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

Ham tere hain hamko na thhukraana

Posted on: September 26, 2014

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a 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.

An icon that stands the tallest on the horizon of the Hindi film landscape. And a persona whose influence spans more than six decades of the history of this medium – a medium that itself is just over eight decades young now.

Dharam Devdutt Pishorimal Anand – born this day in Shakargarh, district Gurdaspur. The year – is irrelevant. With a persona like Dev Sb, the length of years behind was as meaningless as the number of years ahead of him were meaningful. The zest for life and the energy to be – the age and years did not matter. The only thing that mattered was the young-ness of the mind that simply refused to be afraid of the towering Time that overcomes all. Not that he professed any eternal life. And neither did he survive the scythe of reaper of time. But the time and the years that he lived and breathed, there was always another horizon to reach, always another mountain to scale. And the mantra for life simply was – young-ness of the mind.

My affair with him started way way back – early school years and watching films on Doordarshan. His first film that I saw and that registered fully in the mind was ‘CID’ (1956). And I lost my heart to the song “Aankhon Hi Aankhon Mein Ishaara Ho Gaya”. The twinkling smile accented with one corner tooth slightly prominent. That was an everlasting impression of an attractive beauty that conquered my interest – at an age when I did not know how to define ‘beauty’. But years before I felt I had a crush on a heroine, (actually many of them over the years), I had this crush for this young and vibrant on screen person, who became a lifelong idol, simply because – Aankhon Hi Aankhon Mein Ishaara Ho Gaya.

Of course, as the years passed and more films accumulated, I would become more aware and educated about this seemingly facetious actor, whose smile continued to dazzle me through the years. Be it the “Pal Bhar Ke Liye Koi Hamen Pyaar Kar Le” from ‘Johnny Mera Naam’ (1970), “Pyaar Ka Raag Suno” from ‘Tere Ghar Ke Saamne’, or “Dooriyan Nazdeekiyan Ban Gayin” from ‘Duniya’ (1968), or “. . . Hum Phir Baat Badal Denge” from ‘Shareef Badmaash’ (1973) or “Dil Pukaare Aa Re Aa Re Aa Re” from ‘Jewel Thief’, or “Maana Janaab Ne Pukaara Nahin” from ‘Paying Guest’ (1957), it was the smile with the accented corner tooth that always got me.

And yes, as the years passed and the experience of cinema continued to accumulate, the two best things – films, that I place on top of everything else are both his. In my opinion – the best, the most impressive, and probably the most difficult double role to do – ‘Hum Dono’ from 1961. Unlike most double roles where the two persona are anti-studies of each other, this portrayal demanded just a minor shade of a difference between the two on screen personalities – both army men. One is a major and one is a captain. The walk and gait will be just a shade firmer, the voice will have just a shade of greater command, the expression of emotions will have just a notch more control – decidedly a most difficult double role to perform. And perform to the best he did, like no other double role on the Hindi film screen.

And then, the best ever portrayal, in the best ever Hindi film in my books – ‘Guide’ from 1965. Decidedly, it was a director’s film. But the persona of Raju guide towers overpoweringly all through the film. The depiction of the transformation of a small time tourist guide – a flippant and glib individual, into an enlightened soul – it still shakes me to my core whenever I watch this movie. He is in crowd, then gets to the heights of riches and fame on the wings of his dancer companion, then lost in oblivion, alone and haggard. The charade that starts as a means for easy and convenient survival in a desert village of unknowns, becomes a journey that takes him to the ultimate levels of existence. All the friends and family slowly re enter his life once again. They are all keen and fulfilled to have found him again. And he. He is more further away from all of them, much more than they can even imagine. Nothing, absolutely no other drama or characterization has ever so far come close to this expression – the transformation of the human mind from the petty existential planes to the ultimate heights of liberation. No, nothing comes close.

An image that he thrust upon us starting with ‘Baazi’ (1951) – the suave and dapper urbane young man. An image that sustained for the rest of his years, sometimes with a guitar in hand, sometimes with a revolver. But he was always the city boy. However, as we scale back to his debut years, we find him wearing pajamas and dhotis too, and playing the very rural roles in films like ‘Hum Ek Hain’ (1946), ‘Jeet’ (1949), ‘Ziddi’ (1948) and ‘Hum Bhi Insaan Hain’ (1948).

I present this short song from ‘Hum Bhi Insaan Hain’. Amazing to see a Dev Anand, younger than all the young images of his that we generally carry in the mind – pajama kurta and light jacket. Apparently a teacher in a children’s school, singing a morning prayer with the children. In the voice of Manna Dey. Now all these must be really a very rare combination.

The lyrics are by GS Nepali. There are two music directors listed for this film – HP Das and Manna Dey. Geet Kosh does not identify the specific music director for individual songs.

A short prayer song, an unlikely early performance by one whose recognition is more defined by “Hai Apna Dil To Awaara” .

Listen and enjoy.



Song-Hum Tere Hain Humko Naa Thhukrana (Hum Bhi Insaan Hain)(1948) Singer-Manna dey, Lyrics-Gopal Singh Nepali


hum tere hain
humko naa thukraana aa
o Bharat ke Bhagwaan chale aana
hum tere hain
humko naa thhukraana aa
o Bharat ke Bhagwaan chale aana
hum tere hain
humko naa thukraana aa
o bharat ke Bhagwaan chale aana

ganga bhi wahi
jamuna bhi wahi
par gaaon shehar gulzar nahin
gulzar nahin

hum dukhiyon ke dukh dard mita jaana aa aa
o Bharat ke Bhagwaan chale aana

tu hari bhari aabaadi de
jab janm diya azaadi de
azaadi de
tu hari bhari aabaadi de
jab janm diya azaadi de
azaadi de
azaad nahin to ghar bhi veeraana aa aa
o Bharat ke Bhagwaan chale aana

Hindi script lyrics (Provided by Sudhir)

हम तेरे हैं
हमको ना ठुकराना आ
ओ भारत के भगवान चले आना
हम तेरे हैं
हमको ना ठुकराना
ओ भारत के भगवान चले आना
हम तेरे हैं
हमको ना ठुकराना आ
ओ भारत के भगवान चले आना

गंगा भी वही
जमुना भी वही
पर गाँव शहर गुलजार नहीं
गुलजार नहीं

हम दुखियों के दुख दर्द मिटा जाना आ आ
ओ भारत के भगवान चले आना

तू हरी भरी आबादी दे
जब जन्म दिया आज़ादी दे
आज़ादी दे
तू हरी भरी आबादी दे
जब जन्म दिया आज़ादी दे
आज़ादी दे
आज़ाद नहीं तो घर भी वीराना आ आ
ओ भारत के भगवान चले आना

7 Responses to "Ham tere hain hamko na thhukraana"

Our tributes to Dev Saab !
He has immortalized himself in our hearts , and will be there as long we discuss Hindil films.

@ Sudhir ji – thanks for this post – great – as usual..


sorry for the typo in HINDI above.


I have never seen him in dhoti.
The only time HP Das has gone solo was in Insaaf-1946. The above film is his second and last one.


Nitin ji,

In the 1955 film ‘Insaaniyat’.

He did quite a bit of unique things in that film – sporting a rapier sharp moustache, dancing while playing the flute, celebration dance on the mock toy horse, horse riding and sword fighting. That really was a one of a kind for him. I do not recall him in any other film that was a costume drama such as this.

Come to think of it, I do not recall any other film that he did for a banner from Madras. (Insaaniyat is a Gemini production).

I request for confirmation of this thought.



Not even in Insaniyat


Dev Anand in dhoti in ‘Munimji’ (1955), albeit in a disguised role.

Dev Anand in Shivaji Ganesan’s ‘Amardeep’ (1958).


Dev Anand in differnt get-ups in the song from Funtoosh-56 ” denewala jab bhi deta…”


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