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

Tere darbaar mein teri sarkaar mein

Posted on: July 16, 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 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.

This is a song from the film Aplam Chaplam-1961. Talat and Lata sing with chorus, under the baton of composer Chitragupta.

If I ever make lists of composers under different headings like, Melody, Tune,Orchestra, Interludes etc, the first 5 names under the heading “Melody “would be, Ravi, Hansraj Behl, Khemchand Prakash, Anil Biswas and Chitragupta ( not as per any Rankings). Barring Anil Biswas, all the rest four composers never got enough name and fame despite making very melodious music. Chitragupta, Khemchand Prakash and Hansraj Behl got considerably less number of leading production house films compared to what they delivered, in my opinion.

It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their Father and other Brothers, we find that sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony Walker, Som Dutt, Naina Sahu, Meera Joglekar, Ajit Chitnis, Ashok Sharma, Rajendranath, Narendranath, Anup Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not hereditary !

One such case is of Ravindra Kapoor. He was the younger brother of Kamal Kapoor and cousin of Prithwiraj Kapoor ( their mothers were sisters). Kamal Kapoor in his hey days acted as Hero in 28 films and worked as character actor in about 200 films. His younger brother Ravindra Kapoor ( not to be confused with Ravinder Kapoor aka Goga Kapoor) acted as a Hero in just about 7 films ( Paisa-57 with Azra, Sun to lo haeena-58 with Shashikala, Maine jeena seekh liya-59 with Ameeta, Khoobsurat Dhoka-59 with Shashikala, Aplam Chaplam-61 with Kumkum, Ek Ladki saat Ladke-61 with Ameeta and Kunwari-66 with Indrani Mukherjee) and acted in about 40 films in character roles.

Today’s song is written by Prem Dhawan, composed by Chitragupta and sung by Talat and Lata, with chorus. The film was made by Mukul Pictures and was directed by Roop K. Shorey.

It is said that in India a full length comedy film is rarely a box office success. Yet, Roop K Shorey was known in industry circles as the wizard of comedy. Born on 28-1-1914 in Quetta,Baluchistan, with a silver spoon in his mouth, and raised by an English governess, Roop K Shorey acquired an early interest in Western music and English literature. As a child, he was a prolific writer and composer, and followed in the footsteps of his father Roshanlal Shorey in making his first full-length comedy Lucky Lovers at the age of 17. Roop’s next venture was Majnu (1935) — a musical comedy satirising the the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. Playing the lead was Roop’s childhood friend Harold Lewis, who has since been known by his screen name Majnu. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu trapped on the railway tracks by the villain. The film confirmed his success as a film-maker, and audiences leaving the first show lifted him on their shoulders and danced joyously.

Roop’s next film, Tarzan ki Beti (1938) was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placedPunjab on the entertainment map of India and the world. Majnu made a marked return in Nishani (1942), a musical situational comedy with Majnu in a double role. With music scored by Pandit Amaranth, and Ragini as the heroine, Roop and his father personally trained the technical staff and musicians, who worked morning to night on a fixed salary.

With a solid reputation in Hindi and Punjabi cinema already established, Roop began to set new trends in comedy film with Ek Thi Ladki (1949, starring Motilal, Meena Shorey, Kuldeep Kaur, Majnu and introducing I S Johar. One of Roop’s biggest hits as a producer, it launched Meena Shorey’s acting career, known by her screen name as Lara Lappa girl, and I S Johar’s popularity as a comedian. With Partition, Roop and his family lost their film empire in Lahore, but they shifted to Bombay and tenaciously continued as before. In the meantime,Roop had married Meena. In the years following independence, he produced Dr Chaman (Punjabi), starring Meena Shorey, Karan Dewan, Om Prakash and Kuldeep Kaur, Dholak (1951), with Meena Shorey and Ajit in the lead-role, and Ek Do Teen (1953) starring the by-now-familiar Motilal-Meena team.

Roop specialised in the pure situational comedy in which the characters were ready to laugh at themselves rather than take pleasure at laughing at others. R K Karanjia, writing for Blitz in 1953, called Roop `The King of Comedy’, and litterateur Mulk Raj Anand paid him an eloquent tribute.

Roop never duplicated the success of Ek thi Ladki,but he was obsessed with the story and went on trying that same formula in many of his films,without much success. He considered I S Johar and Majnu as his Lucky Mascot and repeated them in the same role in many films. Meena had migrated to Pakistan despite his protestations. He too had gone with her,but returned alone. Meena kept coming to India to work in films here. She used to even stay with Roop Shorey. Then she went back to Pakistan never to come back. She died in absolute poverty and neglect in Pakistan.

Starting with Majnu in 1935 Roop directed a total of 18 films. His last directed film was Ek thi Reeta-71. In Pakistan,he had directed film ‘Miss 56’, in which his then wife Meena Shorey was the Heroine. The film was a copy of ‘Mr. and Mrs 55’ made by Guru Dutt,in India.

Roop soon relinquished his directorial responsibilities, but continued to produce full-length comedies throughout the sixties, including Aplam Chaplam (1961), Main Shadi Karne Chala (1962), Akalmand (1966). In 1971, he produced Ek Thi Rita, a smash hit based on the English play A Girl Called Rita, which launched new talents Vinod Mehra, Yog Raj, Kumar, Madhvi and Pompi.

Despite the closing of Shorey Studios in Lahore, Roop’s popularity in Punjabi cinema continued throughout the Partition. Among the Punjabi pictures directed by Roop were Dulla Bhatti, Koel and Mangti. Mangti became very popular for its situational music scored by Govindram, its witty dialogues and healthy humor. This film broke all records of previous Hindi and Punjabi films, running for over 75 weeks in one cinema hall at Lahore. It gained a profit of over 15 lakh, an enormous sum in the forties. Roop Shorey, who passed away at the age of 56, on 3-6-1973, will always be remembered for his serious approach to a genre known for its lightheartedness. ( adapted with thanks from an Indian Express article.)

This film had the cast of Ravindra Kapoor, Kumkum,I S Johar, Majnu, Badri Prasad, Mridula, Jeevan, Tiwari, Tabassum etc. The story of the film was-

APLAM CHAPLAM-1961 was yet another attempt by Roop K Shorey to relive the magic of Ek thi Ladki-1949. Throughout his life he was obsessed with this one theme only. Additionally he would invariably take I.S.Johar and Majnu, whom he considered as his mascots. Johar considered this pair as “Bob Hope and Bing Crosby ” of India.

In this film again the story was written by Johar on the same lines with minor changes.

Aplam(Johar) and Chaplam(Majnu) are small time crooks. One day they bring a beautiful girl Lajwanti(Kum kum) from an orphanage with a promise to make her a big film star. They set up a Theatre and arrange Lajo’s dances. They make lot of money.

Ramesh(Ravindra Kapoor), a young man from a town, comes to the city to invest some money. This jodi catch him and invest(swallow) his money in the theatre. Lajo and Ramesh fall in love.

Actually Lajo is an orphan with her aunt in a village, who sends her to orphanage to save her from her own husband Biharilal(Tiwari). When Biharilal learns from the aunt where Lajo is, he comes to the city to get her, as she is an heiress to a great fortune. He contacts Aplam Chaplam to get to Lajo. Meanwhile Ramesh and Lajo are separated due to a misunderstanding.

When the crooks realise that Biharilal wants to kill Lajo, they decide to save her and in the process also repent and reform.
In the end Lajo is saved, Biharilal goes to jail and Lajo and Ramesh get reunited and Aplam-Chaplam become Lajo’s Estate Managers.

Now let us enjoy this duet….


Song-Tere darbaar mein teri sarkaar mein (Aplam Chaplam)(1961) Singers-Lata, Talat Mehmood, Lyrics-Prem Dhawan, MD-Chitragupta
Chorus

Lyrics

Tere darbaar mein
teri sarkaar mein
Le ke aayi hoon pyaar
Ba adab bamulaahija hoshiyaar
Tere darbar mein
teri sarkaar mein
Le ke aayi hoon pyaar
Rashqe aftaab ho
rashqe maahtaab ho
Ya ho rangeen bahaar

Ba adab bamulaahija hoshiyaar

Bewafa naseeb hai
main to bewafa nahin
Pyaar ke siwa meri
koi bhi khata nahin
Bewafa naseeb hai
main to bewafa nahin
Pyaar ke siwa meri
koi bhi khata nahin
Phir bhi mere waaste
dil mein kya jagah nahin
Dekhiye to pyaar se bhi ek baar
Ba adab bamulaahija hoshiyaar
Tere darbaar mein
teri sarkaar mein
Le ke aayi hoon pyaar
Baa adab bamulaahija hoshiyaar

Tujhse hi ye zindagi
tujhse hi naseeb hai
Dil ko kuchh na chaahiye
tu agar kareeb hai
Tujhse hi ye zindagi
tujhse hi naseeb hai
Dil ko kuchh na chaahiye
tu agar kareeb hai
Mil sake na pyaar to
baadshah gareeb hai
Dil mein aa bhi jaayiye
le ke karaar

Ba adab bamulaahija hoshiyaar
Tere darbaar mein
teri sarkaar mein
Le ke aayi hoon pyaar
Rashqe aftaab ho
rashqe maahtaab ho
Ya ho rangeen bahaar

Ba adab bamulaahija hoshiyaar
Ba adab bamulaahija hoshiyaar

1 Response to "Tere darbaar mein teri sarkaar mein"

Shekhar
Arun saab Enjoyed this wonderful informative throwing light on Roopke Shorey he was debonair Person it is true to confirm No trees can grow under Banyan Tree , Kapoor Family almost all Prithviraj Kapoor and his sons were gifted in acting though some did take bit of time like Shammi Kapoor and Shashi Kapoor. Those others you mentioned were right like Devananand, Shashi Kapoor’s son did not reach at their family fame,or later conflict of interest .. There were other who grew under the Banyan tree were Madan saab they were like giant Banyan Tree, While it was dominant under its shade , the story of Dhiren Ganguly also known as Dhirendranath Gangopadhya or – D.G. another was Debakikumar Bose .
Madan had so many theatres all over India . He was wealthy and successful enterprenur .Silent Hindi films were running all over India and he was partners of the Indo -British Films……too
The Song I have enjoyed and story of Aplam Chaplam reminds me of film Humsub Chor Hai part of it .( IS. Johar , Shammi Kapoor ,Amita, Nalini Jayvant . )

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