Nanha sa dil deti hoon
Posted on: March 14, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The year is 1957. The time in the Hindi film industry when the big name banners prominently ruled, and the success and recognition of film music was the domain of the high profile music directors. An era with a lot of stories of how Filmfare awards were influenced, and how the privileged songs were made to climb to the top of Binaca Geetmala list. In such a time and such an era, an ‘unprivileged’ song rapidly climbed the charts of popularity, completely defying the set commercial conventions, and confounding the hold of hierarchical tradition of established big names in the industry, it became the no. 1 song of 1957 at the top of Binaca Geetmala charts. The film – an unimpressive and an unremarkable socio-religious drama by the name of ‘Janam Janam Ke Phere’. The song – an unmatchable and a very endearing duet by Rafi Sb and Lata Mangeshkar – “Zaraa Saamne To Aa O Chhaliye”, an unlikely song of a human being’s search for the Almighty. The deep and impressive words of Bharat Vyas tuned to a lovely melody by a master craftsman of classical and folk genre – Shrinath Tripathi, better known as SN Tripathi.
In the era when melody was the queen, and the Hindi film music ruled the hearts and the lips of the cine going public, a star system and a hierarchy controlled the industry where in many a talented and deserving artists and composers did not get their due recognition. They remained confined to the so called ‘lesser’ strata of films, kept to the periphery of success and popularity, and maintaining a low opportunity profile in the industry, for a variety of reasons. The talent of such artists was nowhere any less than that of the more successful peers of their time, and in many cases, their talent was decidedly at a much higher level, albeit much more overlooked.
But that is the unhappy part of an industry and a system that is driven purely by commercial values. SN Tripathi is one such hugely talented composer who remained confined to the B/C grade mythological and religious films. The music and the songs of his films may not have all captured the popular imagination of the masses, but a purposeful review of his work will highlight so many wonderful and yet so elusive and uncelebrated compositions that one wonders about providential justice and karma.
There is no way that one can discount or even forget the divinity of his melodious creations – the soulful Mukesh rendering “Aa Laut Ke Aa Ja Mere Meet”(‘Rani Roopmati’, 1959); the enchanting surprise of multiple Raagas threaded into a folk melody in the voice of Manna Da and Lata ji “O Ashaad Ke Pehle Baadal” (‘Kavi Kaalidas’, 1959); the upsurge of valor and gallantry in the fast paced hoof sound beat “O Pawan Veg Se Udne Waale Ghode” (‘Jai Chittor’, 1961); the heavenly jugalbandi of Manna Da and Rafi Sb in “Sudh Bisar Gayi Aaj Apne Gunan Ki” (‘Sangeet Samraat Tansen’, 1962); the fabulous melody in the voice of Ashok Kumar “Laaj Bhare In Nainan Mein” (‘Uttaraa Abhimanyu’, 1946); the flowing sweetness of life breath in the voice of Manna Da “Tann Ke Tamboore Mein Do Saanson Ke Taar Boley” (‘Janam Janam Ke Phere’, 1957); the colorful folk rendering by Amirbai and SN Tripathi himself “Choodi Laaya Nahin Manihaar” (‘Choodiyaan’, 1942); enlivening the folk milieu again in the voice of Rajkumari “Panghat Ko Chali Panihaari” (‘Panghat’, 1943); the patriotic fervor of “Ye Hind Ki Kahaaniyaan” (‘Maansarovar’, 1946) in the voices of Geeta Roy and Rafi Sb; the lovely duet of Rafi Sb and Mohantara “Sandes Mera Paa Ke Mujhe Daras Dikhaana” (‘Veer Ghatotkach’, 1949); the unforgettable but now completely obscure melancholy sound of Mukesh “Hey Khag Mrig Hey Madhukar Shreni” (‘Ram Bhakt Hanuman’, 1948); the uplifting sound of rain and love in the voice of Geeta Roy “Kaali Kaali Badli Chhaayee, Saawan Ki Ritu Aayee” (‘Saudaamini’, 1950); the pleasant and heartening rendering by Geeta Roy “ Gayi Birhaa Ki Raat, Aaya Hai Nav Prabhat ” (‘Laxminarayan’, 1951); the foot tapping dance melody in the voice of Asha Bhosle “Dil Ki Har Pukaar Kahe Aaj Baar Baar” (‘Nav Durga’, 1954); the playful and bouncy rhythm of “Meri Baawri Chunariyaa Hawaa Mein Udee Jaaye Re” (‘Ratan Manjari’, 1955), sung by Asha Bhosle; the delightful duet by Manna Da and Geeta Dutt “Wo Dekho Udhar Chaand Niklaa Gagan Mein, Idhar Aa Gayee Chaandni Muskuraati” (‘Roop Kumari’, 1956); the charming flow of the sweet folk sounds in the voice of Lata ji “Piyaa Torey Nainwaa Se Nain Morey Laage” (‘Pakshiraaj’, 1959); the taste of sugar syrup expressed by Lata ji in “Gori Gori Chaandni Chameli Jaisi Raat Mein” (‘Sin’haldweep Ki Sundari’, 1960); the oh so loveable blend of Mukesh and Lata ji’s voices in “Milte Milte Mil Hi Gaye, Do Dil Pyaar Ki Raahon Mein” (‘Do Aadmi’, 1960); the inimitable chirpiness and vivacity of the sound of Mukesh and Lata ji’s voice in “Thaane Kaajariyo Banaa Loon” (‘Veer Durgadaas’, 1960). . . It seems like I could go on and on listing the heavenly melodies created by him.
His creation carry the earthy aromas of the country side, and eminently showcase the culture and the values of this land. His melodies express and honor the traditional beauty, the delicacy and the emotional submissions of the coy and yet strong and resilient womenfolk of India. But this is not the only facet of this versatile genius. The songs listed above may give an impression that SN Tripathi excelled with the religious and mythological themes. But there are other aspects of his musical creations that are no less impressive and wonderful. The unforgettable sounds of Rafi Sb’s voice from the film ‘Laal Qilaa’ (1960) are wonders of musical simplicity – only a harmonium is used for accompaniment. And yet, these two creations “Naa Kisi Ki Aankh Ka Noor Hoon”, and “Lagtaa Nahin Hai Dil Mera” paint such an expressive picture of the poignant loneliness and the suffering of Emperor Bahadur Shah Zafar, telling the entire history of the period of decline of a royal dynasty.
This is not an isolated example. A whole new side of SN Tripathi’s musical personality opens up when one starts to review his music from the films like ‘Alladin Aur Jaadui Chiraag’ (1952), ‘Alibaba Aur Chaalis Chor’ (1954) (with Chitragupt), ‘Chiraag e Cheen’ (1955), ‘Haatimtai’ (1956), ‘Dilli Darbaar’ (1956), ‘Paristaan’ (1957),‘Khuda Ka Banda’ (1957), ‘Laal Qila’ (1960), ‘Jaadu Nagari’ (1961), ‘Sher Khan’ (1962), ‘Nadir Shah’ (1968) etc. The unforgettable sounds of “Dekho Ji Chaand Nikla Peechhe Khajoor Ke” (‘Alibaba Aur Chaalis Chor’, 1954), “Sharma Ke Zaraa Ae Mast Adaa” (‘Alladin Aur Jaadui Chiraag’, 1952), the heavenly melody of “Jhoomti Hai Nazar Jhoomta Hai Pyaar” in the voices of Asha Bhosle and Rafi Sb (‘Haatimtai’, 1956); the soulfully rendered “Teri Hifaazat Khudaa Karega” (‘Paristaan’, 1957) by Rafi Sb; the pensive sound of Rafi Sb’s voice again in “Ae Mere Mushkil Kushaa” from ‘Sher Khan’ (1962), and many more. These represent the essential depth and versatility of this musical genius, who is grounded in the classical and folk milieu, but has an equal penchant for other genres of music.
It is recorded that when the film ‘Haatimtai’ (1956) was exhibited in Hyderabad, the then current Nizam of Hyderabad went to see this film. On seeing and hearing the poignant expression of “Parwar Digaar e Aalam, Tera Hi Hai Sahaara”, it is said that the Nizam was weeping with overflowing emotions. And on his request, this song was replayed a dozen times. And there is no way to forget the moving naatiyaa kalaam in the voice of Rafi Sb again, “Falak Bola, Zameen Boli”, a veritable thesis on the benefactions of the Almighty.
Is there more? Yes, there is another facet of light and lively sounds representing yet another aspect of SN Tripathi’s versatility. Starting with his early career, there are many examples of such jolly and lively sounds of “Gun Gun Gaaye Ja Bhaunre” and “Baabu Sambhal Ke Dena Vote” from ‘Sharaarat’ (1944); ”Mora Piyaa Traam Chalaave” and “Mast Jawaani Aayee” from ‘Ji Haan’ (1945) down to the attractive sounds of “Picnic Mein Tic Tic Karti Aayee” from ‘Piyaa Milan Ki Aas’ (1961), “Aa Ha Ha Ha, Paaon Mein Painjaniyaa” sung so evocatively by Mahendra Kapoor for ‘Kunwaari’ (1966) and the endearing qawwali in the voices of Mubarak Begum and Suman Kalyanpur, “Nigaahon Se Dil Ka Salaam Aa Rahaa Hai” from ‘Cobra Girl’ (1963).
Shrinath Tripthi was born this day, a hundred years ago in the holy city of Benaras. His uncle was a connoisseur of music and arts, and in his company, Shrinath got the opportunity to listen and appreciate the music and the singing of many well known artists of that era. Pt. Badri Prasad the famous cine artist, choreographer and music director, who also hails from Benaras, was a family friend, and the young Shrinath started working with him to compose music for stage plays. With the passage of time, Pt. Badri Prasad moved to Calcutta to start his career in films, and the young Shrinath moved to Lucknow to learn music at the Morris College of Music. In one of their visits to Lucknow, Devika Rani and Himanshu Rai (of the famous Bombay Talkies) met with Shrinath and were verily impressed by his musical talent. They invited him to Bombay, to join their film company in the music department. In 1934, SN Tripathi started working as an assistant to Sarawati Devi, and immediately also got an opportunity to sing. Saraswati Devi used his voice for the song “Ae Ri Dayyaa Lachak Lachak Mohan Aawe” in the film ‘Jeevan Naiyyaa’ (1934). There are some references that also indicate that SN Tripathi had independently composed this song. In 1936 came ‘Achhoot Kanyaa’ and it was SN Tripathi who trained the novice voices of Ashok Kumar and Devika Rani for the song “Mein Ban Ki Chidiya Ban Ke Ban Ban Doloon Re”. It is said that this training went on for a full month before Saraswati Devi was satisfied with the results.
He continued to work at Bombay Talkies with Saraswati Devi till the film ‘Bhaabhi’ (1938), after which he decided to branch out and work independently. His first outing as an independent music director is ‘Chandan’. The film was released in 1941. More assignments continued to come his way, and he continued to be a busy music director. In 1945, the film ‘Ramaayani’ was released, starring Nargis and Pahaadi Sanyal. The success of the music of this film became sort of a game changer for SN Tripathi. After this film, he became somewhat type cast as the music director for religious films. However, despite this typecasting, the phenomenal success of the music of ‘Haatimtai’ (1956) and ‘Khuda Ka Banda’ (1957) ensured that his work went beyond a single genre.
SN Tripathi was a busy music director through the 1950s and 60s, in a time when the Hindi film music saw the rise of many stalwart composers. In a career that spans almost five decades in the industry, this versatile artist has composed music for almost 250 films. Besides this prolific count, he has appeared on screen in about 200 films. A lesser known aspect of his talents needs to be highlighted here. He has written screenplays for 37 films and has himself directed 39 films. It is notable that the actors Manoj Kumar made his debut under SN Tripathi’s direction in the film ‘Piyaa Milan Ki Aas’ (1961). He continued to work in the 1970s, however his creations started being sidelined in the new regime of music spearheaded by RD Burman and Bappi Lahiri. His later years are another reflection of the sad story of how the industry discards its geniuses. The assignments in latter half of 1970s reduced to a trickle and in desperation this stalwart contributor to the industry, was forced to sell off his home and his car.
In the 1980s, the records show only 3 films for which he composed the music, the last film being ‘Mahasati Tulsi’ (1985). The industry had forgotten this once much sought after composer. His health deteriorated and he was in and out of hospitals during his last years. Burdened with financial difficulties, and forgotten by the industry to which he had contributed his everything, he breathed his last on 28th March, 1988 in a nursing home in Bandra.
The ‘bhanwara’ who composed the lofty “Udd Jaa Bhanwar Maya Kamal Ka Aaj Bandhan Tod Ke” (‘Rani Roopmati’, 1959), forsook the shackles of this illusory world, and riding the crescendo of his own creations, flew off to the worlds beyond. And the flowers left behind, sway in the melancholy winds that are alive with the sounds and memories of this musical genius –“Jhoomti Chali Hawaa, Yaad Aa Gayaa Koi” (‘Sangeet Samraat Tansen’, 1962).
The song that is presented in this post is a rare gem from the first film that SN Tripathi composed for as an independent music director. The film is ‘Chandan’, produced in 1941 under the banner of Ashok Pictures, Bombay. It is directed by Dhirubhai Desai. The star cast of this film includes Nazir, Kanta, Aashiq Hussain, Wazir Mohammad Khan, Baby Lalita, Balabhai, Miss Maya Devi, Jamshed ji, Ms Anwari, Mrs Sindhu Gadgil, Sadiq, Haridas etc. The film has twelve songs, all of which are written by Pt. Indra. The singing voices in this song are those of Rajkumari and SN Tripathi himself. And incidentally, this the second song sung by him to make an appearance on this blog. This song is an amorous exchange between two people just starting to fall in love, telling each other about the thoughts in their hearts, making promises and requesting promises.
With this song, we celebrate a century of SN Tripathi’s musical creations on this blog, on the day the centenary anniversary of his birth. The sound lasts forever, and so will this music. Thanks Tripathi ji, for all the enriching music and the treasure of such wonderful creations.
Song-Nanha sa dil deti hoon (Chandan)(1941) Singers-Rajkumari, SN Tripathi, Lyrics-Pt Indra Chandra, MD-S N Tripathi
Both
Lyrics
nanhaa sa dil deti hoon
pardesi preet nibhaana
nanhaa sa dil deti hoon
pardesi preet nibhaana
tere nayanon ki naiyyaa mein
tere nayanon ki naiyyaa mein
baitha hoon paar lagaana
nanhaa sa dil
nanhaa sa dil
deti hoon
pardesi preet nibhaana
albela mausam aaya
albela mausam aaya
aakhon mein rangat laaya
aakhon mein rangat laaya
din gaye akelepan ke
din gaye akelepan ke
ho chuke khel bachpan ke
ho chuke khel bachpan ke
do dil ke iktaare par
do dil ke iktaare par
ik sur ik lai ban jaana
pardesi preet nibhaana
nayanon ki naiyyaa mein
baitha hoon paar lagaana
nanhaa sa dil
nanhaa sa dil
deti hoon
pardesi preet nibhaana
koi bandhan mein jakdaa gayaa
koi bandhan mein jakdaa gayaa
aankhon aankhon mein pakdaa gayaa
aankhon aankhon mein pakdaa gayaa
koi bandhan mein jakdaa gayaa
yehi preet ki reet niraali
yehi preet ki reet niraali
isi mein kho jaana
kisi ko apna kar lena aur
kisi ka ho jaana
aaj seekhaa hai jeena jilaana
————————————————————–
Hindi script lyrics (Provided by Sudhir)
————————————————————–
नन्हा सा दिल देती हूँ
परदेसी प्रीत निभाना
नन्हा सा दिल देती हूँ
परदेसी प्रीत निभाना
तेरे नयनों की नैया में
तेरे नयनों की नैया में
बैठा हूँ पार लगाना
नन्हा सा दिल
नन्हा सा दिल
देती हूँ
परदेसी प्रीत निभाना
अलबेला मौसम आया
अलबेला मौसम आया
आँखों में रंगत लाया
आँखों में रंगत लाया
दिन गए अकेलेपन के
दिन गए अकेलेपन के
हो चुके खेल बचपन के
दो दिल के इकतारे पर
दो दिल के इकतारे पर
इक सुर इक लय बन जाना
परदेसी प्रीत निभाना
नयनों की नैया में
बैठा हूँ पार लगाना
नन्हा सा दिल
नन्हा सा दिल
देती हूँ
परदेसी प्रीत निभाना
कोई बंधन में जकड़ा गया
कोई बंधन में जकड़ा गाय
आँखों आँखों में पकड़ा गया
आँखों आँखों में पकड़ा गया
कोई बंधन में जकड़ा गाय
ये ही प्रीत की रीत निराली
ये ही प्रीत की रीत निराली
इसी में खो जाना
किसी को अपना कर लेना
और किसी का हो जाना
आज सीखा है जीना जिलाना
4 Responses to "Nanha sa dil deti hoon"
March 14, 2013 at 11:41 am
Sudhirji,
A very good tribute and a nice writeup indeed. Amongst other songs, Mukesh’s Nain Ka Chain Churaakar Le Gai from “Chandramuki” comes to my mind.
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March 14, 2013 at 5:28 pm
Sudhirji, you are a living encyclopedia on Tripathiji who died unwept and unsung like many others before and after him. Once you are typecast in the hindi film industry, you are condemned throughout your life to carry that label. Only a few will remember Tripathiji today.
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March 14, 2013 at 11:31 pm
Sudhirji,
What a great write up! SNT gave some of the most melodious songs of Hindi films, And a very important gift was his protege Chitragupta who created his own niche for melody.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 14, 2013 at 10:21 am
A belated but well deserved century of S N Tripathi songs who had one of the longest innings in the Hindi film industry.
On his centenary birth anniversary, I recall one of his numerous classical raaga based songs :
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