for BR Chopra in Naya Daur why was Mahendra Kapoor preferred for BR Chopra’s subsequent movies? Was it just that BR Chopra wanted to give MK a chance (in Dhool Ka Phool) – and that clicked, or did he have some sort of issue with Rafi saab?

Btw, I’ve read (in an interview with OP Nayyar) that OP had a bit of an ego-problem with Dilip Kumar after Naya Daur. The songs/dances were a huge hit and OP was getting a lot of credit for them. Dilip is supposed to have remarked that it was his dancing that had a big part in making the songs a hit, a remark that OP did not appreciate.

Oh, the number of misunderstandings in those days – lot of them due to egos!!!

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Raja ji,
I hope my reply to Khyati ji and nahm ji exlains amply the first part of your comments.
So far as the Dilip-Nayyar ‘khitpit ‘about the reason of the success is concerned,it is true..As I said earlier,OP needed Naya Daur badly and the others needed him badly,so the equation was solved.As to the Egos of King size,it was a very common occurence,where DK was involved.He had a habit of interfering in almost every department of film making.Once,ofcourse, he had met his match in Sajjad Hussain,who had shown him his place !
-AD

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OH DO TELL! How did Sajjad Hussain put DK in his place?

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This is a story of 1951.
SANGDIL was being made.shooting had stopped before next shot and all the artists were chitchatting.Dilip kumar was humming a tune Sajjad has made for a song of Sangdil.Suddenly Dilip stopped.turned to Sajjad,who was sitting nearby and said,”If you make this tune this way,I tell you,it will become a much better song.” And he hummed some tune.
There was pindrop silence because everyone knew what was Sajjad !
Sajjad got up,went to Dilip Kumar and tapping his chest said acidly,”this is the last time you are saying any such thing to me,remember.Main itnaa bhi nahi giraa hoon abhi,jo tum se salaah loon.'( I have not yet reached such low level as to take improvement suggestions from you )

The atmosphere became tense.Dilip was insulted in front of everybody.This was not digested by him.He went to K.Asif later.Hulchul,produced by Asif had music by Sajjad.Asif was Dilip’s friend and Dilip wanted Asif to throw away Sajjad from Hulchul.Dilip was the Hero of Hulchal also.Asif listened to Dilip coolly and then said,”Sajjad did the right thing.He has not done anything wrong.Why did you poke your nose in his work ? Does he ever tell you how to act ? Acting is your field,Music is his,so never do it again.”
For once Dilip had met his match !
-AD

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Sounds like K Asif did a good job of it too 🙂 Thanks Arunji!

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Arunji,
Thanks for the info on who decides MD and clarification of BR, Rafi and OPN. Like Nahmji said, I was always curious on the same about Manoj Kumar not using Rafi for his home prod.

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Khyati ji,
The film industry is full of ‘andh-vishwas’.
Most of the times,if one thing clicks,then the same is done in the same way always.No changes are allowed.
If Manoj kr.believed that his films became hit because of MKapoor’s playback,then probably it continued without any change.It has got nothing to do with Rafi ji at all !
-AD

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I agree with you. It’s weird, that they believe in these superstitious things! Well, may be because they are humans and doing business. What I was amazed that so many of Manoj K’s songs are sung by Mohd. Rafi, and they are hits too (Do Badan, my fav). So, why he did not…….. It was not like Rafi sahab ki aawaz usko suit nahin karti thi. Rafi sahab to har ek kalakar ke liye alag tarah se gate the.

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I’m afraid I have to disagree with Arunji that it was the director who selected the music director, playback singers, etc. for a film. From everything I’ve read and what the film personalities I’ve met have said, it generally was the producer’s decision. There *was* some issue between Rafi and BR Chopra. Raviji himself has stated that Mahendra Kapoor was BR Chopra’s, not his choice.

As for why OPN never worked for the Chopras again, the answer is – Sahir Ludhianvi. After Naya Daur, Sahir was a fixture for the Chopras and as everyone knows, after Naya Daur, OPN vowed to never work with Sahir again.

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Shalini ji,
Thanks for your info.
-AD

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