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

Mubaarak ho dulha dulhan ko ye shaadi

Posted on: April 4, 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.


Today’s song is from a film called Paak Daaman-1957.

1957 was an year in which there was good variety in the subjects handled by the film makers. Musical films like Aasha, Paying Guest, Baarish, Dekh Kabeera Roya, Naya Daur etc, films on Murder and Mystery, films on farmers, comedy films, Tragedy films, Mythological films,Costume dramas, Fantasy film,Stunt films…..

You just name the genre and a film on that genre was made in 1957. One of the genres, however, which is neglected, by and large, in India is Muslim Social films. “Paak Daaman” was a film of this genre in 1957.

Sometimes I wonder,there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production, direction or composing music…still not many films were made on Muslim backgrounds. There is a sizable and rapidly growing portion of Muslim population in India,still, but if you count films based on Muslim issues or Muslim backgrounds, then they may not account for more than 1 to 2 % of the total film production.

It is not only the Muslim films, but films on other minorities like Christians, Parsis, Jains, Budhists,Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.

Muslim films are fall under Two categories. One, films made on Historical Muslim characters like Akbar, Babar, Humayun, Shahjehan, Razia Sultan etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-of both types. To my surprise, I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying, since I do not know the story lines of every film, still the number will not go beyond 200 films, despite liberal stretching !

The point I want to make here is that not many Muslim social movies are made in India over the years. The earliest such film was Najma-43, I think. One very very explosive Muslim social film, made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story, it is a very very hot story. I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. May be you will be attacked or thrown out of the society. But remember, I am doing this film, because I want our people to improve on par with others. If you want, you can reject the film even now. Think and tell me before we start shooting.” Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release, the film did evoke violent reactions from a section of the Muslim society but it subsided slowly.

Some other Muslim socials I remember are Zeenat, Dil hi to hai, Bahu begum, Dastak, Garm hawa, Bazar, Anjuman, Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza, Junoon, Benazir, Ghazal,Chhote nawab. Then there were Barsaat ki raat, Nikah, Shatranj, Mehboob ki Mehendi, Umrao Jaan, Paakiza, Mere mehboob, Chaudhavi ka chaand, Anwar, My name is Khan, Bombay etc. Surely, there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.

Paak Daaman-57 was made by Wadia brothers and the Music Director was Ghulam Mohammed. The film was aptly and slickly directed by S.M.Yusuf.

S.M.Yusuf (Syed Muazzam Yusuf), was originally from U.P. and started his career by assisting directors in various studios. he was one cine artist who migrated to Pakistan and became a very successful director there too.

After Partition, several artistes-heroes, heroines, Directors, Comedians, lyricists, Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. From the successful artistes, the major chunk was musicians-composers like Khurshid Anwar, Nissar Bazmi, Nashad etc. Among the directors. S M Yusuf was the exception who succeeded. The migration of Cine artistes continued till 1965, when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani, Nasir Khan, Pran, Manorama, composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 20 odd films like, Darban, Aina, Grihasthi, Saheli,mehendi, Guru Ghantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen, Bikhre Moti etc.

When he went to Pakistan, he made his first film there, viz. Saheli, which was a frame by frame remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 15 films in Pakistan, before he died on 17-8-1994, at Lahore, from where he had begun his career !

The cast of Paak Daman-57 also included an old timer-actor Kumar. KUMAR was born in the prestigious family of Syeds of Lucknow-UP in India, on 23-9-1906. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema, so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda laash, he was cast as the hero in PURAN BHAGAT in 1933. Even Saigal was also in the film. The film was about to be released and suddenly communal riots broke out in Calcutta. The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT, in the tense atmosphere of Calcutta. The director of the film was Kumar Debaki Bose, a person from a Royal family. He took a dicision and told Mijjan, ” From today, I am giving you a part of my name. You will become KUMAR now.” This solved the film release problem and thus his name became KUMAR from then onwards. Truly enough, Debki Bose thereafter never used the Kumar portion of his name again in his life !

After doing Yahudi ki Larki, Watan, Suhag, Shehar ka Jaadu and Maa ka pyar, Kumar came to Bombay and joined Ranjit Studios.

In 1939, he married another actress PRAMILA (who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947). They got a daughter Naqi Jehan(who too became a Miss India in 1967, exactly 20 years after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat, as a Heroine. Later she married into the business family of Kamdar of Bombay and became mrs. Nandini Kamdar).

Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time, his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster, his salary was not increased inspite of a promise by Sohrab modi). They both decided to launch their own company and on 16-3-1942, SILVER FILM CO. was launched. Its first film was Jhankaar. They produced Bhalai, Bade Nawab Saab, Devar, Naseeb, Dhun and Bahana. Kumar acted in these films. He also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company, Kumar Studios. Then under Shama production, he made Nahle pe dehla, Dhoom Dham and Dilbar.

Later in life he made badal aur bijlee and Jungle king under Artists United films.

From Najma in 1943, Kumar did only character roles in films like Bhishm pratigya, Dayara, Mahal, Shri 420, Khiladi, Maalik, Baiju Bawra, Yahudi ki ladki. His memorable role was in Mughal e Azam, that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him.
His last film was Raat aur Din.

Then he decided to migrate to Pakistan. In Pakistan also he worked in a few films and died on 4-6-1981. His sons are active in Pakistan film industry.

The story of Paak Daman-57 was-

Handsome and well-educated Yusuf(Sudesh Kumar) inherits his father’s estate in Lucknow. To him gambling becomes just a pastime in the company of Asad (Kumar), a man without principles, and his associates Abboo and Nabbo. – Both Yusuf and Asad are in love with the beautiful Suraiya ( Chitra). Her cousin Mahmud (Moti sagar) is also secretly in love with her; but she is unaware of it. She believes that Mahmud loves Sabiya (Krishna kumari), her best friend.

One day Asad sends his mother to Suraiyas aunt with a view to bring about his marriage with her. The aunt rejects the proposal saying that Asad is a wastrel and not a fit husband for Suraiya. But boble Mahmud knowing that Suraiya loves Yusuf suggests that she be married to Yusuf He decides to marry Sobiya who loves him deeply. – Infuriated Asad begins to destroy the perfectly happy matrimonial union of Yusuf and Suraiya. He lures Yusuf into the gulf of vice through gambling and drink. He even forges a letter from Mahmud to Suraiya and involves Yusuf into the murdered of Mahmud.

As the police arrive on the scene. Asad deliberately helps Yusuf to abscond. Hearing of Mahmud’s death, poor Sabiya goes mad. With Yusuf in hiding and out of his way. Asad now proceeds to make Syraiya his own. He sends his henchman Nabbo to steal the letter from her house. He obtains the letter, but his caught by the police. Far away from Lucknow, Yusuf finds a job at the quarry of Haji Saheb who is none other that Sabiyas father.

Yusuf comes back to Lucknow in disguise and his heart bleeds to find Suraiya and child undergoing untold-of hardships with only the faithful old servant Tehsin(W.M.Khan) by her side. – Asad kidnaps Suraiyas child and lures her into his secret den. Since she refuses to marry him, he places the child before the cage of a tiger and opens the door. Yusuf comes up in the nick of time, in the disguise of Gunga, and saves the child. Just then the police arrive with Tehsin and others and Asad is arrested. Thus all’s well that ends well.

The song selected for today is a very melodious one sung by the great Rafi saab. Though the Rafi-Excel sheet says that the song is filmed on actor Moti Sagar, the video shows that it is played only in the background. Whatever the filming, one can see some ceremonies of a Muslim marriage in the picturisation. Enjoy….

Video (Partial)

Audio (Full)

Song-Mubaarak ho dulha dulhan ko ye shaadi (Paak Daaman)(1957) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad


Mubaarak ho dulha dulhan ko yeh shaadi
mubaarak ho dulha dulhan ko yeh shaadi
miley dil se dil
zindagi muskura di
miley dil se dil
zindagi muskura di

Bandha sar pe jab
Chaand taaron ka sehra aa aa aa
bandha sar pe jab
chaand taaron ka sehra
chaand taaron ka sehra
koi jal gaya aur kisi ne dua di
koi jal gaya aur kisi ne dua di
miley dil se dil zindagi muskura di
miley dil se dil zindagi muskura di

Khuda is mohabbat ko
aabaad rakhhe ae ae ae ae
Khuda is mohabbat ko
aabaad rakhhe
aabaad rakhhe
ke jisne ummeedon ki duniya basa di
ke jisne ummeedon ki duniya basa di
miley dil se dil
zindagi muskura di
miley dil se dil
zindagi muskura di

bhare god ya rab khile dil ki kaliyaan
aan aan aaan
bhare god ya rab khile dil ki kaliyaan
dil ki kaliyaan
muraaden hon poori mite naamuradi
muraaden hon poori mite naamuradi
miley dil se dil zindagi muskura di
miley dil se dil zindagi muskura di
mubaarak ho dulha
dulhan ko yeh shaadi
mubaarak ho dulha
dulhan ko yeh shaadi
miley dil se dil zindagi muskura di
miley dil se dil zindagi muskura di

6 Responses to "Mubaarak ho dulha dulhan ko ye shaadi"

I think that this was the first film of actor Sudesh kumar. I had not seen the movie, when it was released, but I feel that it was advertised as the ‘introducing new hero… Sudesh’ ! Please correct me if I am wrong.


According to HFGK, Sudesh seems to have debuted through film “Dayaar-E-Habib”-56.


It seems,Sudesh of Dayaar e Habib may be a different person. Till it is confirmed,his debut film should be considered as Paak Daman-57 only.


The website muvyz lists Sudesh Kumar in a 1956 film “Dayer-e-Habib. Many other websites lists the name of actor in that film only as Sudesh. So one doesn’t know if Suesh Kumar was introduced in Pak Daman.
With our faulty record keeping system one finds that the name of Shammi (who acted in Malhar) has been changed to Shammi Kapoor!.

Couple of other Muslim culture films (probably missing in Mr. Deshmukh’s exhaustive list) : गझल (1964), पालकी (1967), मेरे हुजूर (1968)


Sad that Muslim social films are no longer made. This shows our changed sensibilities.

Why such a late entry for this lovely song? I have often used the opening lines as marriage wishes (of course with appropriate gift!).


psseshadri ji,
Thanks for your comments,
One of my friends from US, Mr. Salim Shah,who is from a filmi family background has sent me a mail,after reading this article,in which perhaps he answers your question.
“You are right about the scarcity of Muslim socials. Mass market dictates the film. Since the failure rate at box office is so high, the film needs to cater to the 85% of audience sentiments. Only brave directors like Mehboob Khan, Guru Dutt, or Raj Kapoor dared themes of uplifting the poor man as they were of a socialistic temperament. Mohan Pictures did make a series of films to cater to the Muslim audience based on a low budget formula and pre-sale of the film with its network of established distributors. My uncles Nanubhai Vakil and Naseem Siddiqui were directors on salary responsible for these films. But these films were primarily based on fairy tale characters. ….”



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