Dekh hamen muskaaye kyun
Posted on: April 12, 2013
- In: Artist century song in blog | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | Guest posts | Hamida Bano songs | Lyrics contributed by readers | Mukesh Hamida Banu duet | Mukesh songs | Post by Sudhir | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributo to this blog.
Kedar Sharma, a career that started with a paint brush, and then went on to scale exceptional heights of creative cinema, and in the process helped to start many a famous careers in the industry. The eminent showman, Raj Kapoor, revered him as his guru. Many a famous artists made their debut in his films – Madhubala, Geeta Bali, Mala Sinha, Bharat Bhushan, Tanuja etc. He was the inspiration and the encouragement for a whole generation of performers and directors in the early decades of the industry.
He had a dream debut, if ever there was one. Kedar Sharma’s first film as a lyricist and dialogue writer is the iconic ‘Devdas’ of 1935. The songs that he wrote for that film, carried over the voices of KL Saigal and KC Dey have earned him the eminence of immortality, along with the singers. The film and its songs gained the recognition that established the Saigal Sb as the singer, and in fact set the tone of his singing performances for the years to come.
Born on this day in 1910(some references put the birth of year as 1909), in the little known village of Narowal in Punjab (now part of Pakistan), Kedar was the fourth child in a set of six siblings. His school years were spent in Amritsar. A bright student at school, he would become interested in various subjects, and would teach himself through self study. While at school itself, he worked through subjects like philosophy, literature and poetry, and learnt painting and photography. He had this finicky fascination for performing arts, and there is an episode mentioned from his school years, that he ran away from home to Bombay. This truant sojourn did not amount to anything, and the young Kedar soon returned home. He went on to study for his BA degree at the Hindu Sabha College, where he founded a Dramatics Society, and gave an expression to his urge to write and perform.
A local member of the Temperance movement once chanced to see one of his plays. (Temperance was/is a social movement the advocates reduced use of alcoholic drinks. Primarily prevalent in Europe and USA in the 18th and 19th centuries, it also made its presence felt in the Indian subcontinent, in the late 19th and early 20th century.) An offer was made to the young Kedar for producing a silent short film on the ill-effects of alcohol. With the money that he earned from this project, he put himself through his MA degree in English from Khalsa College in Amritsar. After completing his MA, he took on painting as a means of livelihood and also joined the local theatre groups. That was the year 1931. In 1932, he got married.
The film bug bit him again the very next year (1933), and bit him real deep this time. The film he saw was ‘Pooran Bhagat’ from New Theatres. He was very impressed with the film, and his one desire was to go and meet Debaki Bose, the director. He announced this decision to an aghast family. His father, who had dreams of seeing his son become a professor, threatened to disown him and leave him nothing in his will. But Kedar was not to be deterred. He left home and made his way to Calcutta, without a single contact, and without a single idea on what to do. After spending weeks trying to find some work, he was finally employed by Dinshaw Irani at Maadan Theatres as a painter. But being a painter was not enough for him. While his struggle was on, he came to know about two artists from Punjab, who were also in Calcutta at the same time. Though not so well known yet in 1933, but the names of Prithviraj Kapoor and KL Saigal were starting to gain attention in the industry.
Kedar met with Saigal Sb and Prithviraj Kapoor, who introduced him to Durga Khote, who was also in Calcutta at that time, and could introduce him to Debaki Bose. After finding out about all the interests and abilities, Debaki Bose hired Kedar as a photographer. He became the still photographer for the film ‘Seeta’ (1934). The film was produced under the banner of East India Film Company. But being a photographer did not click well with Kedar, and he returned to his friends from Punjab, and through them, once again got a job as a painter at New Theatres.
Well, providence does play some very curious cards, and influences the paths in strange ways. A conversation happened that could not have happened in normal course of daily routine at the theatre. On a day when it was pouring, Kedar was walking towards New Theatres, when a car stopped near him. BN Sircar, the owner of New Theatres, recognized him as one of his employees, and signaled him to get in the car. The drive to the office, that would have lasted but a few minutes, completely changed the course of young Kedar’s life. In a few minutes of conversation, he was able to impress Sircar with his intellectual abilities and his finesse. On finding out about his educational background and his interest in writing and performing plays, Sircar was interested. And then just before they reached the office, Kedar made a plea to Sircar, “Saahab, mujh se brush le lijiye aur mujhe kalam de dijiye” – “Sir, please take the paintbrush from me and hand me a pen”.
The very next day Kedar was given the charge of writing the dialogues and the songs for ‘Devdas’ that had just started production. The decision
raised many an eyebrow in New Theatres, but Sircar stuck to his choice and the rest is history. The dialogues of ‘Devdas’ (1935) are remarkable, in that it was the first time at New Theatres that the language used was the common everyday spoken language, as opposed to the lyrical and theatrical dialogue writing that was in vogue in those years. Sarat Chandra Chattopadhyay, who was alive when ‘Devdas’ was released, actually requested Kedar to come and meet him, and congratulated him for his work. And for Kedar, there was no looking back after that.
Kedar continued to write for New Theatres and his songs can be heard in the films like ‘After the Earthquake’ (1935), ‘Krorepati’ (1936), ‘Anaath Ashram’ (1937), Vidyapati (1937), ‘Badi Didi’ (1939), ‘Sapera’ (1939), ‘Haar Jeet’ (1940) and ‘Zindagi’ (1940). If the songs are a measure of ability and success, then just a brief list of “Baalam Aaye Baso Morey Mann Mein”, (‘Devdas’, 1935), “Dukh Ke Ab Din Beetat Naahin”
, “Mein Kya Jaanoon Kya Jaadoo Hai” (‘Zindagi’, 1940), “So Jaa Raajkumari So Jaa” (‘Zindagi’, 1940) is enough to convince about the magic of Kedar Sharma’s writings. On to films like ‘Armaan’ (1942), ‘Bhanwara’ (1944), ‘Chaand Chakori’ (1945), ‘Neel Kamal’ (1947), ‘Suhaagraat’ (1948), ‘Neki Aur Badi’ (1949) etc., the lyrics coming from his pen continued to regale the audience and add to his stature as a writer in the industry. 1950 was a special year for him, with the release of ‘Baawre Nain’, the film he produced and directed, and wrote lyrics for. There is no way to forget the sounds of “Khayaalon Mein Kisi Ke Is Tarah Aaya Nahin Karte”, “Teri Duniya Mein Dil Lagtaa Nahin”.
He also started working for Film Corporation of India as a lyricist, and this company gave him is first opportunity as a director. He directed the film ‘Dil Hi To Hai’ in 1939. In 1940, when Film Corporation planned for ‘Chitralekha’, based on the famous novel by Bhagwati Charan Verma, Kedar Sharma was given the directorial responsibility. The critical and popular success of this film established Kedar as a leading director in the industry. In 1941, he moved to Bombay, and joined Ranjeet Movietone, and continued to direct many a landmark films. In a career that lasted four and a half decades, he directed 34 films and wrote lyrics for 40 films.
Kedar Sharma passed away on 29th April, 1999, in Bombay.
We celebrate the birth anniversary of Kedar Sharma today. And with that, we are also celebrating the 100th song posted on this blog, that is penned by him. For this occasion, I present a very rare duet from the film ‘Duniya Ek Saraai’ (1947), in the voices of Hamida Bano and Mukesh. Produced under the banner of Ranjeet Movietone, the cast of actors in this film include Jagirdaar, Begum Para, Altaf, Rajendra, Meena Kumari, Shanta Kumari, Nazeerbai, Kesar Bai, Pt Iqbal and Kuma (Jr.) etc. The film is directed by Kedar Sharma, who has also written all the nine song in this film. The music compositions are by Hans Raj Behl.
Listen to this playful and naughty exchange between two young hearts – the gentleman is being very brief, but very mischievous and the lady is
complaining that if he does not like her so, then he should not have crossed his eyes with her. A little teasing, a little mischief, and a lot of joy.
Enjoy.
Song-Dekh hamen muskaaye kyun (Duniya Ek Saraai)(1947) Singers-Hamida Bano, Mukesh, Lyrics-Kidar Sharma, Md-Hansraj Bahl
Lyrics
dekh hamen muskaaye kyun
baalamwaa . . .
saajanwaa . . .
sharmaaye kyun
ghabraaye kyun
dekh hamen
haan haan
dekh hamen muskaaye kyun
baalamwaa . . .
saajanwaa . . .
sharmaaye kyun
ghabraaye kyun
dekh hamen muskaaye kyun
kyaa paaya kyun huyi deewaani
kyaa paaya kyun huyi deewaani
saajan aaya
saajan aaya
saajan aaya
khili jawaani
saajan aaya
khili jawaani
kyun mehki
kyun mehki
kyun mehki bagiyaa poochhat ho o o
kyun mehki bagiyaa poochhat ho
saath bahaaren laaye ho
baalamwaa . . .
saajanwaa . . .
sharmaaye kyun
ghabraaye kyun
dekh hamen
haan haan
dekh hamen muskaaye kyun
maano hum pardes sidhaare
maano hum pardes sidhaare
phir na jiyenge
phir na jiyenge preet ke mare
paachhe aankh churaane waale
paachhe aankh churaane waale
pehle naina milaaye kyun
baalamaaa . . .
saajanwaa . . .
sharmaaye kyun
ghabraaye kyun
dekh hamen
haan haan
dekh hamen muskaaye kyun
maana hum tumko nahin bhaaye
maana hum tumko nahin bhaaye
kaahe thhe phir teer chalaaye
kaahe thhe phir teer chalaaye
ghaayal pooochh rahaa hai tumse
ghaayal pooochh rahaa hai tumse
humre pankh jalaaye kyun
baalamwaa . . .
saajanwaa . . .
sharmaaye kyun
ghabraaye kyun
dekh hamen
haan haan
dekh hamen muskaaye kyun
—————————————-
Hindi script lyrics (Provided by Sudhir)
—————————————-
देख हमें मुसकाए क्यूँ
बालमवा. . .
साजनवा. . .
शरमाये क्यूँ
घबराए क्यूँ
देख हमें
हाँ हाँ
देख हमें मुसकाए क्यूँ
बालमवा. . .
साजनवा. . .
शरमाये क्यूँ
घबराए क्यूँ
देख हमें मुसकाए क्यूँ
क्या पाया क्यूँ हुई दीवानी
क्या पाया क्यूँ हुई दीवानी
साजन आया
साजन आया
साजन आया
खिली जवानी
साजन आया
खिली जवानी
क्यूँ महकी
क्यूँ महकी
क्यूँ महकी बगिया पूछत हो. . .
क्यूँ महकी बगिया पूछत हो. . .
साथ बहारें लाये हो
बालमवा. . .
साजनवा. . .
शरमाये क्यूँ
घबराए क्यूँ
देख हमें
हाँ हाँ
देख हमें मुसकाए क्यूँ
मानो हम परदेस सिधारे
मानो हम परदेस सिधारे
फिर न जीएंगे प्रीत के मारे
फिर न जीएंगे प्रीत के मारे
पाछे आँख चुराने वाले
पाछे आँख चुराने वाले
पहले नैना मिलाये क्यूँ
बालमवा. . .
साजनवा. . .
शरमाये क्यूँ
घबराए क्यूँ
देख हमें
हाँ हाँ
देख हमें मुसकाए क्यूँ
माना हम तुमको नहीं भाए
माना हम तुमको नहीं भाए
काहे थे फिर तीर चलाये
काहे थे फिर तीर चलाये
घायल पूछ रहा है तुमसे
घायल पूछ रहा है तुमसे
हमरे पंख जलाए क्यूँ
बालमवा. . .
साजनवा. . .
शरमाये क्यूँ
घबराए क्यूँ
देख हमें
हाँ हाँ
देख हमें मुसकाए क्यूँ
4 Responses to "Dekh hamen muskaaye kyun"
April 13, 2013 at 6:36 pm
While directing Dilip Kumar in some boat song, because of the wind Dilip’s locks would often fall over his forehead. However he decided that Dilip looks better with locks over his forehead. The rest his history.
I used to see him often in a battered Fiat in and around Mahim and heard him talking. He had a girlish voice.
LikeLike
April 19, 2013 at 12:10 pm
Khyati ji, Umesh ji,
Thanks for your kind appeciation. 🙂
Rgds
Sudhir
LikeLike
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 13, 2013 at 4:52 am
Sudhirji,
Excellent post! 100th song of Kedarji on his103rd b’day anniversary. Thank you for the informative post.
LikeLike