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

Tum jo ho so ho lekin khuda to nahin

Posted on: March 4, 2014


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

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Rare Performances – Things Unique and Unexpected #5
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Most artists are typecast – very strictly, very narrowly, and sometimes one would say, very harshly too. The first level of typecasting is basic and is based on the chosen field of performance. Artists are lyricists, writers, music directors, actors, singers, directors etc. This level of categorization is natural and acceptable. Almost always, an artist will
focus on his or her chosen field of specialization. And that is where majority of them remain confined for a majority of the time of their careers.

Well, there are cases where an artist is known to excel in more than one fields. The most common example is singer-actors. In the history of Indian cinema, there have been many singer actors who have performed in both spaces with ease and have earned renown and fame. The second such category would be of singer-composers. Examples that come readily to mind are Hemant Da, C Ramchandra, Manna Dey; and of course there are many more in this category. Then we have the poet-singers, and the most famous example of such an artist is Kavi Pradeep.

Other case is of non-actor artists, who appear frequently on screen. An example is poet and lyricist, Gulshan Bawra, who has made more than a handful of appearances on screen, as a comedian. Then we have film directors who will make appearances in their films as actors – in sizeable roles or in cameo appearances. Once again, many such examples exists, Vijay Anand being the most well known, with a few cameo appearances in movies he has directed. Another names that come to mind is Bhimsen (‘Dooriyaan’, 1979). Then we have rare appearances by lyricists e.g. Shailendra, Anand Bakshi; by music directors e.g. Jaikishan (‘Begunaah’, 1957, the lost movie) and Bappi Lahiri (‘Badhti Ka Naam Daadi’, 1974) ; and by singers e.g. Rafi, Mukesh.

In the field of acting, there is once again a strong strait jacket applied to actors, in terms of the kinds of roles they will be accepted in. Sometimes this typecasting is because of age, mannerisms and style. Most actors are typecast as such, and it is very few who display the versatility and variety of mannerisms that enables them to appear in a variety of roles in and still be acceptable and popular. The most celebrated example is Sanjeev Kumar. He used to make a conscious choice of roles that enabled him to showcase his versatility. He was one actor who refused to be typecast, and by being indifferent to the public opinion about his image, he was actually able to garner popularity in every kind of role that he would perform. It is so interesting to note that in 1972 Sanjeev Kumar appeared in two films with Jaya Bhaduri – as a husband in ‘Koshish’ and as a father in ‘Parichay’. I cannot recall another such instance and another such actor who would have dared to display such a variety in role playing, especially in films that are concurrently being exhibited in the cinemas.

So, coming back to the topic of this series. With the amount of typecasting that happens in the industry, whenever there is a variation, one is of course taken by surprise. And since this blog is about songs, I am brining out examples of such surprising variations, in relation to creating, rendering or performing songs.

The artist that I bring into focus today, is a very very familiar character artist. The image and the persona of this artist is so patently Indian, that he has been called the ‘shudh desi ghee’ (pure homemade butter) of Hindi cinema. And this characterization bears itself out, as one tracks his career across more than five decades. One has always found him on screen in dhoti-kurta-jacket or pajama-kurta-coat, with the typical Indian pagdi or topi (headgear) and thick brush moustache – always and always and always. Interesting part is that his attire and appearance in real life was also exactly the same.

Some may have guessed it already. Yes, I refer to Pandit Kanhaiyalal Chaturvedi, more well known as simply Kanhaiyalal. A famously natural actor, and a scene stealer at that. Two things are well known about his performing capabilities. The film directors used to be so sure of his performance and delivery, that he would rarely be actually ‘directed’ by them. He would get the script and his lines, and would simply initiate his role, soon as director said ‘action’. He did not need any coaching or directions. Second, he was known to be a scene stealer. Even with other heavyweight actors in the frame, he had the capacity to garner all attention to himself, when he came to dialogue delivery and assaying the characters. I am sure as you read these line, many such scenes would flash by in memory where Pandit Kanhaiyalal would walk away with the attention and honours for the scenes.

With a typical Banarasi accent, his dialogue delivery was loud and powerful, an upshot of his earlier background in theatre and stage. And in most films, he has a pet dialogue – what we call as ‘takia kalaam’, that he repeats with precision. Folks would remember many such dialogues from his films, the most popular one being “Ram Bachaaye Kallu Ko, Andha Kar De Lallu Ko” from the film ‘Ganga Jamuna’ (1961). And of course, everyone does remember Sukhi Lala, the scheming and villainous moneylender in Mehboob Khan’s ‘Mother India’ (1957), a role that he had earlier play in the film ‘Aurat’ in 1940, also by Mehboob. Mehboob Khan himself said that when he was casting for the remake of ‘Aurat’ in 1956-57, he simply could not find any other actor who would be able to do that role. After seventeen years, every other role had a new actor, except for the role of Sukhi Lala.

And in a manner of speaking, this was his typecasting – scheming moneylender, extrovert villager, cunning ‘munim’, typical seth ji – all roles that suited his very rural Indian representation to a T.

Pandit ji was born in Benaras. Another artist about whom not much information is available regarding his early years. By his own account, one can draw a picture of the person that he was. Right from childhood, he had a fascination and a passion for stage drama, ‘nautanki’, ‘Ramleela’ etc. The passion was severe enough for him to drop out of school after fourth class. His father tried to reason with him, albeit unsuccessfully. When he was fifteen, his father tried to get him involved in business. He opened a ‘pansaari’ shop (general merchant) for him. But the theatre was so much more important for the young Kanhaiyalal that he would frequently just lock the shop and go there. As a result, the business went bankrupt very soon. His father tried to settle him down with a flour mill, thinking this business would tie him down. But the young lad proved everyone wrong. Eventually his parents gave in, and allowed him to join the theatre. The first play he acted in was ‘Aankh Ka Nasha’ written by Agha Hashr Kashmiri. He played a side role as the tabla player in the team of musicians as part of the play.

Slowly he found expression for his own creativity, and he started to write plays and poetry. And then one fine day, his passion and association made him board a train to Bombay. He continued to work in the theatre as an actor and a writer. But of course, being in the tinsel town, it was but natural that he soon transitioned into films. As per Geet Kosh records, his first films are from 1939. He appeared in three films in that year – ‘Bhole Bhaale’, ‘Comrades’ and ‘Sadhna’. He continued to get assignments. In a career that lasted till he passed away in 1982, he has appeared in almost 150 films.

And yes, the question in your minds needs to be addressed. What happened to the writer Kanhaiyalal? Not surprising now that we know his persona, but it is relatively unknown that he has written songs in abut ten films from 1939 to 1942. Beyond that, no further records are available for him as a lyricist.

And knowing his persona, the last thing that I expected form him is to be performing a song and dance sequence on screen. Granted not a solo – it is a group song. But surely I was taken by surprise that Pandit ji would be lip syncing Rafi Sb and Manna Da’s voices, and doing steps and antics one would expect from a Jagdeep or a Mehmood. Incidentally, Mehmood is one of co performers in this sequence.

The film is ‘Biraadari’ from 1966. The film is from the banner of Gope Productions. Yes, the name is the same as the endearing comedian that we are so familiar with. (Gope had set up this production company in 1950. Apparently his brother, Ram Kamlani, continued to work with this banner, even though Gope himself had passed away in 1957.) The film is directed by
Ram Kamlani. The list of actors includes Shashi Kapoor, Fariyal, Pran, Mehmood, Lalita Pawar, Kanhaiya Lal, David, Helen, Nana Palsikar etc. The music for the six songs in this film is composed by Chitragupt, and the words are from the pen of Prem Dhawan. On screen, the song is performed by Shashi Kapoor, Mehmood and Pandit ji. The signing voices are those of Rafi Sb and Manna Da. A very interesting thing about this song – there are two voices and three performers who share them. So what happens is that each of the three performers gets to lip sync both the singers. Just follow the performers and the singing voices in sequence, and you can clearly make out that all three are singing lines by Rafi Sb and Manna Da, by rotation. The director has done a wonderful job of the dance action, as the singing passes around so seamlessly between the three performers. A wonderful composition by Chitragupt, a very hummable and foot tapping melody.

Other actors present during this scene are Pran and Faryal. The scene is apparently a rich man’s party that is being gate crashed by a group of ‘not-so-rich-people’. The manner in which the interaction develops, it is clear that there is some history between Pran and this group of street smart folks.

The song is a typical sequence one can expect to be with very young Shashi Kapoor and Mehmood. But of course, the scene stealer is Pandit Kanhaiyalal Chaturvedi. He may have lesser lines to sing comparatively, but he takes away all the attention, one – because of the novelty and surprise to see him perform song and dance, and two – because he is doing it so well, with such relaxed abandon. At 3.37 in this video clip, one can see him trying out a desi version of ballroom dancing, with another member of their team. I wonder really why he never got more chances to sing on screen, even as a comic relief.

So click on the link and sit back to enjoy a fun song and dance, and get a view of Pandit Kanhaiyalal Chaturvedi, singing and dancing.

Audio

Video

Song-Tum jo ho so ho khuda to nahin (Biraadari)(1966) Singers-Rafi, Manna Dey, Lyrics-Prem Dhawan, MD-Chitragupta
Kanhaiyalal,
Pran
Rafi + Manna Dey

Lyrics

gusse se mat dekho hum ko
karo na aankhen laal
hoye
bade badon ki ham ne babu
arre kar di seedhi chaal

kyun, kaisi kahi
shaayad tum log jaante nahin ke main kaun hoon

tum jo ho so ho
lekin khuda to nahin
tum jo ho so ho
lekin khuda to nahin

aji hum bhi hain insaan
tum se judaa to nahin
aji hum bhi hain insaan
tum se judaa to nahin
tum jo ho so ho
lekin khuda to nahin
aji hum bhi hain insaan
tum se judaa to nahin

dil to asli sona hai
dhoondho naa bazaar mein
bhai dil to asli sona hai
dhoondho naa bazaar mein

maal agar ye lenaa ho to
us ko tolo pyaar mein
ke khota dhandha
hum ne kiya to nahin
amaa hum bhi hain insaan
tum se judaa to nahin
tum jo ho so ho
lekin khuda to nahin
aji hum bhi hain insaan
tum se judaa to nahin

daulat bhi hai surat bhi
thaath badaa hai aap ka

ha ha waah
hah daulat bhi hai surat bhi
thaath badaa hai aap ka
phir bhi haq is duniya pe to
nahin kisi ke baap ka
upar waale se

koi badaa to nahin
arre hum bhi hain insaan
tum se judaa to nahin
tum jo ho so ho
lekin khuda to nahin
aji hum bhi hain insaan
tum se judaa to nahin

tum paise ke chakkar mein
rehte ho hairaan se
tum paise ke chakkar mein
rehte ho hairaan se

khaa ke paan hum chai piyen
phir soyen chaadar taan ke
jo humko mila hai
tumko milaa to nahin
aji hum bhi hain insaan
tum se judaa to nahin
tum jo ho so ho
lekin khuda to nahin
aji hum bhi hain insaan
tum se judaa to nahin

hans ke jo koi milta hai
hum bhi milte pyaar se

hans ke jo koi milta hai
hum bhi milte pyaar se
koi zaraa bhi akde to
hum chal den thokar maar ke
bolo kuchh is mein

apni khataa to nahin
aji hum bhi hain insaan
tum se judaa to nahin
tum jo ho so ho
lekin khuda to nahin
aji hum bhi hain insaan
tum se judaa to nahin

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
गुस्से से मत देखो हमको
करो न आँखें लाल
हाए
बड़े बड़ों की हम न बाबू
अरे कर दी सीधी चाल

क्यों, कैसी कही
शायद तुम लोग जानते नहीं के मैं कौन हूँ

तुम जो हो सो हो
लेकिन खुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं

अजी हम भी हैं इंसान
तुम से जुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं

दिल तो असली सोना है
ढूंढो ना बाज़ार में
भई दिल तो असली सोना है
ढूंढो ना बाज़ार में

माल अगर ये लेना है तो
उस को तोलो प्यार में
के खोटा धंधा
हम ने किया तो नहीं
अमां हम भी हैं इंसान
तुम से जुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं

दौलत भी है सूरत भी
ठाठ बड़ा है आपका
हाह वाह

हा दौलत भी है सूरत भी
ठाठ बड़ा है आपका
फिर भी हक़ इस दुनिया पे तो
नहीं किसी के बाप का

ऊपर वाले से
कोई बड़ा तो नहीं
अरे हम भी हैं इंसान
तुम से जुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं

तुम पैसे के चक्कर में
रहते हो हैरान से
तुम पैसे के चक्कर में
रहते हो हैरान से

खा के पान हम चाय पीएं
फिर सोएँ चादर तान के
जो हमको मिला है
तुमको मिला तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं

हंस के जो कोई मिलता है
हम भी मिलते प्यार से

हंस के जो कोई मिलता है
हम भी मिलते प्यार से
कोई ज़रा भी अकड़े तो
हम चल दें ठोकर मार के
बोलो कुछ इस में

अपनी खता तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं
तुम जो हो सो हो
लेकिन खुदा तो नहीं
अजी हम भी हैं इंसान
तुम से जुदा तो नहीं

14 Responses to "Tum jo ho so ho lekin khuda to nahin"

Sudhirji,
This is a wonderful discovery with well researched write-up as we have got to expect from you. Congratulations. With his Banaras and theatre (or nautanki) background, it is not surprising to see Kanhaiyalal’s dancing. It is sad that the film makers were not able to create more opportunities for him.

AK

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Sudhir ji,
Thanks for writing on my favourite actor Kanhaiya lal.

I herewith add a “Darner’s Patch’ to your beautifully written article,adding some extra and new information about him.

Kanhaiyalal Chaturvedi’s father was Bhairodutt,who was a Manager at ” Sanatan Dharma Natak Samaj”-Benares. After he gave up on his son,kanhailal joined his company and wrote plays,poetry and also directed some plays. After his father’s accidental death,he came down to Bombay to try luck with song writing in films. His elder brother Sankatha prasad was with Sagar Movietone from the begining and acting in films.
That time Mehboob khan was a rising star at Sagar with 3 Hits in a row,with Surendra. The shooting of ‘Gramophone singer was going on that time. Kanhaiyalal was present during shooting as Sankatha prasad was acting in it. During a recess,Surendra heard K.Lal talking to Sankatha and he picked him up,recommending to mehboob Khan.
kanhailal’s first film was ‘Gramophone singer’ -1938 with a small role in it.
he featured in almost all mehboob khan films,being his favourite.

kanhaiyalal was always a sybol of Melodrama. he did comedy,but was not counted amongst comedians,he did Villainy,but was not branded as a Villain,he did character roles,but he was lost amongst Nazir hussain,manmohan krishna,Shivraj,Nana Palshiar,Bipin Gupta,Niranjan Sharma,David etc. he was a mixture of all these types of acting.
kanhailal found it very easy to combat with Sunil Dutt in Mother India,after he had competed with the great Yaqub in Aurat,successfully.

Some of his dialogues were great. In Mr. Sampat,Motilal cheats him and then advises him to open a Bank. Kanhaiyalal Says,” yahan munh kholneki himmat nahi rahi,aur aap Bank kholne ko kah rahe ho ? ”
Kallukaka in Ganga jamuna gave shivers to Dilip Kumar,who once said,” if you are doing a scene with Kanhaiyalal,you have to come well prepared on the sets.” This is great compliment indeed !

Blackmarketeer in Apna Desh,Shakunimama in Hum paanch,Neo-rich villager in Daag, were some memorable roles. His top which I always remembered was from Dharti kahe pukarke. he beats step brother Jeetendra,repents and drinks country and then says crying” arey,vo sautela hai isliye nahi mara re..”
he was a practical person and knew the uncertainties of filmi duniya. Though affordable,he never bought a car,always travelled by bus or Riksha.
he did 155 films. When he was dead,he left a sizable ammount for his heirs.
-AD

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Arun ji,

Jab aap kuchh add karte hain, to that is definitely not a ‘darner’s patch’. It is more like ‘sone pe suhaaga’. 🙂

Thanks you so much for adding so much more substantial detail to this article.

Best regards
Sudhir

Like

Both of you ( Arunji and Sudhirji) are doing selfless service to the entire community of music lovers by presenting such investigative and informative articles. Congratulations.

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I have visited and met him at his residence at King Circle II or III floor small room. I was shocked to see him in pyjama ganji as I was more used to seeing him in dhoti kurta. Surpringly he was fan of NFS. He sang few; I sang few. He also sang one ghazal. Then we went to Shivaji Park Chowpaty for a stroll. Quite an evening

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All three, Shashi Kapoor, Mehmood and Kanhaiyyalal are singing lines by both Rafi and Mannadey. Similar situation song is the qawwali in ‘Hanste Zakham’.

Sanjeev Kumar – Jaya Bhaduri :

Sanjeev Kumar was Jaya’s father in law in ‘Sholay’ .
He was her doctor /friend in ‘ Silsila ‘ .

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Sankathaprasad’s son was my assistant in Photography, and on few occasions I met Kanhaiyalal. I remember his practical advise, as I was new, about being careful with film industry people, that helped me during my brief stay there.

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I could have never imagined that such a Blog ) Atul;s) exists.kanahiya lal undoubtedly was a great actor who was so natural.I am so happy you thought of wriing such a beautiful article on him.Please keep it up.

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Re.- Sanjeev- Jaya,
Amitabh & Rakhi were hero- heroine in ‘Barsaat ki Ek Raat (1981) & Son- Mother in ‘Shakti’ (1982). Both these films were released with not much gap!

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there is a long list for amitabh-rakhi in that timeframe:
bemisal 82 – friend
lawaris 81 – mother
shaan 80 – bhabhi
trishul 78, kaala patthar 79 – supportive girlfriend
jurmana 79 – lover
muqaddar ka sikandar 78 – object of affection
kabhi kabhie 76 – ex-lover

Like

Kanhaiyalal has lip-synced some famous songs like – yashomati maiya se bole nandlala (Satyam Shivam Sundaram), Puchho Na Kaise Maine Rain Bitayi (Meri Surat Teri Ankhen).

There are other obscure songs as well, like in Feroz Khan’s Jadoo Tona, Sachin’s Jaan-e-Bahar (Rasgulla ghumaai ke maar gayo re), etc.

Like

Ashok Kumar sang puchho na kaise….

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Watch the 2nd version of the song.

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Bluefire ji is right.

Gosh, and wow. The link is at

Thanks Bluefire ji for pointing out these rare memories.

Rgds
Sudhir

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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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