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

Sambhaalo…palla dori palla

Posted on: June 30, 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.

Here is a song from the film ABHIMAN-57. The name Abhiman ( Pride ) will remind people of another film of the same name , made in 1973-featuring Amitabh and Jaya. It was on the life of two singers who get married because of music and later get separated also because of music and Pride of one partner. This 1957 film was also about Pride but not about Music. It was a family drama depicting false pride of a girl-destroying her family.

The Music Director for this film was Anil Biswas. The year 1957 was an important year for him. His married life with wife Ashalata ( Mehrunnisa Bhagat ) was already on the rocks. All the profits accrued from their joint venture Variety Films were taken by Ashalata. She was an alcoholic too. He decided to separate from her and gave her almost everything he had. He found himself on the pavements- but he got rid of her once and for all. Now he was free to marry his new love, Meena kapoor. Once the film Abhiman was completed and went through the Censors on 4-2-1957, Anil Biswas and Meena kapoor finally got married on 19-3-1957. (ref: Listeners’ Bulletin No 123 of Sept 2003).

Film Abhiman had only six songs in it. Two Asha duets, two Geeta solos, one Asha solo and one Manna Dey solo. Asha had one duet with Anil Biswas ( today’s song) and one duet with Mohd. Rafi. Yes,with Mohd. Rafi. I am repeating this, because Anil Biswas somehow never liked Rafi as a singer. As a person he had lots of respect for Rafi, but he did not have very high opinions about Rafi’s singing.

From 1935 to about 1950, Anil Biswas had used the voice of Surendra as his lead singer, but as Surendra’s style was becoming obsolete, he relied on other singers like Talat, Mukesh and Manna Dey- but not Rafi. When most of the other composers were eager to use Rafi, Anil Biswas was reluctant to use him. Mohd. Rafi was aware of this fact, but whenever Anil ji called him for a song, he promptly and open heartedly went there and gave his best without any ill feelings.

Anil ji gave Rafi just 10 songs in 5 films, from 1950 to 1958. Comparatively Mukesh got 20 songs from 12 films. Talat 14 songs from 7 films and Manna Dey 34 songs from 15 films. Unlike others, Rafi never got any memorable song from Anil Biswas !

The film Abhiman-57 was directed by Mahesh Kaul and its cast was Shekhar, Ameeta, Mahmood, Chand Usmani, Nazir Hussain, Badri Prashad, Ram Avatar, Sheela Vaz, Yakub etc etc. The story of the film was-

Sukhlal Verma( Nazir Hussain) was a man much influenced by Western ldeals. He wanted his two daughters, Alka ( Amita)and Kiran( Chand Usmani) to be well-educated, independent girls, who could take care of themselves in any situation. But his wife was afraid that too much freedom would spoil the girls and their would forget old family traditions. So she tried her best to keep them in check as much as possible.

In this aim she succeeded with Kiran, the elder girl who was by nature a simple and straightforward girl, but she was unable to make much headway in case of Alka, who was the favourite of her father. So Alka grew up to be a headstrong, foolish and stubborn lass.

It was after the graduation of the two girls that Mr. and Mrs. Verma were worried about marrying the girls off in respectable houses. A great load was lifted off their shoulders when a family friend, Dayaram Chacha, who was by choice a marriage broker, arranged for two very eligible bachelors for the two girls. Thus Alka was married off to Sureshchandra Kapoor( Shekhar), and Kiran to Dilip Kumar Mathur( Mehmood).

The parents of the girls heaved a sigh of relief. But the trouble had just about started. The Kapoor home was a womanless one. The old father, Raghunath Kapoor, was all that respectability and gentlemanliness could demand. His son adored him as only a motherless boy can adore a father.

It was in this sober household that the fiery Alka made her entry, after which there was instant confusion. The views of the three clashed at every step; the father and son wished to lead simple, quiet lives while Alka loved to be gay and worldly. She loved the glamour of life, flashy clothes, high living and expensive habits. When these were met with gentle opposition and quiet rebuke on the part of her father-in-law and her husband, her pride was touched in the raw, the pride of a foolish ignorant. She grew hostile towards them; they tried their best to patch things up but the gap between them grew, and husband and wife slowly started to drift apart, not due to any lack of love between the between them, but only because of a foolish pride which to a headstrong girl was more important than her husband.

The Mathur household consisted only weakness. Dilip Mathur was an only son, and he was spoiled. He had wasted away the fortunes of his ancestors and only a tradition and a large house showed that they had once been rich. Here the simple and homely footsteps of Kiran led her. For her, her husband, whatever he may be, was her God. Before his wishes all her desires were secondary. His will was law. But this was unfortunate, for Dilip wanted a wife who could play with him on an equal footing, who would share his pleasures of the high spots of society, who would, in short, be as reckless and inconsistent as himself.

For him Kiran was too tame, too dull. So he looked across his own doorway and his eyes fell on the sister-in-law, Alka, who had passed into another house. She was the sort of girl that Dilip had always admired and wanted. So he set about laying his trap as unscrupulously as any hunter. He started going to her house regularly and tempted Alka to enjoy with him those pleasures which had always been dear to her heart.

She, in turn, already prejudiced against husband’s better judgement, thought there would be no harm in going out often with Dilip, for after all he was her brother-in-law. To do her justice there was no evil intent in her mind regarding Dilip, she only liked him as a brother, and she preferred his spirited company to the stiff behaviour of her husband. But Dilip took advantage of her more and more away from her home, till at last Alka became a regular late-nighter with no thought for home and no sense of responsibility towards her husband and father-in-law.

When matter came to a head, she fought with them and went to her father’s house. But old Sukhalal, for all his Western ideals, could not tolerate the insolence perpetrated by his once beloved daughter. He told her to go back to her husband’s home, for that was the only place for a married woman. But Alka’s pride, her false, ruffled bloated ego was already much hurt by the piercing words of her husband whom she really loved deep down in her heart. She could not bear to go back and face him. she wanted him to came to her and lead her back home. But he was not willing to lower the prestige of his father before the foolish whims of his wife. So the deadlock stood, and Alka left her father’s house to stay in a hotel.

In the Mathur home there was deep sorrow. Day after day Dilip had deceived his wife to go and see Alka, and day after day Kiran had seen a vulgar passion contaminate the sanctity of her home. What could she do? At last she thought of a plan, a daring plan suggested by Dilip’s mother. Suresh was sick. His father( Badri Prasad) had left him for good. Gone away in the hope that his quitting the house might bring Alka back to Suresh, but to no avail. And now with the loss of two most prized objects, his father and his wife, Suresh was slowly sinking into nothingness, lossing his will to live.

And this was where Kiran comes to his aid. She would come daily to look after him. She would come dressed in finery, And this is where her game really lay. For Dilip this was a complete change in his wife. She used to go out now, often, happy, gay, enjoying life, and usually in the company of Suresh. And slowly a jealousy grew up in Dilip. He forgot Alka and his hate shifted on Suresh.

Now Dilip got into a murderous temper. And then his thoughts came back to Alka, alone and helpless in a city hotel. This provided his chance to take his revenge on Suresh. He rushed out of his house, reached the Hotel, and took away Alka on a pretext of getting her a job. They reached a deserted Versova Shack, and there in the loneliness of a dark night, he bared his real self. And Alka realised in horror what she had been playing with for so long. She screamed and shouted and begged but to no avail. The monster in Dilip was advancing upon her when out of the blue a blow landed on Dilip’s head, and all went black before his eyes.

It was….Kiran and old Raghunath. Fate had carried them to this spot at this fatal juncture. The final scene unfolded into hall of Dilip’s house. Sister embraced sister, Brother embraced Brother, as the pride of a foolish woman was crushed before the horrible spectacle of a brother-in-law’s passion and that vicious passion was forever buried in the tears of love shed by a devoted wife. This was Kiran, who had shown to all what it is to be an Indian woman.

The video of the song shows Mehmood sitting in the ‘Box’ class with Ameeta, who is his sister-in-law (saali). The song is picturised as a tamasha song on stage where actor Ram Avatar lip syncs in the voice of Anil Biswas.

The song is penned by Indeewar.


Song-Sambhaalo….Palla dori palla (Abhimaan)(1957) Singers- Anil Biswas, Asha Bhonsle,Lyrics-Indeewar, MD-Anil Biswas


he ae ae
daftar ho ya
ghar ho bhaiyya
aa aa aa
aa aa aa
mahal ho ya ho chaal

ae ji shahar ke har kone mein bichha hai
makkaari ka jaal
ae re sambhaalo sambhaalo sambhaalo sambhaalo
per kya
palla dori palla
palla dori palla re
palla dori palla

ae ji
kadam kadam per dhokhe hain baabu
gali ho ya ho mohalla
palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla

ae ji
achcha hotel dekh ke baithhi
peene coca cola

to phir
arre paison ka kya
phir de dena
seth ye hanskar bola

phir dikha ke wallaaha
laga rijhaane ae ae

dikha ke wallaaha
laga rijhaane
mujhko mua mutalla

palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla

ae ji mujhe naukri de di kisi ne
sunkar meri kahaani

magar naukraani ke badle
kehne laga wo raani

agar maalkin pahunch na jaati ee ee
agar maalkin pahunch na jaati
kya hota mere allah

palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla

ae ji
ek mahaashay
mujhe kahaa karte thhe sister sister

sister hai
lekin dil mein aur hi kuchh
socha karte thhe mister

phir dekh ke mauqa
jhat se ek din
dekh ke mauqa jhat se ek din
jhapak liya era palla

palla dori palla
palla dori palla
palla dori palla

ae ji mila mujhe ik naatak waala
naam thha jiska timmi

kehne laga main tujhee bana doonga
nargis ya

kehne laga
shaam ko aa jaana
kahaan ghar mere

uyi daiyya
shaam ko aa jaana
das number Byculla

palla dori palla
palla dori palla re
palla dori palla

ae ji
kadam kadam per dhokhe hain baabu
gali ho ya ho mohalla
palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla
palla dori palla re
palla dori palla

7 Responses to "Sambhaalo…palla dori palla"

Production house:Filmistan Private Ltd.
Starcast:Ameeta,Chand Usmani,Shekhar,Mehmood,Sheela Vaz,
Leela Misra,Nazir Hussain,Indira Bansal,
Badri Prasad,Shakuntala,Vithaldas Panchotia,Ram Avtar,
Kusum Thakkar,Yakub

Story,Screenplay, dialogues:Pt.Mukhram Sharma


Who is the lady lip syncing in Asha Bhonsle’s voice ?


Is she Kusum Thakur?


Sorry Atul ji

I am trying to find it out, but not suceeding in this job 🙂 , I will try today again in this regard……..



Le Ja Uski Duwaaye O Jo Tera Ho Na Saka
Mohammed Rafi, Anil Biswas, Majrooh Sultanpuri, Heer (1956)
Bhagwan Bhi Khush Khush, Shaitan Bhi Raazi
Mohammed Rafi, Anil Biswas, Indeevar, Sanskar (1958)
Chali Jawani Thokar Khaane Duniya Ke Bazaar Me
Asha Bhosle, Mohammed Rafi, Anil Biswas, Saraswati Kumar Deepak Abhimaan (1957)
I could find just 3 songs of AB and MR.
Hats of to Rafi to hold no grouse against AB.for not using him more.
Hats off to AB also who could hold his own without much of Rafi; a la OPN who held his fort without any Lata songs.
Those were the days and those were the men. They won’t come back for sure; the days nor the men!


Nitin ji,
You are right. Those were the days and those were the men ! Indeed.
Rafi’s songs for AB-
1. Film Beqasoor-50….1 Trio
2. Film Paisa hi Paisa-56….1 solo, 2 Duets and 1 Trio
3.Heer-56….2 solos and 1 Duet
4. Abhiman-57….1 Duet
5. Sanskaar-58….1 solo

This is for your information.



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