Hamen maar gayee re
Posted on: March 9, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regulkar contributor to this blog.
Folk music has played an important role in popularising Hindi film songs. The films’ producers and more so the music directors knew that folk music based film songs bring instant connectivity with the cine goers especially in the semi-urban and rural areas. The beats and rhythms of most of the folk music are good inspirations for music directors to customise the Hindi film songs accordingly. In the early years of Hindi film music following the advent of talkies, songs were mostly based on classical and semi-classical tunes which included the traditional devotional music. The earliest Hindi film songs recorded on a folk based tune as per my search of the Hindi film songs on the internet was a song bande naav ka langar chhod from ‘Kangan’ (1939) which appears to be based on a bhatiali ( boat man’s) folk song of Bengal. There may be a few more Hindi film songs in the 30s based on folk music.
It was the Lahore based music director Ghulam Haider who revolutionised Hindi film music by experimenting with Punjabi folk music in the film ‘Khazaanchi’ (1941). The experiment was very successful. All the songs of the films became extremely popular with the masses and the film also broke all box office records of that period. This success was followed in his next film ‘Khandaan’ (1942). It was a wake up call for other music directors of Hindi films and they too started composing Hindi film songs based on Punjabi folk music. Later, some of the music directors like Anil Biswas extended the canvas of using the folk music to other regions. One can find in his compositions the influence of folk music not only from Punjab but also from UP, Bengal, Rajasthani, and Pahadi regions of what are now known as Uttarkhand and Himachal Pradesh. Later, music directors like S D Burman, Hemant Kumar and Salil Chaudhary extensively used the folk music of Bengal and other north-eastern states in their Hindi film song compositions. Almost all top music directors of the golden period of Hindi film songs have used folk music one time or the other.
It was O P Nayyar who gave boost to the folk music from Punjab in a big way, especially in the 50s and 60s. Many songs from the film ‘Naya Daur’ (1957) were based on Punjabi folk music which became very popular giving a push to his career as a music director. Over a long period, Punjabi folk music ruled the roost in Bollywood. With the emergence of what was known as the fusion music (mixing Indian music with Western music), folk song based music in Hindi films were relegated to the background for some time. During the last 5-years or so, folk music, especially Punjabi folk music is again being used in Hindi film songs. I am not sure but I guess that the triggering point for re-entry of folk music in Bollywood was the success of a song’ ji kardan bhai ji kardan’ from ‘Singh Is King’ (2008). There afterthere have been many Punjaabi folk music based songs like ‘ainvayi ainvayi loot gaya’ from ‘Band Baaja Baarat’ (2010) and ‘sadi galli pul ke vi’ from ‘Tanu Weds Manu’ (2011). This trend continued in some films of 2012 also extending the folk based music of Maharashtra and other north Indian states. So long as there is Punjabi Diaspora all over the world Punjabi folks songs , I guess, are going to be a part of Bollywood songs for days to come.
The adoption of folk music from various regions of India by Hindi films has created awareness about the rich heritage of Indian folk music all over the world. But there is a pitfall. These folk music seems to be losing its original form and Hindi films have turned them into ‘pop music’.
In keeping with the theme of Punjabi folk music, I have chosen for discussion, a song ‘hamen maar gayi re’ from the film KHANDAAN (1942) sung by Noor Jahan, Shamshad Begum and Zia Umrao Begum, the latter two singers give playback for more than one actor. The song is written by D N Madhok and set to music by Ghulam Haider who was a pioneer in introducing Punjabi folk music in Hindi film songs. The song is picturised on Noor Jahan and her friends. The lead actors in the films were Noor Jahan and Pran and it was the first film as lead actors for both of them.
I am not able to recognise other supporting actors in the song but I am sure about Manorama who appears in the video clip from 2:15 to 2:22 . I have not watched the movie but going by the song, I guess that the song is picturised in the background of some pre-wedding rituals wherein Noor Jahan’s friends tease her. The song is composed on Punjabi folk music ( probably Punjabi Tappe/ Boliyan) in which the dholak is a pre-requisite. The song may not be melodious but it is certainly rhythmic making it very pleasing to the ears. The picturisation of this song is very cute and all the actors – supporting as well junior artists have given their best natural performance. In fact, I would not have enjoyed the song without thevideo clip.
Audio
Video
Song-Hamen maar gayi re (Khaandaan)(1942) Singers-Shamshad Begam, Zia Umrao Begum, Noorjahaan, Lyrics-D N Madhok, MD-Ghulam Haider
Chorus
Shamshad Begam + Zia Umrao Begam
Lyrics
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
aankh kahe main jadugarni
aankh kahe main jadugarni
jo dekhe bas hoye
jo dekhe bas hoye
zulf kahe mere pench niraale
zulf kahe mere pench niraale
chhoot sake na koi
zaalim maar daala
chhoot sake na koi
zaalim maar daala
maar gayi
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
aankhon mein aankhon ko daalo
dil ko apne dil mein sambhaalo
aankhon mein aankhon ko daalo
dil ko apne dil mein sambhaalo
kaano mein kuchh keh do unse
bas jaaye re ik prem nagariyaa
bas jaaye re ik prem nagariyaa
maar gayi
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
aankh kare hai kise ishaare
aankh kare hai kise ishaare
joban kisko ankhiyan maare
aankh kare hai kise ishaare
joban kisko ankhiyan maare
mast kiya kiski masti ne
mast kiya kiski masti ne
kaun tihaare hai sanwariyaa
bol
haan bol bol
kaun tihaare hai sanwariyaa
maar gayi
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
hamen maar gayi re
maar gayi re
hamen teri nazariyaa
pyaari nazariyaa
tirchhi nazariyaa
maar gayi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 9, 2013 at 11:47 am
Kamath ji,
Thanks for a nice song from the 40s.
Noor jahan and Shamshad begum are well known names,but the name of Umrao Zia begum may not ring any bells with many readers,so here is some information about her-
A singing- star by the name of Umrao Zia Begum was the talk of the town
in those
exciting times. In fact, she was renowned for her melodious voice than as a film actress.
Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.
Ghulam Haider composed music for Umrao Zia Begum and recorded songs and ghazals in her voice.
Her name appeared on the gramophone records as well. Perhaps, Umrao Zia Begum’s greatest
achievement was the recitation of one of the most popular Naat ” Mera Salam Leja Woh Jan Lenge
Sab Kuch “, composed by Ghulam Haider.
Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seerhi’, in which Umrao
Zia Begum was also cast in a major role. ‘Swarg ki seerhi’ was released under the banner of
National Modi Tone, Lahore and directed by AR Kardar.
With the passage of time, Ghulam Haider and Umrao Zia Begum developed immense love and
understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki
seerhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umrao
Zia Begum.
After marrying Ghulam Haider, Umrao Zia Begum said farewell to the show business. She was
never seen again even in a public gathering.
…… It seems to me that
the aphorism below is meant for great people like Umrao Zia Begum. She was
not only a great human but an affectionate mother who possessed enormous foresightedness as
well.
Nothing happens to anybody, which he is not fitted by nature to bear.
Ghulam Haider’s demise happened to be a tremendous setback for his beloved wife, Umrao Zia
Begum, who was much younger to her husband. However, she did not lose heart. Instead, she
devoted herself wholeheartedly to the upbringing of her children.
She left no stone unturned to provide her children the best possible education available at
the time. Consequently, all her children grew up and achieved name and fame in their
respective fields.
Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.
Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the
official residence of her younger son, who was the General Officer Commanding in Bahawalpur in
those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore.
Ghulam Haider will stand as a musical icon as far as the eye can see.
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March 9, 2013 at 12:34 pm
Thanks for the information om Umrao Zia Begum. I was not much aware of her except that she was the wife of Master Ghulam Haider and after marriage she retired from the films and singing.
I have a great respect for Master Ghulam Haider.
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