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

Suna tu man ki been par

Posted on: August 30, 2012

Hindi movies are often categorised into A grade and others, based on their budget. Big budget movies, which has big names in them are regarded as A category movies whereas small budget movies are described as B grade etc.

But there is this old and universal saying that money cannot buy you love. If this saying has to be paraphrased in Hindi movies, I would say that money cannot buy quality. In any case, it is not quality that the so called A grade movie makers are after. They are after saleability viz box office success. In fact, big budget movies as well as small budget movies aim to earn more money that they spend in making their movies so as to make profits.

Big budget movies often tend to be conservative in their story lines and they deal with “safe” story lines since the financial stakes are high for them. Small budget movies too have their constraints, but their story lines are in general more “liberal”. These movies take up topics that A grade movie makers would not dare to touch with a barge pole.

For instance, it was believed that prooducing religious movies was a losing proposition for stars and producers both. Stars, if they play Gods would get typecast and their careers would be over. Moreover, mainstream movie goers were not going to watch such movies in droves, was the conventional wisdom. Likewise, fights in mainstream movies were considered infra dig and. B grade movies were noot averse to take up these so called “unsafe” topics like religious stories or stories with lots of fights in them. B movies with lots of fights in them were pejoratively described as “stunt movies” in media and they were looked down upon.

I find it curious that the plots of B grade stunt movies of 1950 and 1960s were adopted by A grade movies in 1970s, and such movies began to be called action movies. What Amitabh Bachchan began to do in 1970s in his movies was already being done by the likes of Dara Singh and Sheikh Mukhtar and far more convincingly too in 1960s in their movies, in my opinion. 🙂

As far as religious movies are concerned, they unfortunately did not undergo any such turnround. They continued to be regarded as risky topic and as such only B grade moviemakers took up the production of such movies. The last A grade religious movie, if it can be described as such, may well have been “Har Har Madhadev” (1950).

Small time movie makers have regularly been making religious/mythological movies though. These movies are not patronised by mainstream audience, but such movies have their audience mainly is rural and semi rural areas. The fact that such movies have been made regularly means that these movies may have earned enough profits from their target audience to have remained viable. And sometimes, a few of these movies have even clicked big time and caught the imagination of the mainstream audience too. The name of “Jai Santoshi Maa”(1975) readily comes to mind, which vied with “Sholay”(1975) and in fact it may have been a jackpot for its makers.

The quality of these B grade movies may often be indistinguishable from A grade movies. The actors of these movies are often those who may have been elbowed out from A grade movies. For instance, Durga Khote, who played the title roles of A grade movies of 1940s began to act in religious movies of 1950s.

As for the music of these movies, the music was almost invariably A grade. There were enough out of work/ underemployed talented music directors and lyricists available to work in these movies. In fact there were music directors like Chitragupta, S N Tripathi etc who mostly worked in B grade movies and created outstanding music.

Lyricists like Bharat Vyas were mostly associated with these movies. Like the lyricists of A grade movies, they were also poets of high order.

And as for singers, A Grade singers were available to sing for all grade of movies.

I find that Shailendra, normally regarded as a lyricist of A grade movies has sometimes written the lyrics of mythologial movies as well. And he was just as comfortable writing such songs.

Here is a rare song from a largely forgotten B grade mytholgical movie. The movie is “Ram Hanuman Yudhh”(1957). This movie was a Ravi kala Chitra production movie. It was produced and directed by S N Tripathi. The movie had Durga Khote, Manhar Desai, Nirupa Roy, Prem Adeeb, Babu Raje, Shalini, S. N. Tripathi etc in it.

This song is sung by Lata and it is picturised on Nirupa Roy. Shailendra is the lyricist and music is composed by S N Tripathi.

The song is a fantasticsemi classical song. Needless to say, there is nothing B grade about this song. In fact songs like this deserve to be far better known instead of remaining forgotten.

On the occasion of Shailendra’s birthday today (30 august), here is this forgotten gem from “Ram Hanuman Yudhh”(1957). What a treat to the senses this song is !



Song-Suna tu man ki been par(Ram Hanuman Yudh)(1957) Singer-Lata, Lyrics-Shailendra, MD-S N Tripathi


Suna tu man ki been par
suna tu man ki been par
ye aansuon ki raagini
suna tu man ki been par
ye aansuon ki raagini
ke jal uthha hai chandrma
sulag rahi hai chaandni
suna tu man ki been par

wo kal ki baat bhool jaa
aa aa aa
aa aa aa
aa aa
wo kal ki baat bhool jaa
milan ki raat bhool jaa
o meri preet baawri
o meri preet baawri
tu aaj kyun bani thhani
suna tu man ki been par
ye aansuon ki raagini
suna tu man ki been par

ye tere geet roothh kar
ar ar ar
ar ar ar
ye tere geet roothh kar
ye moti man ke toot kar
bikhar chuke hain dhool mein
bikhar chuke hain dhool mein
tu ban gayi bhhikhaarini
suna tu man ki been par
ye aansuon ki raagini
ke jal uthha hai chandrma
sulag rahi hai chaandni
suna tu man ki been par

13 Responses to "Suna tu man ki been par"

Atul ji,
I was very fond of seeing Mythological films,not for their content so much,as the trick scenes and the costumes,and sets.
As you have rightly said,religious films have their own captive audience and it is a fact that,as per IMPAA,Box office records,none of the religious films have ever run into loss since 1931 till today.
Kany Dharmik films have actually no base of any puranas or dharm shastras.They are simply figs of the fertile imaginations of its writers who seek various combination crossing the borders of Yugas also,like Ram krishna yudha.Both avtars were from differnt Yugas,a differnce of few thosand years.
This film is also one of those stories which has no base in Puranas or any sacred books.
The story,s/play and dialogues are by VISHWANATH PANDEY,who wrote for about 20 films from 1960 to 1980.His imagination was also used for diverse stories(besides dharmik ones) like Taxi Chor,Rakhi aur Rifle,Aaya Toofan etc.Very fertile mind indeed !
The Director and music director of the film was S.N.Tripathi,whose assistant was Dilip Dholakiya who sang some songs too in this film.
In the reign of Rama,King Shakunta (manhar Desai) and queen Charumati(Nirupa Roy) is a happy couple.The king wants to go to heaven “Sadeha” that is in Human Form,after death and for this he requests Rama to be present in a Yagnya to be done by him.Rama agrees.In the process,the King insults sage Vishwamitra.Now Vishwamitra is so angry that he orders Rama to get him his head.Rama does so immediately.
Queen Charumati rushes to Sati Anjani for help.Anjanimata brings back King to life.This news is conveyed to Rama who comes there to behead the king again.Anjanimata(mother of Hanuman) orders Hanuman to guard the King.
Thus the Lord and his Bhakta are opposite each other.The Yuddha starts and all the Gods request sage Vishwamitra to take back his demand.Looking at the matter,he relents and the Yuddha also ends on a happy note.



Thanks for the interesting details. Yes “Ram Hanuman Yudhh” is certainly a figment of the author’s fertile imagination.


I watched this movie fairly recently, so a minor correction in the story:

Ram never gets to kill the King first. Vishwamitra is jumping up and down and accuses Ram of not following on his promise. So Ram takes an oath to kill the king before Suryast or he would give up his own life. Charumati does all the praying to gods/godesses and they advise her to send the king to Sati Anjani for protection. Hanuman doesnt want to fight Ram as per mata’s order, so he has a conflict also (and i believe there is a song there which is not on the official soundtrack), but once the song finishes, he relents and goes back to mom promising to fight Ram. With all his might and astra/shashtra, Ram cant defeat Hanuman, and Suryast is approaching and everyone fears Ram’s death. So more trickery by devtas, they bring the Suryast early, Hanuman stops fighting and comes back to his normal swaroop from virat swaroop:) Ram is ready to kill himself, and the Sun comes back on the horizon, he kills the king and fulfills his oath. And thats when, devtas, Vishwamitra etc urges Ram to use his divine powers to bring the king back to life 🙂


bluefire ji,
You are absolutely right. I know that the story is like this.For the sake of this posting,I skipped some details and shortened it,giving a gist of the story.Of course the end part is different as you say.
While reviewing a film,I stress on the background,info on the directors,actors,singers etc,add some anecdotes-if any- and then devote some space for actual story.
I strongly feel that the other info is more desirable than the actual film story.,by most readers,in terms of knowledge.
ofcourse this is not an excuse for a mistake in the details of can happen with my reviews,as I write them on the basis of my notes made in those days,when I had seen the film-a gap of more than 54 years in this case.
Thanks for giving the right details.


Arunji, u r absolutely right. Most indian movies at least until very recently, story was the last thing they would care about. Writers didnt get much credit either, until the likes of Gulshan Nanda and Salim-Javed showed up. It was the era of formula films and how they gave the “treatment” mattered. I just happened to watch this movie recently and like u suggested in the earlier post, they come up with some concoction of ideas in these type of movies. This movie in particular holds a special place for me, cause i can always “confuse” my more religious friends/family members who would be like, what? when did Ram and Hanuman have a fight? And so i can show off that even though i am not religious like them, I know more than them 🙂 i watched this 8-9 months ago and even then I had forgotten a few things here and there, so its absolutely amazing that u would be able to remember so many things from a half century ago. I just pointed out cause I know that u would go and update ur notes even for tiny little things and eventually that would benefit the community at large.



Blue fireji.,
You are right 🙂 I know some tilbits..that some priest have no idea.
BTW, I have not seen even one episode of Ramayan or Mahabharat or any in that genre.


Lovely. Lata, Shailendra, SN Tripathi combo never fails to create wonders.


very good song but the story doesn’t make sense.


Hopefully this one would make sense. Its fairly entertaining:

When Bhagwan Vishnu (Prem Adib) tells to Narad Muni (Babu Raje) that Hanuman is his “biggest bhakt”, Naradji gets
upset and decides to take Hanumanji’s test. When Hanumanji keeps repeating that he would always be a “ram bhakt” and
would never have any issues with Shri Ram, Naradji tells him that under Shani Dev’s influence, even Ram had to take 14
yrs vanvas and that Hanuman should fear Shani Dev. When Hanumanji tells Naradji that with Shri Ram on his side,
Shanidev cant do anything to him, Naradji incites Shanidev (Dalpat) to do a “sawari” on Hanuman. Shani decides to
teach Hanumanji a lesson, but is defeated by Hanumanji. Hanumanji tells Shani to do a sawari in a place, where he can
have all the vices – kaam, madira, money, etc. Naradji advises Shanidev to use trickery instead of sheer force. Raja
Shakunt (Manhar Desai) and Rani Charumati (Nirupa Roy) are celebrating vasantotsav and Shani decides to do a sawari on
Raja Shakunt. Under the influence of Shani, Raja Shakunt decides to do a Yagna in the presence of Shri Ram, so that he
can go to Swarg alive. He arranges the Yagna to be held on poornima and Shri Ram also accepts his invitation. During
the preperations celebrating with nrityangnas, drunk Shakunt ends up insulting Maharshi Vishwamitra. Angered
Vishwamitra makes Shri Ram to promise him that he would bring him Raja Shakunt’s head before poornima. Shri Ram
informs Raja Shakunt to surrender peacefully otherwise threatening the war. Charumati goes to Ayodhya and pleads to
Shri Ram, but he is helpless, bound by “Raghu Kul Reet” and tells Charumati that with her Satitva she can move
mountains and she doesnt have to beg to him. Vishwamitra also refuses to listen to Charumati. Then Naradji tells
Charumati to get help from Sati Anjani Devi (Durga Khote). Anjani Devi gives Charumati the blessing of Akhand
Saubhagyawati and with that, she is bound to help Charumati. Hanumanji and Laxmanji goes to Shakunt’s kingdom to get
him, but Shakunt has fled under the disguise of a woman and he is hiding at Anjani Devi’s place. When Hanuman cant
locate Raja Shakunt, Naradji coaxes Hanumanji to get Vishwamitra to forgive Shakunt. A furious Vishwamitra confronts
Ram, who takes an oath that if he cant get Shakunt’s head to Vishwamitra by the Poornima, he would give up his own
head instead. Naradji asks Charumati to pray to Shankar Bhagwan, who in turn tells Anjani Devi in her dream that, his
11th rudra, Hanumanji is the only one who can protect Raja Shakunt from Shri Ram. Hanumanji refuses to obey to Mata
Anjani Devi, but when he hears the Ramkatha that Shri Ram gave up his kingdom to obey step mother Kaikeyi, Hanumanji
has a change of heart and he decides to protect Raja Shakunt. Shri Ram asks Laxman to get Shakunt from Anjani Devi’s
place, but he is defeated by Hanumanji. Shri Ram himself makes an attack, and to counter, Hanumanji takes the
“Panchmukhi” form, “char mukh” to fight with 4 brothers (Ram/Laxman/Bharat/Shatrughna) and 5th one to protect Raja
Shakunt. Shri Ram fights with Panchmukhi Hanuman and when finally sunset is approaching, Shri Ram decides to use “Ram
Baan” which can bring an end to trilok. Even Rambaan has no effect on Hanumanji. Then Naradji and Shanidev confesses
to Vishwamitra who pacifies the Rambaan and brings the sunset early. Hanumanji stops the fight, Vishwamitra brings the
Sun back, Ram kills Raja Shakunt. Upon Vishwamitra’s insistence Ram brings Shakunt back to life with his Punya. Shani
gives a blessing to Hanuman that along with him, Sindoor and Oil would be offered to Hanuman also…


Thank you Bluefireji,
A story is like much ado about nothing, e.g. at the end no Ram nor Hanuman got killed. Well, I always wanted to know, why Hanuman gets Sindoor/oil? Now I know…
Very interesting story…This movie goes under my “Must watch list”


Thanks for the interesting story of this movie.


Here’s the link for this movie:


oh, dear you’re so kind 🙂
Well this is long week ends…so right time too 🙂


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