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

Orey Oo Poraan Bondhu Re. . . (Multi Lingual Song)

Posted on: March 24, 2015

This article is written by Arunkumar Deshmukh, 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.


Bimal Roy, Satyajit Ray, Hrishikesh Mukherjee, V.Shantaram etc are some of the directors who enriched Hindi film industry with their offerings. They not only contributed significantly to the industry, but they also helped spread the fame of Indian movie industry beyond its shores.

V Shantaram was a multifaceted personality. He was an actor, Director, producer and a shrewd businessman, who ran his Production House successfully. Born in a Maharashtrian Jain family on 18-11-1901 at Kolhapur, he started his film career doing small jobs in Maharashtra Film company, owned by Baburao Painter. He debuted as an actor in a silent film ‘Surekha Haran’ in 1921. Later on his acting in ‘Dr.Kotnis ki amar kahani’-46 and ‘Do aankhen baara haath’-57 was lauded.

He started directing films with Netaji Palkar-1927-a silent movie. After 7 silent films, he started with “Áyodhya ka Raja”-32 his first Talkie film as a director. He directed 12 films from 1932 to 1941 for Prabhat Films. He directed 23 films from 1943 to 1987 for his own Rajkamal Kalamandir, which he had established in 1942. The name of his company is made up of the first few letters of his parents-RAJaram and KAMALabai.

Shantaram as a director was much ahead of his times. His stress was on making films with a social message from the beginning. At times he did not bother if the film would be commercially successful or not. A case in point is that of the film “Apna Desh”-1949. It dealt with the theme of national Traitors in our own country. The film was not only a great flop, but also attracted Government’s ire. Mystery surrounds over the prints of this film. The film is not available even in the National Archives. Shantaram himself never revealed anything about this film,inspite of being questionrd by the press. It is, however,rumoured that a print is available in Pakistan somewhere. For curious readers, the story and the history of this film is available on this Blog, posted on 3-7-2012.

In his films,Shantaram tackled social reform issues like Dowry, child marriage, incompatible marriages, Widow marriages, prostitute’s life, Patriotism, National Integration, Hindu-Muslim Unity, Rehabilitation of prisoners etc etc.

Today’s song is from the film Teen Batti Chaar Raasta-1953. Film Teen Batti Chaar Rasta-53 deals with language issues in newly Independent India. 1953 was a remarkable year in Indian Film Industry. Many meaningful films with honest refoem subjects were released. At the same time, purely musical and purely entertaining films also came in 53. Bimal Roy gave two beauties, ‘Parineeta’and ‘Do bigha Zameen. Anarkali was a musical film. “Aah” sustained only due to good music. Boot Polish discussed Street urchins, Patita was about widow marriage, so were Shikast and Aas. Jeevan jyoti was a precursor to modern Saas-Bahu spats. Ladki, Mayurpankha and Jhansi ki Raani were entertainers. Shantaram also gave two films- “Teen batti char rasta” and “Surang”. The latter dealt with worker-Management issues.

1953 also started National Film awards as well as Film fare awards. Prabhat film company closed down and composer Ghulam Haider died in Lahore.

“Teen batti char rasta” was quite an entertaining film with some very good songs. The story revolved around a family in which seven people of seven different languages live happily. Linguistic national Integration was the theme of the film. In 1953, Nehru was already toying with the disastrous idea of forming states on linguistic basis. The cause of this was the agitation and death of shri Potti ShriRamulu ,in December 1952, for the formation of separate Andhra State for Telugu speaking people of Madras Presidency. This was the begining of the disinteration of the United cosmopolitan Indian society. Teen batti tried to show that it was possible for people of different languages, to live peacefully if the people are convinced.

The multi language theme was also used in a film of 1956-New Delhi or Nai Dilli. In this film the story involved Punjabi, Tamil and Bengali people. Teen batti film also tackled one more problem. It tried to emphasise that Virtues are more important that mere good looks. The Heroine is shown as a dark skinned ordinary looking good natured girl having singing talent. She is a singer on Radio with another alias, while working in this multi-language family as a House maid. That time it was thought that the film was about Lata Mangeshkar. Shantaram purposely used the same hair style, clothing pattern, mannerism,and even voice and talking style of Lata for the Heroine. To her credit Sandhya did an excellent acting in this film,though later on, she mainly did dancing roles.

The highlight of the film was a Multi language song sung by 7 people on the screen-one each language.. The lanuguages used are Bangla, Tamil, Sindhi, Marathi, Gujarati, Hindi and Punjabi. One can see Nirupa Roy, Smriti Biswas, Shashikala and Sheila Ramani as the young brides in the video. Shantaram used different Lyricists and composers for each language.

This type of multi language songs were tried in earlier films also. Aadmi-39 had such a song of having 7 languages (Hindi, Urdu, Gujarati, Punjabi, Bangla, Tamil and Telugu). It was sung by Shanta Hublikar on the screen. Another such song was in film Shabnam-49 having 5 Languages- Bangla, Gujarati, Marathi, Madrasi and Punjabi. By the way,the First Bangla song in a Hindi movie was in “Muflis Aashiq”-1932. Incidentally today’s song is the last time Zohrabai Ambalawali sang for a film.

The cast of the film was, Karan Dewan, Sandhya, Shashikala, Nirupa Roy, Dewan Sharar, Leela, Smriti Biswas, Sheila Ramani etc etc. The story and screenplay was by Dewan Sharar. Music was by Pt. Shivarama krishnan. One intersting fact is that there is actually a place called Teen Batti in Mumbai ,in Malabar Hill area, near Banganga Tank and it is a cross road having 4 rasta too. The story of the film was…

Teen Batti char Rasta is a story of three lights, four streets (A square), six boys and six girls from different provinces. Teen Batti Char Rasta is the home address of Lala Khushalchand who is a staunch supporter of inter-provincial amity and an ardent advocate of national and cultural unity. Lala Khushalchand is not an idle dreamer, but a practical man, he means what he says and practices what he preaches. He wants his home to be a model fashioned after his ideals. To him Three Lights are symbolic of three illuminating aspects of life – love, learning and loyalty and the meeting point of Four Streets as the common goal for people from all directions and all provinces.

His six sons, a devoted band of brilliant boys who share their fathers views, help him to build up the home on the pattern designed by Lalaji. Along the main theme runs a gentle stream of another delicate problem. It touches the future of millions of dark and plain – looking girls. What is the future of such girls? Is there any silver lining to their dismal prospects? The romance between Lalajis youngest son Ramesh and Shyama, a plain girl, shows a starry streak on the dark horizon of their lives.

Five of Lalaji’s sons marry girls from different languages. The sixth son, Ramesh is in love with Kokila, a Radio singer, whom he has never seen. He does not know that the house maid working in his house-Shyama, is actually Kokila. Shyama is dark skinned and ordinary looking but a very good natured girl. Over a period and after many incidents,Ramesh realises that virues are more important than good looks alone and accepts Shyama as his wife.

Let us now enjoy this Gem from the past. This special song is in fact a collection of seven separate songs, all in different languages, with different lyricists and music directors. These seven songs are picturised together to form one multilingual song consisting of Bangla, Tamil, Sindhi, Marathi, Gujrati, Hindi and Punjabi, in that order.

It is easy to notice that Asha Bhonsle sings in Gujarati, Zohrabai Ambalewaali in Banarasi Hindi and S Balbir in Punjabi. HFGK mentions Lata too as a singer in this song. It is not clear who sang the Bangla, Tamil, Sindhi and Marathi portions of the song.

As for picturisation, one can notice that Smriti Biswas lip syncs in Bangla, Sheila Ramani lip syncs the Sindhi portion, Shashikala figures in the Marathi portion and the Gujarati portion is lip synced by Nirupa Roy. .

Several music lovers assisted in deciphering the lyrics of this song, viz. Ava Suri (Gujarati and Punjabi), Avinash Scrapwala (Marathi), Ambrish Sundaram (Tamil), Dadlani (Sindhi). There is still considerable room for improvement in the lyrics. Corrections in the lyrics are welcome.


Song – Orey Oo Poraan Bondhu Re. . . (Teen Batti Chaar Rasta ) (1953) Singers – Asha Bhonsle, Zohrabai Ambalewaali, Balbir, Lyrics – Kanu Ghosh (Bangla), Natraj (Tamil), GD Madgulkar (Marathi), Ram Panjwani (Sindhi), P L Santoshi (Banarasi Hindi), Feroz (Punjabi), MD – Kanu Ghosh (Bangla), Natraj (Tamil), Vasant Desai (Marathi), Pt Shivram Krishnan (Hindi and Punjabi), Avinash Vyas (Gujarati)


is baat ka faisla karo ke kaun se praant ka sangeet achcha hai
ye suno bangaali geet

bahut khoob
abhi faisla kiye dete hain
ore o o o o
o o
poran bondhu re
aage jaanle ae tore premer paade podtaam na aa aa
ore o o
o o o o
poran bondhu re
aage jaanle ae tore premer paade podtaam na aa

antar dilaam kaala re
holaam kaalam keene ae ae ae
aami kaala re laagi phuljhadi laam
o o o
aami abhaagini
aage jaanle ae
to kaala re
mon ditaam naa
magar hamaare dakshin ke karnataki sangeet mein kuchh aur hi baat hai
Alli kuLaththarughay andhi pozhudhinilay
Anbu varavu “thayDee” “paarthu” “migha” kaaththirundhayn
Aasai karangaL aaaaaaaa
Aasai karangaL yennai ondri aNaikka illai
Paavi …. naaNam migham aaghudhaDee
sa re ga
re sa re sa
re ga dha pa dha re sa re sa
sa sa re ga ga pa pa dha dha
sa re ga re pa dha sa
ga pa dha sa re ga sa
pa dha sa pa
ga re sa pa dha pa dha
Alli kuLaththarughay ey. . ey. . ey. .


hamaare Sindhi gaane ki dilkashi ke kya kehne
sik main
o sik main
sik main
o sik main
sikia khe na sikai o satai o payara.
Sun haal muai jo, hinoo haal muaijo Iho hal munghjo

Pahinje akhyun mein
tokhe vihaarian,
to khan sivai kahin dee na niharian.
Jia men judjain o payara
Sun haal muai jo, hinoo haal muaijo

Sik main
o sik main
sikia khe na sikai o satai o payara.
Sun haal muai jo, hinoo haal muaijo

aur hamaare Marathi laawni ke sangeet ki to kuchh na poochoo
Ho o o ji ee ee
Tulas pujite reshim nesun
Tulas pujite reshim nesun
Kaa ho chheditaa aa aa aa aa
Kaa ho chheditaa ugaach
Haasun haasun
Tulas pujite reshim nesun

?? ? ?? padar saawru u u
Phut’te haasu ho kiti aawru
Raaya phut’te haasu ho
Kiti aawru
Raaga ???? khadi paasun
O o o
Raaga ??? khadi paasun
Kaa ho chheditaa ugaach
Haasun haasun
Tulas pujite reshim nesun
Tulas pujite reshim nesun

hamaare Gujarat ke garba geet per to saara desh deewaana hai
aa aa aa
aa aa aa
aa aa aa
aa aa

chhaanu re chhapnu
chhaanu re chhapnu
chhaanu re chhapnu
kai thaaye nahin
thaaye nahin
jhamke na jhaanjhar to jhaanjhar kehvaaye nahin
chhaanu re chhapnu
kai thaaye nahin
o o o o o
o o o o
o o o
o o o
o o o
ek ghaayal ne paayal
ghaayal ne paayal
ek ghaayal ne paayal
be chhupya chupaaye nahi
jhanjhar ne santaadi raakhyun rakhaaye nahi
chhaanu re chhapnu
chhaanu re chhapnu
chhaanu re chhapnu kai thaay nahin

arre chhodo bhi
hamaare banaras ka dehaati geet sunogi to dang rah jaaogi

ye saas sasur ka gharwa bahutiya
ye saas sasur ka gharwa
yahaan chalihen na tera nakharwa bahutiya
chalihen na tera nakharwa
o o o o
o o
bhor bhaye tu chakki chalaawe
ho chakki chalaawe
ho o chakki chalaawe
ho o o chakki chalaawe
phir jaaye paani bharwa bahutiya
jaaye paani bharwa

ho o
aisi bahutiya ko aag lage jo
bas kar le mora bitwa re
bitwa kaam kare khetan mein aen
aur ghar mein bahutiya litwa re
yahaan chalihen na tera nakharwa bahutiya
chalihen na tera nakharwa
ye saas sasur ka gharwa

to ab punjabi geet bhi suniye
muqaable ke garaj se nahin
matlab ke lihaaj se
sun sun o beliya
sun sun o beliya aa
paake peeng preetaan waali
laiye prem hulaare
gumda vango mil ke bainye
daryaavaan de taare
oye saadi shaan zamaana vekhe
ae ae ae ae
oye saadi shaan zamaana vekhe
te hove balihaare
ikko chan di rishmaan baniye
ikk amber de taare
ikk amber de taare
o o o o o o o
o o o o hoye
sun sun o beliyaa

12 Responses to "Orey Oo Poraan Bondhu Re. . . (Multi Lingual Song)"

This song is a gem.Thanks for uploading this and reminding us of the USP of Shantaram: his involvement with social themes and constructive reform. I also like the write-up, where you have noted the idea of linguistic states as “disastrous “. I have lived and worked in seven states speaking as many languages for over 35 years and know first hand how bad this linguistic state business is. It has obscured the fact that we are all basically one; this multilingual song itself demonstrates that the same seven swaras rule the singing in all the languages! And Andhra, which was the first state to be carved on linguistic lines is itself divided now, though speaking the same language! How absurd and how sad! V.Shantaram was a genius with a social conscience.


R.Nanjappa ji,
Thanks for your comments.
I hail from the Nizam state of Hyderabad,which was consisting of 8 Telugu speaking districts,5 Marathi speaking and 3 Kannada speaking districts(Bidar,Gulbarga and Raichur). We were so happy then. After Andhra Pradesh,Maharashtra and Karnataka formation, the state was broken into 3 parts,destroying harmony and its cosmopolitan brotherhood. After SRC action (State Re-organisation committee Report),the entire Indian culture became fragmented. None benefitted,I suppose.
This disaster was Nehru’s whim. Like AP, same language states like MP,HP and Bihar also got divided. So,what was the gain ?
V.Shantaram was great because of his vision.


Yes, Sir. You have again made me nostalgic. The Assembly of the old Madras Presidency (1937-39) ,had members speaking Tamil, Telugu, Kannada, Malayalam, Urdu, Hindi and English . Each one spoke in his own language, without interruption. And since outsiders were not allowed, the speeches were often translated by some members themselves into other languages , even when they did not agree with those views! We wonder whether such good times will return, ever.

This is the beauty of these write-ups in this blog. So much of social history is covered, and other useful information shared. We feel so enriched. Thank you ever so much.


Any idea whether Lata raised any objection caricaturing her.


Nitin ji,
I have no idea about it,but I dont think she would have objected to it,considering the hint was very subtle and Shantaram was involved.



Pl note that Lata was not a celebrity in 1953. Just six-years old play-back singer (She started PB singing in 1947).Actually we thought that she is being honoured.
Arunkumarji, I feel this one to be a fantastic contribution to the blog. Thank you very much.

D Samant


It is really a painstaking work to decipher lyrics of multiligual songs like the one discussed here. I have been struggling to decipher lyrics of another multiligual song from ‘Aadmi’ (1939) but gave up the efforts long back. Only a die-hard film buffs like you could have perseverance to complete the task. Kudos to you.

Incidentally, Zohrabai Ambalewaali sang her last song for Nausherwan-e-Adil (1957).


Sadanand ji,
Thanks for your kind words.
Atul ji has done the major work collecting lyrics for 5 Languages. I got only 2 Language lyrics from my friends. So the credit is his. This song’s write up was ready by 5th March but the Lyrics delayed the posting. It was truly a difficult task.
I am planning to bring the other 2 M-L ( multi-Language)songs also onto this Blog sometime in the future.


contd… also thanks for Zohrabai’s last song.


Somewhere I read that even if she discontinued singing in 1950 itself she would have become ‘amar’. I am sure she was quite popular in 1953 otherwise why VS would bother to copy her style.



I agree with you for your first two statements. Please try to visualize the situation in 1953. The print media was not overflowing with photographs like today.Singers like Lata ,Asha,Shamshad,Geeta, Rafi, Mukesh. were audible (due to Radio Ceylon and not Vividh Bharati) but not visible in the print. People were unable to recognize the personalities behind the screen.Leave aside their behaviour.
Lata first sang in 1952 in V Shantaram’s Marathi movie. Later in Parchhain (Hindi) was solely due to C Ramchandra who insisted on Lata. Otherwise VS used Jayashri as actor-singer before. Lata was mimicked in Teen Batti…was only an ad-gimmick .as VS had no time to observe Lata in details.The other gimmick was the four acting bahus with their mother-tongues and this was more correct.
I think this has become unnecessarily elaborate.Pl excuse me.

D Samant


Excellent effort in deciphering a multilingual song.


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