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


Posted on: December 21, 2013

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

The 4th song in the series ” VINTAGE KISHORE ” is from the film Adhikar-54. It is a Kishore Kumar solo with chorus and it is a typical Kishore song from his early days.

The film was made by Roopkamal Chitra, Bombay and the Producers were Mahipat Rai and Anupchand Shah. This was the same team which made Begunah in 1957. That film was banned within a few weeks after its release on 8-3-1957, since the Court granted that it was a blatant copy of Danny Kaye’s ‘Knock on wood’.

Adhikar seems to be a favourite Title of moviemakers,as movies with this title were relesed in 1938, 1954, 1971 and 1986. The 1954 film was Directed by Mohan Segal and the Music Director was Avinash Vyas-a very popular, prolific and famous composer in Gujarat. Avinash Vyas (21-7-1912 to 20-8-1984) started his career with A.I.R. in 1940 and gave music to about 50 Hindi films,from Lahri Badmash-1944 to Bhakta Gora Kumhar-1980.

Lot of information is available ,generally, about famous Actors, singers and composers, but information on Directors and less known, second rung actors is difficult to get. Today we will talk about Director Mohan Sehgal and actor Radhakrishen.

Mohan Segal was a well-known Hindi film director, remembered best for directing the popular Kishore Kumar comedies New Delhi (1956), Apna Haath Jaganath (1960) and Karodpati 1961) besides introducing Rekha to Hindi audiences with Sawan Bhadon (1970).

Segal was born in Jullundur, Punjab on 1-12-1921 and studied Literature. He then studied dance at Uday Shankar’s India Culture Centre, Almora. Among his fellow students at Almora were Guru Dutt, Satyavati Gopalan, Ali Akbar Khan and Ustad Vilayat Khan. Following his stint at Almora, he worked at Prithvi Theatres as an actor and choreographer being involved with some of their most famous plays like Deewar and Shakuntala. He joined films as an actor and as an assistant to Chetan Anand on Neecha Nagar (1946). But his first release was Nanabhai Bhatt’s Nirmala – Yakub – Aroon starrer Chalis Karod (1945) in which he was choreographer and actor. He also acted in other films in this period like Phool aur Kaante (1948), Raaz (1949), Afsar (1950) and Humsafar (1953), the last two directed by Chetan Anand.

1954 saw Mohan Segal making it as as independent director with Aulad and Adhikar. Aulad starring Usha Kiron, Balraj Sahni and Nirupa Roy was an extremely successful film. The film was, in fact, copied in Pakistan as an extremely popular film there as well, Nauker (1955) starring Swarnalata, Nazir and Ragini.

Adihkar was his first film with Kishore Kumar with whom he would make his best films.

New Delhi with Kishore Kumar and Vyjayanthimala is a classic and undoubtedly Segal’s best film. Before New Delhi, satire was a form not really used in Indian Cinema. Perhaps the only other earlier efforts of this form were done by Master Vinayak, father of the actress Nanda, in the late 1930s with films like Brahmachari (1938) and Brandi ki Bottle (1939). The satire in New Delhi provides plenty of laughs and amusement and at the same time effectively communicates the film’s message.

And since a good satire is dependent on wit and sharply razored dialogues, New Delhi excels in the departments of screenplay and dialogues. What further helps the film greatly is that laughs come naturally from characters in their normal behaviour and situations in which they are involved rather than being apparently forced. In fact the comic scenes appeared to be well thought out and nicely executed. The film, exposing the idiocy of provincialism, was a huge success at the box office proving that one could make entertaining films which are sensible and thought provoking as well.

Apna Haath Jaganath addressed middle-class attitudes to manual labour. In the film, Kishore Kumar plays the son of an impoverished aristocrat who is forced to take a labouring job much to his father’s disappointment and his future in-laws’ disapproval. However, he makes a success of his printing press and eventually employs his own father in the business! The film is also known for the Kishore Kumar hit song Permit Permit ke Liye Mar Mit.

Other popular films of Mohan Segal are Devar (1966), his back-to-back Asha Parekh starrersKanyadan (1968) and Sajan (1969), Sawan Bhadon (1970), Raja Jani (1972) and Ek hi Rasta (1977). His last film was the Rekha starrer Kasam Suhaag ki (1989).

Mohan Segal produced 14 films and wrote stories and screenplay for two comedy films. He was an actor,writer Director and producer.

Mohan Segal passed away on 19-10- 2005, in Mumbai. His last days were spent in illness. His son is also in film line.

The cast of the film Adhikar was Kishore kumar, Usha Kiran, Neeru, Radhakishen, Yashodhara Katju, Balam, Renubala, Roopmati, Narbada Shankar, Baby Shashi etc.
Incidentally, Usha Kiran was probably the only Heroine who acted with all heroes of her times like Raj Kapoor,Dev Anand, Dilip Kumar, Ashok Kumar, Rajendra Kumar, Rajesh Khanna,Dharmendra, Amitabh Bachhan etc. She was the Sheriff of Mumbai during 1996-97. Married to Dr.Manohar Kher, Tanvi is her daughter who married Baba Azmi, Cinematographer and brother of actress Shabana Azmi.

Radhakrishan will be remembered by old timers for his typical voice and dialogue delivery style. This actor, who played the Miser to perfection, was born in Delhi on 13-6-1915. Radhakishen Mehra joined Prabhat Film Company to become an actor. There, he befriended Pt. Mukhram Sharma, writer, who wrote special roles for him in every film that he wrote.

Comedian Radhakishen’s Debut in films was as a Villain in V.Shantaram’s Padosi-1941. He was regularly featuring in P L Santoshi’s films like Shehnai, Sargam, Apni Chhaya etc. His best remembered role came in 1956 when he did the kind hearted, but miser shopkeeper’s role in film Nai Delhi-56. He acted in Begunah, Naya Daur, Parvarish, Sadhana and Chhoti Behen-1959. His high pitched shrieky voice speaking style was very popular. He produced a film “Amar rahen ye Pyar”-1961, with Rajendra Kumar, Nalini Jayawant and Nanda. Prabhudayal(Nalini Jaywant’s second Husband) had directed this film. The film got stuck with Censors due to some lyrics-probably leftist inclined- written by kavi Pradeep. (This was the second such occasion of problems with censors for Pradeep). The film was delayed and then it flopped. At the same time, Radhkishen’s love affair also failed. Frustrated, he committed suicide in 1962 by jumping to death. His last film ‘Sharaabi’ was released in 1964. Anupam Kher had copied his style in films ,Beta and Chaalbaaz.

The main attraction of the film Adhikar was, however,Kishore Kumar. By now, his name was identified with entertainment. He was an actor who could sing, who could dance and mimic, who could make you laugh and cry at the same time. He lived by defying all social norms,his own way.

In the initial days, S D Burman helped him a lot, which Kishore always acknowledged with gratitude. When Kishore married his first wife Ruma Devi-an actress, there was a storm in his family (His elder brother, Ashok, though a famous actor, had married a girl of their Parents’ choice). In 1951, Dada gave Kishore his first song-Kasoor apka, huzur apka-from film Bahar, which helped him establish himself as a singer actor. Then Dada made Kishore the voice of Dev Anand and finally Dada selected him as Rajesh Khanna’s voice in 1969 for a turn around in Kishore’s career and made him a Singer-his dream.

Kishore’s comedy films in the 50s proved that comedy need not be only a side plot or a filler in the films. By itself, comedy can carry an entire film. Later on Johnny Walker and Mehmood also proved this.

A Trivia- Kishore married 4 times and all the 4 brides were from Bandra-a suburb of Bombay. Kishore used to call therm ‘Bandariyas’ !

Film Adhikar-54 was a mix of comedy and serious content. The story was strong and the cast was powerful. Peppy songs added to its popularity. Much later, in 1983, the same story was used in film “Sweekar kiya maine”. The story of the film was-

Shekhar (Kishore kumar) and Lata(Neeru) are a couple living in a small town. They have a small child Shashi. Shekhar is transferred to Bombay. One day they go to attend a Birthday party of a friend Bhushan (Balam), leaving the child in care of its Ayah. When they come back the house is on fire. Lata enters the burning house to save her child Shashi. Child is saved but Lata dies. Shekhar keeps the child with its maternal grandparents and goes to Bombay. He stays in a flat hired by Radhakishen(Radhkishen). In a few days, he meets a rich girl Usha (Usha Kiran) and marries her, without telling her about his first marriage or his daughter. One day a letter from Shekhar’s in laws comes informing him that they want to go on a pilgrimage and he should take his daughter back. The letter falls in Usha’s hands and she feels cheated that Shekhar has not told her about his first marriage or the child. They fight and Usha goes to her parents house. To cheer up sad Usha, her mother (Roopmati) takes her to Kumbhmela.

In the mela, Usha discovers a lost child who is Shashi. She brings her home and finds in her locket photo of Shekhar, Lata and Shashi. She knows that it is Shekhar’s daughter. meanwhile Shekhar comes to her with the news that his daughter is lost in Kumbhmela and now Usha should come back to him. Usha now tells him that she has a daughter from her earlier marriage which she will bring with her. Shekhar agrees that time, but later starts disliking the child as his wife’s first marriage child. The child understands this.

There is a quarrel between them and Usha leaves again with the child. The child’s locket is left behind in the commotion. Later Shekhar sees the locket and all is clear to him. He runs to Usha, but by that time Shashi leaves the house and goes to the Hills where explosives are being used. Usha runs and saves Shashi. All the misunderstandings are removed and Shashi gets her Adhikar and the couple reunite happily.

(My thanks to books ‘Dhunon ki yatra’ and ‘ Eena meena Deeka” for some of the information used here.)

Let us now see and enjoy Kishore Kumar’s fun song from this film. Lyrics of this song were provided by Nitin Shah.



Song-Tikdambaazi (Adhikaar)(1954) Singer-Kishore Kumnar, Lyrics-Neelkanth Tiwari, MD-Avinash Vyas

Lyrics(Provided by Nitin Shah)


miyaan raazi biwi raazi
kya karega kaazi

od deyi di
od deyi di
o teddayi odddayi odddayi o
teddayi odddayi odddayi o
od deyi ee

aise to ye duniya babu aag hawa jal matti hai
seedhe saadhe bhonchu bante khaate phirte
chalte purze chatpat chaaten dudh malayi
chhuri bagal mein
chhuri bagal mein
mukh mein ram kya kehne
waah ji waah ji

od deyi di
od deyi di
o tiddiddi aayi odddayi
o tiddiddi aayi odddayi
teddayi odddayi odddayi o
od deyi

iski pagdi uske sar pe
duniya gorakh dhandha
guru ghantaal sabhi se kehte
jhapat ke daalo fanda
namak mirchi garam masaala
kapde waala joote waala
sabmein hai gadbad ghotala
doodh na paani dawa mein paani
sabme ragdam ragda,
kamra hai to pagdi
aur pagdi hai to pagdaa
ha panja chhakka satta atthaa
paise ki hai latham latha
paisa banaye bhaiya bhabhi chaachi aur chaachaji

o od deyi di
ud deyi di
o tiddiddidi ai oodleyi
o tiddiddidi ai oodleyi
o teddididdi oddeyi
od deyi

jeb mein jab kaldar ho
bangla motar car ho
chor bhi shaukar ho
duniya gulzar ho
arey jeb mein jab kaldar ho
bangla motar car ho
chor bhi shaaukar ho duniya gulzar ho
paiso thaaro paas hoye to rani bole aavo
tu tamari tame hamara shaa maate sharmaao

ek aankh se bole naaji
ek aankh se haanji
miyaan raazi biwi raazi
kya karega kaazi

8 Responses to "Tikdambaazi"

I always wondered how any director could direct Kishore especially in a comedy role. I am sure the director must be throwing in the towel at the first instant. He would rather prefer giving him a free hand and a long rope. Only direction could be: Do whatever you like; make the meat/most out of it. What more Kishore want; he would have a ball and a field day and burn the stage in the process.


Other heroines Madhubala and Meena Kumari acted with above actors of their time. Any more names any one?


Mohan Segal had the habit of making fleeting appearances in his films a la Hitchcock style. Then Subhash Ghai also did the same.
Avinash Vyas’s Chakradhari-1954 had unprecedented 19 songs. He left the stamp of authority on Gujarati and Hindi films.
If you observe the deliberate casting of New Delhi; its very interesting; Kishore(bangla) plays Punju but masquerades as Tamilian, Vjayantimala(a Tamilian) plays a Tamilian girl but had to don a Punju garb to satisfy Nazir Hussain who is shown as a staunch Punju and wants Punju girl for his munda.


Vyjayanti Mala also acted with most of the heroes & Shakila also paired, with many top ‘A’ grade heroes (Except Dilip Kumar) and also with some ‘C’ grade heroes, at the same time. Unique thing about Shakila was that once all the 3 adjoining theatres of Lamington Road, Mumbai- Imperial, Naaz & Swastik- had films of Shakila as heroine at the same time! She never worried or differentiated about her heroes.


Also Nargis


Waheeda Rehman. Not sure if she acted opposite Ashok Kumar, but everybody else played here heroes and many more.


Also Nutan.




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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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