Beech bajariya mori chunariya sar se sarki jaaye
Posted on: June 28, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Ek gaana hai, kareeb chaalis saal puraana – “Chain Se Humko Kabhi, Aap Ne Jeene Ne Diyaa” . From the film ‘Pran Jaaye Par Vachan Na Jaaye’. And the year is 1973. Yes getting to be about 40 years ago. But listening to this song, even today – the sound, the feelings, and the words – all appear to be so young and so fresh. And the lyricist – composer pair is SH Behari and OP Nayyar. A partnership that started in the mid 50s, and flowered exceptionally in the decade of 60s to give so many memorable songs one after another.
The lyricists in Hindi film world are generally type cast as follows. There is a category of obscure, unheard lyricist – who wrote a handful of songs for a handful of films. The films themselves did not leave a mark on the audience memory, and the songs from such films and such lyricists are now a matter of interest of real connoisseurs only. Then there is another category of lyricists – famous and successful. They write a lot of songs for a lot of films. A lot of their films are very well known and successful, and so are the songs – implanted well into the audience memory.
In between, there is another category of song writers. They are the ones who have written a lot of lovely songs for films. The connoisseurs known them well, and yet one does not hear much discussion about this category. The songs are implanted well into the audience memory, and many of us will hum and sing their songs, without really connecting the name of the lyricist. The creations are so wonderful, that they appear to be a product of the ‘famous and successful’ category, and yet, they are not. The name of SH Behari belongs to this category of song writers, who left a definite imprint of quality verses on film music, and yet, is not counted, or even remembered along with the names of the more ‘famous and successful’ poets.
With this post we are celebrating the century of songs by SH Bihari on this blog.
Shamsul Huda Behari was born in 1922 in Ara District in Bihar. After completing his schooling, he went to Calcutta for higher studies and did his BA from Presidency College. His two main interests were writing love poetry, and playing football. During the time he was in Calcutta, he played in the football team of Mohun Bagan Club. The time was mid forties. His elder brother, Huda Behari, had already moved to Bombay and was working there. In 1947, Shamsul also moved to Bombay. The move was not specifically to work for films. It was just to explore better employment opportunities, and his brother being already settled there. He found a job for himself as an assistant manager in a rubber factory.
Of the two main interests, the opportunity, as well as the drive to continue playing football, possibly decreased after coming to Bombay. But his other passion – writing poetry continued to blossom. He continued to actively write. His writings captured some attention, and his poems and ghazals started to be presented on All India Radio. It is stated that Anil Biswas, then in his heydays as a music director, heard one of his creations on the radio. The song caught his fancy so much, that he put in a lot of effort to trace and finally get hold of Shamsul. And immediately invited him to write a song for the film ‘Laadli’ (1949) for which he was composing the music. The song was a romantic mood song to be sung on screen by the vamp in the film. Shamsul wrote the lyrics “Mein Ek Chhoti Si Chingaari Hoon, Machalti Hoon Hawaaon Mein”.
The film came and went, without so much as making itself felt. A fate that was also shared by the songs of the film. Yet, the producer community took note of this young poet, and he started getting more assignments as a lyricist. He continued to write for films like ‘Duniya’ (1949, MD – C Ramchandra), ‘Nirdosh’ (1950, MD – Shyam Sunder), ‘Bedardi’ (1951, MD – Roshan), ‘Nishan Danka’ (1952, MD – Basant Prakash) and ‘Rangeela’ (1953, MD – Jamaal Sen). This is a brief list – in fact he worked on many more films with various music directors. But none of these films brought him any recognition. The five years from 1949 to 1953 was just toil, hard work and sweat – but no public accolades.
Then came 1954. And with that came Hemant Kumar, and the film ‘Shart’. The sounds of “Na Ye Chaand Hogaa. . .” , “Dekho Wo Chaand Chhup Kar. . .” and “Meri Taqdeer Ke Maalik. . .” avidly caught the fancy of the listening public. And the name SH Behari became a star lyricist. The songs of ‘Shart’ have stood the test of time and they still continue to enamour the minds and hearts of the listeners. The film also set up a lasting partnership between Shamsul and Hemant Kumar that led to such musically important films like ‘Daaku Ki Ladki’ (1954, “Chaand Se Poocho. . .” ), ‘Bandish’ (1955, “Raat Hai Suhaani, O Nindiyaa Raani” ), ‘Inspector’ (1956, “Dil Chhed Koi Aisa Nagma” ), ‘Arab Ka Saudaagar’ (1956, “Ye Mehfil Sitaaron Ki” ), ‘Ek Jhalak’ (1957, “Ye Hansta Hua Kaarvaan. . .” ), ‘Hill Station’ (1957, “Nai Manzil, Nai Raahen. . .” ) etc. In fact, the two did a dozen films together just in a span of four years from 1954 to 1957.
A very interesting anecdote from Shamsul’s partnership with Hemant Kumar. In early 50s, Hemant Da had moved to Bombay from Calcutta. Bringing with him a very strong background in classical music and Rabindra Sangeet, Hemant Da had one handicap. His knowledge of Hindi/Urdu was not very strong, and he had to make effort at times to decipher and understand the intent of the words and verses in a song. Shamsul had become quite close to Hemant Da while they worked together in the mid fifties, and he frankly suggested to Hemant Da to bring on board an assistant well versed with Hindi/Urdu. The understanding between them was such that Hemant Da took this suggestion in a very positive way, and after a little search, he brought onto the team a young musician by the name Ravi Shankar Sharma. Yes, the same person who graduated on to being a very successful music director – Ravi. The musically significant film that Shamsul did with Ravi is the 1958 Kishore Kumar starrer, ‘Dilli Ka Thug’ – “Ye Raaten Ye Mausam Nadi Ka Kinaara. . .” .
Then came 1960, and Shamsul teamed up with OP Nayyar for the first time for the film ‘Mitti Mein Sona’. Although he wrote just one song in this film, it was the portent of better things to follow. This started another partnership that would rule the music waves in Hindi cinema for almost the entire decade of 60s. What followed are the films like ‘Hong Kong’ (1962), ‘Ek Musafir Ek Hasina’ (1962). Wonderful accomplishments in their own standing, the big success was still to come in 1964 with ‘Kashmir Ki Kali’ – all nine songs from the pen of Shamsul, and all nine songs a super hit. And then went on to do films like ‘Bahaaren Phir Bhi Aayengi’ (1966), ‘Ye Raat Phir Na Aayegi’ (1966), ‘Mohabbat Zindagi Hai’ (1966), ‘Saawan Ki Ghataa’ (1966), ‘CID 909’ (1967), ‘Nasihat’ (1967), ‘Do Dilon Ki Daastan’ (1967), ‘Dil Aur Mohabbat’ (1968), ‘Shrimanji’ (1968), ‘Humsaaya’ (1968), ‘Kismet’ (1968), ‘Kahin Din Kahin Raat’ (1968), ‘Hum Sab Qaatil Hain’ (1969), ‘Aisa Bhi Hota Hai’ (1971), and ‘Ek Baar Muskura Do’ (1972) etc.
Shamsul never really got the honor of being counted amongst the top song writers. However, based on the sampling that is represented above, there is no denying that the verses that came from his pen are evergreen, and continue to sound young and fresh to this day. His style and turn of phrase have been successful in bringing out the romantic and soulful emotions in very simple terms.
Shamsul continued to write well into the mid eighties, continuing to team up with newer music directors like RD Burman and Bappi Lahiri. Probably his last films on record are ‘Muddat’ (1986) and ‘Naseeb Apna Apna’ (1986). He passed away on 25th February, 1987. His pen stopped flowing, but his words continue to hum across space and time – “Na Ye Chaand Hogaa, Na Taare Rahenge, Magar Hum Hameshaa, Tumhaare Rahenge” .
Coming to this wonderful offering from the 1952 film ‘Khoobsurat’. About a week back, I got an email from Atul ji, requesting me to locate a complete version of this song and include it in a century write up for this highly underrated romantic poet. I was traveling at that time. I read the message on my smartphone, and was in the process of typing out an acknowledgement to Atul ji, when suddenly the phone battery drained off completely. The message, half completed, sat in the phone memory for the next three days. Due to the location and circumstances, I was not able to get access to a power outlet for charging the phone. The place where I was, had an almost continuous load shedding, and the backup power was connected to only lights and fans. With no other accessible options, I spent three days without my phone (unheard of 🙂 ), and the response to Atul ji also waited that long to materialize.
Getting back home, I was able to pull out the audio of this song from my collection. And my, what a wonderful reminder this one is. Composed by Madan Mohan, and sung by Asha Bhosle, this is the sole song out of a total of eight songs in this film, that is written by SH Behari.
The credits for lyrics are shared by two other poets, viz., Shams Azeemabaadi and Shaukat Jaupuri. It is interesting to note the names of musicians who assisted Madan Mohan in this film – the names include V Balsaara and Bipin Dutt (of the Bipin-Baabul duo).
The film is a production from the banner of Fazli Brothers, Bombay and is directed by SF Hasnain. The star cast includes Suraiyyaa, Nasir Khan, Yakub, Shakila, Noor, Husnbanu, Sanger, Praveen, Munshi Munakka, Meghmaala, Baby Zubeida, Jankidas, Bhudo Advani etc.
In a film dominated with the voice of Suraiyyaa and Talat Mehmood, this is one of the two songs sung by Asha Bhosle. The year is 1952. Asha ji’s voice is now very different from the songs rendered late 1940s, and sounds like the more familiar Asha Bhosle of the 60s and 70s. And of course, it is safe to assume that the on screen performance of this song is not by the leading lady. 🙂
Enjoy this wonderful creation from the pen of SH Behari, a fitting tribute to this poet on marking his century on this blog.
(NOTES: Acknowledgements are due to Shri Harish ji Raguvanshi, resident of Surat, and the compiler of the ‘Mukesh Geet Kosh’. Most regulars would be familiar with the book and its compiler. As I tried to trace more information about SH Behari, I could really find nothing available on this talented but less known lyricist. I sent an email to Harish ji, and he responded real quick with scanned pages of two articles. The material from these two articles forms the basis of the write up above. Both articles first appeared almost four decades ago. One of the articles is from the book, ‘Hindi Filmon Ke Geetkaar’, written by Shri Anil Bhargava of Jaipur. Interested readers may contact me for more information).
beech bajariyaa mori chunariyaa
sar se sarki jaaye
Amidst the crowded bazaar
My veil threatens to slip down (from my head)
idhar sambhaaloon girey udhar se
baabu ji goondon ke darr se
jiyaa moraa ghabraaye
I try to hold it on one side
But it drops down from the other
My heart is nervous
Frightened by the rowdy boys
(In the crowd)
ghoonghat mein nainon ka jodaa
gora gora mukhda mora
koi dekh na paaye
Within the veil
My fair face
And two twinkling eyes
None dare to get a glimpse of me
jisko dekhoon aage peechhe mo se khel karey
koi mera daaman kheenchey, koi baanh dharey
koi pukaare haaye
All around me
Young men continue to flirt with me
One pulls at my arm,
While another tries to pull off my veil
And yet another simply is calling out my name
Song-Beech bajariya mori chunariya (Khoobsurat)(1952) Singer-Asha Bhonsle, Lyrics-S H Bihari, MD-Madan Mohan
Lyrics
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
idhar sambhaaloon
girey udhar se
baabu ji goondon ke darr se
idhar sambhaaloon
girey udhar se
baabu ji goondon ke darr se
jiyaa moraa ghabraaye
o baabu
jiyaa moraa ghabraaye
chunariyaa sar se sarki jaaye
chunariyaa sar se sarki jaaye
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
ghoonghat mein nainon ka jodaa
gora gora mukhda mora
ghoonghat mein nainon ka jodaa
gora gora mukhda mora
koi dekh na paaye
o baabu
koi dekh na paaye
chunariyaa sar se sarki jaaye
chunariyaa sar se sarki jaaye
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
jisko dekhoon aage peechhe
mo se chhed karey
o baabu
mo se chhed karey
koi mera daaman kheenchey
koi baanh dharey
o baabu
koi baanh dharey
koi pukaare haaye
koi pukaare haaye
chunariyaa sar se sarki jaaye
chunariyaa sar se sarki jaaye
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
beech bajariyaa mori chunariyaa
sar se sarki jaaye
chunariyaa sar se sarki jaaye
7 Responses to "Beech bajariya mori chunariya sar se sarki jaaye"
June 28, 2012 at 11:37 am
What a fantastic write-up, Sudhirji.
I didn’t realise SH Behari had not notched up his century here yet – he totally deserves it and I’m happy that he’s getting his bit of recognition here today. Like you say, he’s one of the much-underrated lyricists of yesteryear. Which is probably proven by the fact that there’s not very much available on him online. This blog (and this post) is probably the most authoritative source now online about him.
I first heard of SH Behari when I heard the songs of Kashmir Ki Kali on Vividh Bharti. And then of course Ek Musafir Ek Hasina and Sawan Ki Ghata, whose songs were also very popular. I quickly realised that SH Behari and OP Nayyar had had a fruitful partnership together. But I never realised that he started so early – already in the late 1940s! I always sort of pictured him as a late 1950s/1960s lyricist.
And it is so wonderful to read that he was into football and even played for Mohun Bagan. I wonder how many people know this sort of trivia. And the trivia about Ravi being assistant to Hemant Kumar to assist him with his Hindi/Urdu.
This write-up is a gem. As are most of your write-ups, Sudhirji. Thank you so much for enriching my knowledge, as you almost always do.
Now waiting for Arunji to add his comments and enrich my knowledge even further. 😉
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June 28, 2012 at 2:30 pm
Sudhir ji,
Yet another excellent write up.Thanks.
S.H.Bihari was not an extraordinary lyricist,but he was hard working and knew his job well.
When he came to Bombay,his elder brother was already in the film line.he started his attemptsn to get into film writing,but he was brought to the films by Anil Biswas for whom he wrote songs of LADLI-1949.The film was a flop and Anil Biswas never again teamed up with him.
Then he wrote songs in Duniya,Bhai behen,Dilruba,nirdosh,Bedardi,Khoobsurat,Nishan danka,Rangeela etc,for which the composers were Roshan,Madan mohan,Basant prakash,Jamal sen etc.He could not make a jodi with any one.
Finally,as you rightly said,he paired with Hemant kumar and later his asst. Ravi(as a MD) till early 60s.
Then Bihari joined OPNayyar and they worked together in 25 films giving 94 songs.(compare this with Majrooh who did 20 films and wrote 125 songs with OPN)
An important point here.OPN had clearly 2 parts in his career.The second part started in early 60s when he changed his style remarkably and perceptibly.The earlier punjabi zing and theka had gone and he started using Sarangi and sitar more in his songs.His music also became soft to suit romantic songs.
In 1960 another major thing happened with OPN.His long time asst.G.S.Kohli left him and became a composer himself.This was a great blow to OPN.GSKohli was the person who helped him in his glorious Ist part of career.
Actually Bihari joined OPN only after the best part pf OPN’s career was over.
In the first part,he gave music to films like Baaz,Baap re Baap,Arpar,mr.and mrs.55,Bhagam Bhag,CID,hum sab chor hain,Naya Andaz,Naya Daur,Tumsa nahin Dekha,Howra Bridge,Mujrim,Phagun,Ragini,Jaali not and Ragini.
In the II half OPN got films like Heera moti,mangani,Aisa bhi hota hai,Hong kong,Shrimatiji,Khoon ka badla khoon,killers,Kahin din kahin raat and such films.Very few good films came his way.
And in this II half,Bihari was with OPN.
unfortunately,after OPN,Bihari teamed up with S-J,who too were in their waning stage.
May be everywhere Bihari’s timing went wrong.That did not help him in getting into the set of A class lyricists.
-AD
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That’s a terrific observation. Indeed there seems to be two parts to OP’s career. I also used to wonder where that pnjabi folk tune and zestful music had gone, though I didn’t mind his songs of 60s too. Maybe, like you say, SH Behari did not have a steady partnership with anybody – and when he did, it wasn’t when that composer was at his best.
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June 28, 2012 at 8:37 pm
You want to see OP Nayyar adjusting the lyrics with S H Bihari of Howrah Bridge Number Subhan Allah babu and then rehearsing the song with chubby Asha and chubbier Rafi. Its a rare treat. May be everyone of us are seeing SH for the first time. NJOY
visit : http://www.youtube.com/watch?v=FYpskVhoFZU
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June 28, 2012 at 8:46 pm
Oops. he is Qamar Jalalabadi as the song is written by him. I thought Qamar was very old person and jumped the gun. However please enjoy the clip.
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June 29, 2012 at 6:11 pm
Bluefire ji,
Thanks for updating the info regarding the last film of SH Behari.
Raja ji, Arun ji,
Appreciate your comments. Arun ji, as always, your comments and observations always add on more information and facts, very enriching.
Rgds
Sudhir
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 28, 2012 at 8:58 am
http://www.shbihari.com/1980s.html
His work goes all the way to Do Qaidi (1989) released after his death.
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