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

Man saaf tera hai ya nahin

Posted on: November 12, 2012

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

In the early era of Talkie films the Film Companies which were well known were Imperial, New Theatres, British Dominion, Kohinoor, Krishna, Maharashtra, Ranjit, Saraswati, Sharada film company etc. Most of these companies continued from the silent era. Slowly many film companies stopped or got merged with existing companies. But one name stood out even in those days and that was PRABHAT FILM COMPANY or PFC.

Prabhat was established in 1929 at Kolhapur by a group of dedicated professionals. It included V.Shantaram, Fatelal, Damle, Dhaiber(till 1937 and then it was Baburao Pai in his place), and S.B.Kulkarni-the financier. In 1933 PFC shifted to Poona and built an up to date huge studio with 4 floors and 6 set capability. After V.Shantaram left in 1942 and Damle became very ill, PFC saw bad days. Around early 1950 it stopped working, was auctioned in 1952 and finally closed down formally on 13-10-1953.

Prabhat had made 6 silent films and 45 Talkie films in its times.

Prabhat which had its glorious days in the 30s and 40s has given the world cinema some of the most renowned films of the early Talkie era. The significant factor of PF classics was the variety of genres in which its films were made. Never at the begining talkie era(not only in India, but worldwide too)had filmmakers tried to tackle such a variety of subjects to create social awareness. It is a matter of great pride for Indian Cinema to go down memory lane and acknowledge this fact,in this Centenary year.

At a time when Indian filmmakers were making Mythological and Historical films-which were based on similar plays,Prabhat chose subjects which were sensitive, explosive and controversial for the society. These films dealt with subjects like abolition of human and Animal sacrifices, Untouchability, Women’s emancipation, Notions of Bhakti, Evil of forced marriages and eradication of prostitution through films like, Amrit Manthan, Dharmatma, Amarjyoti, Sant Tukaram, Duniya Na Maane, Aadmi, Padosi, Ramshastri and others.

Duniya Na Mane-1937 was a milestone in Indian Cinema because women’s cause and a voice against mismatched forced marriages was taken up for the first time in this movie. The movie dealt with thpractice of cruelty towards young women(read girls) married to older men.(There was a famous Marathi Drama SHARADA depicting marriage of a 13-14 years young girl to a rich old man of around 60).

It was Directed by V.Shantaram. The Cinematogarapher was V.Avadhoot, Dialogue and Lyrics were by Munshi Aziz and the Music was by Keshavrao Bhole. The story was based on the novel ” Na patnari gosht ” (Unacceptable matter) by a noted Novelist of all time marathi Literature-Narayan Hari Apte. The cast was Shanta Apte, Keshavrao Datey, Raja Nene, Vasanti, Shakuntala Paranjape (mother of Sai Paranjape and daughter of Wrangler Paranjape of Poona), master Chhotu, Vimlabai Vashishtha, Gauri, Karmarkar, Parshuram etc. There were 12 songs in it and songs were sung by Shanta Apte, Vasanti and Parshuram.

The film tells of a story of an young valiant and aspiring woman-Nirmala(Shanta Apte), married to an old widower and her life of tribulations. Instead of meekly surrendering to tragic fate,she takes it up as a challenge and makes her old husband realise the folly he has made.

An orphan Nirmala grows in her Old uncle’s and his young wife’s home. They are eager to see her married to someone who would give them money. Thus an old Keshav or kakasaheb (Keshavrao Datey) who is rich,widoer and ready to marry is identified and in exchange of money, she is conned into marrying him. She had thought that she was getting married to a young person who had accompanied kakasaheb, when he came to see her. After the marriage she realises the cunning of her Uncle. She cuts off all relations with them and enters new home, where there is Sushila, the widow daughter of Kakasaheb and his son Jugal(Raja Nene) who has an eye on her. She engages herself with reading books, singing and getting encouraging advises from Sushila.

She does remain in the house as a dutiful wife but refuses his sexual desires and rejects his emotions. Full of repentence, he commits suicide , setting her free of the bondage for ever, leaving a note for Nirmala that she is free to marry some suitable boy. She thus makes it clear that such social injustice is wrong and should not happen again.

A striking feature of Prabhat Films was the excellent performance of the child artists in many of their films. Enormous pains were taken to select and train the children.Parshuram was a fixture in Prabhat films. Later when he grew up he started doing character roles. With Prabhat calling it off, he was in difficulties but survived doing petty roles till about 1974. Not much info is available about Parshuram. He acted in films like Gopalkrishna, Jhansi ki Rani,Jai Mahakali, Manjhli Didi, Ram aur Shyam,Bhagam bhag, Basant Bahar,Safar, Manmandir(his last film) and many more.

There is a very pathetic story about Parshuram.

Once, actress and TV hostess of ” Phool khile hain Gulshan Gulshan” TABASSUM was going to the TV station in her car. At one Traffic signal her car stopped and she saw a familiar face, begging at every car. When the beggar came to her car, she recognised him. He was PARSHURAM. She took him in the car, brought him to the TV station. There he was bathed and attired. Some food was provided. Tabssum took his live interview for the TV and he was immediately paid Rs.1000/-. He was also offered some film roles. After few days he disappeared for ever without a trace. Probably died somewhere without identity.

The composer of this film was Keshavrao Bhole. He was from Amravati, Maharashtra and almost a Doctor ,having left MBBS in the III year, for the sake of music. He started giving music to Krishnavatar-1932. His last film was Srikrishna Satyabhama in 1951. He gave music to almost 30 films of Prabhat and other companies.

The song we are going to see and listen is performed by the then young boy PARSHURAM. This song had become very popular.

Song-Man saaf tera hai ya nahin (Duniya Na Maane)(1937) Singer-Parshuram, Lyrics-Munshi Aziz, MD-Keshavrao Bhole


man saaf tera hai ya nahin
poochh le jee se
haan poochh se jee sa
aha poochh le jee se
man saaf tera hai ya nahin
poochh le jee se
phir jo kuchh bhi karna hai tujhe
kar wo khushi se
ghabra na kisi se

sharbat ke jo dhokhe mein tujhe zehar pilaaye
sharbat ke jo dhokhe mein tujhe zehar pilaaye
rone pe jo hansta rahe
hans hans ke rulaaye
le jaana jo chaahe tujhe
kaanton ki gali se
phir jo kuchh bhi karna chaahe
kar wo khushi se
ghabra na kisi se
man saaf tera hai ya nahin
poochh le jee se
haan pooch se jee sa
aha pooch le jee se

tu logon ki aankhon mein bala ho to bala ho
achhi wo buraayi hai
jo duniya ka bhala ho
katata hai gala tera agar kund chhuri se
phir jo kuckh bhi karna hai tujhe
kar wo khushi se
ghabra na kisi se

aa haa aa
jiska (?)mat tu
zinda suboh shaam rahega
jiska (?)Mat
zinda tu suboh shaam rahega
gar tu to nahin
tera sada naam rahega
sachche nahin darte hain zamaane mein kisi se
sachche nahin darte hain zamaane mein kisi se
phir jo kuchh bhi karna hai tujhe
kar wo khushi se
ghabra na kisi se
man saaf tera hai ya nahin
poochh le jee se
haan poochh se jee sa
aha poochh le jee se
man saaf tera hai ya nahin
poochh le jee se
poochh se jee sa
arre poochh le jee se

11 Responses to "Man saaf tera hai ya nahin"

Dear Arun,

Thanks a lot for this article which gave me a feel of travelling to some heritage sites in India. Prabhat Film Company was no less than a heritage sites like Hampi, Red Fort, Sanchi etc. I was just a child when all old film companies like Prabaht, New Theaters, Ranjit Movietone, Minerva Movietone, were in operations. But the moment I read about them now, I get submerged in that time spool like flash back scenes in the films.

All the partners of Prabhat Film Company were experts in their own field. V G Damle, K Daibher and V Shantaram were directors, S Fatelal, apart from directing films was an expert in film settings and costumes. Baburao Pai managed the procurement of cine equipments and the distribution side of the films. S Kulkarni was a financier and adviser to Prabhat on the financial matters.

By the way, Film and Television Institute of India is located in the premises of Prabhat Film Company.


Kamath ji,
Thanks for your appreciation.It feels good when someone as knowledgeable as you,acknowledges the efforts.True to my philosophy,that knowledge and info must be shared with others,I will continue to empty my storehouse as long as possible.
As you are aware,initially PFC used to make films in Marathi and Hindi simultaneously,the above film was also made in Marathi as
KUNKU-1937(Memsaab has reviewed the Marathi version in,I think 2009).The same above song was extremely popular in Marathi those days.In fact I was searching for this song for many many years,before I took to Computering (!).
For the benefit of our readers here is the Marathi version-



Young Parshuram turn to playing vicious villainous roles later on


Arunkumar Ji,
In another YouTube upload of this song, a grandchild of Parushuram responded saying that he/she was glad that Parushuram was (about three years ago) still appreciated.


Swarup ji,
I could not find that remark -you mentioned.Can you please give me a link to it ?


Arunkumar Ji,
One ‘ mangomits’ remarked “The young boy singing this song is my Nana….Master Parshuram.
I am glad to know his work is still appreciated by a few kind souls
Thanks” in this upload

I looked up by google and ‘nana’ seems to mean grandfather. For sopme reason I was fascinated by Shanta Apte’s songs and recently have been browsing for her songs and related material. Thanks for your wonderful posyts. My knowledge of Hindi is very limited and if there are any mistakes, please let me know.


Sunday 11.11.12 evening there was a curtain raiser on Mifta awards -2012 on Zee marathi and a special section is dedicated to Shri.V.Shantaram – ‘Cinema nawacha Maanu’s (a man called cinema). (before proceeding further i would like to make it clear that after the detailed post by Shri.Deshmukh sir lot of thoughts come to my mind , i am just putting it one by one, that may not be in order, so please forgive me, since i am emotionally attached to social issues and the names V Shantaram and Prabhat films)
In this programme on Zeemarathi they discussed about V.Shantaram’s journey from his childhood to becoming ‘Chitrapati’ the title given to him by Shri.P.K.Atre.
Many of Prabhat’s earlier films till Shantaram ji was with PF were discussed and the various innovative experiments he do with these films and the subjects he made films with were also discussed. The social issues that Shantaramji had made films with are still relevant, as the social evils and women’s issues (in new dimensions) still prevails in our country.
– i had listen the song in Marathi ‘ man shhudhh tujhe goshta aahe prithvimolachi’… and this is one very close to my heart.
this one is its hindi version.
– one of the highlight of this film was it do not have background music. instead there were background sounds/voices.
-when keshavrao bhole dye his hair the ‘kalaiwala’ sounds ‘kalai karwa lo’, there was the use of the clock sounds to express his emotional war with himself, when the in laws/relatives of ‘Nirmala’ visits her there is the sound of ‘donkeys’ .
– another highlight of this film was the ‘english’ song sung by Shanta Apte.
– i have not got a chance to see the complete marathi movie either.
– but by reading the posts and the discussions going around i feel that i was there when ‘Kunku’ was made and i was also there when the dam breaks down in ‘Padosi’ … such is the magic of Prabhat and V.Shantaram ….
i remember one filmfare’s one collecter’s classic issue (in this issue they dicussed the top 50 of Indian cinema)in 1985-86 which showed Shantaram wearing his fur cap with camera and it mentions him as ‘what Morarji Desai is to Indian Politics’ – ‘V.Shantaram is for Indian cinema’ ….


Avinash ji,
I too saw this programme.
I could have written 10 pages about Duniya Na Mane,giving all types of details,but I felt that it would be too long and irrelevant to the discussion of song related matters.
As such,I know that reading about old films and songs is liked by not all but only some people.I had already written quite a lot in the write up and hence I intentionall avoided mentioning about the things like background music,the English song(it is already posted and discussed in the blog some time back) etc.
Listening to all those memories from the TV programme was nostalgic indeed.


Is this Parshuram same one in Basant Bahar-56?


There are earlier discussions which suggest that he may be the same person
But I do not know. I too am curious.




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