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

Ham udnewaale ghode

Posted on: September 27, 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.

Bengal enjoyed a dominant position in Hindi cinema till the 1950s. Its meaningful,entertaining films as well as music-Film and the Non Film music both, ruled the roost, from the early 30s. In this conquest of the East,the Lion’s share was that of NEW THEATRES-set up and owned by B N Sircar. New Theatres was not just a production company, but it was an Institution and a school for developing artistes in the 30s and the 40s.

Out of these 20 years, I would say that the first 10 years were the Golden Period for New Theatre. 1940, one of the best years for New Theatres, was ironically also the year that marked the beginning of its end, with the First major shock, when P C or Pramathesh Barua left New Theatres because of differences with B N Sircar. During the period of 1940 to 1950, many people left Nby oneew Theatres one. Most went to Bombay in search of greener pastures.

There were three reasons for the downfall of New Theatres. One, during the period from 1946 and 1947, production at New Theatres was almost Nil ( 1946-due to communal riots in Bengal and 1947- due to Partition blues), but New Theatres had to pay salaries to their employees nevertheless during these years. During their peak years, their salary bill alone amounted to about 45000 rupees every month. Secondly, one of their main markets for Bangla and Hindi films-East Bengal, had become another country-East Pakistan and they lost this market. Thirdly, the New Government imposed a heavy ‘Excess profit ‘Tax ‘ on successful companies like New Theatres. This bad thely ruined them financially. Added to this,of course,B N Sircar failed to hold people together causing Ego problems, recognitions etc etc.

By 1950, according to Dilip Sircar-son of B N Sircar,”many people left, Finance was in disarray and we had many court cases slapped on us.” The result- B N Sircar closed the shop ! In 1954, New Theatres was handed over to Arora Film company. Then in 1955, Deluxe Films took them over. In January-56, the company closed down officially and in August 56, a Receiver was appointed by the High Court. New Theatres went into Liquidation in March-62 and a Glorious Chapter of Indian Cinema drew to a close for ever !

Even in the tumultuous and troubled final years, few Loyal artistes did not leave New Theatres. Pankaj Mullick was one of them, who stayed with B N Sircar till the last, despite differences with him. Many others like Kidar Sharma, Kanan Devi, Uma Shashi, P C Barua, Nitin Bose, Debki Bose, Phani Muzumdar, Nabendu Ghosh, Bimal Roy, K N Singh, Prithviraj Kapoor, Kumar etc and above all, K L Saigal-the pride possession of New Theatres, left at different times. Most came down to Bombay.

New Theatres has an unbeaten record of producing maximum number of films, viz. 177, under One Banner. ( The closest next was Ranjit Movietone, with 175 films.). It’s contribution to Indian Cinema is Historical. Many singers, Technicians, Composers, Actors and Directors were given their initial breaks by New Theatres. While Bombay Talkies, another giant in Bombay, imported foreign Technicians and Directors etc for making films in India, New Theatres was particular in developing local and Pan-Indian talents within own country. Studio system was perfected by New Theatres and it was followed by all major studios in the country. In those days, there used to be a family like atmosphere in the studios, but it was an office like atmosphere during work.

By the end of early 50s, the studio system disappeared and a sort of unplanned lethargy crept in, into the workings of making films. Lead actors started behaving and being treated as maharajahs and punctuality was the first casualty. But not so in South. They too did away with studio system but retained its good points, like Punctuality, written daily shooting schedules and adherance to all this. However big the actor is, in South, he comes punctually. Mumbai film industry has a lot to learn from their southern brethren. Surprisingly, Mumbai actors follow all the rules of punctuality etc while in south for shooting !

Today’s song is from film Roop kahani-50, a bi-lingual film( Roop katha-50 in Bangla), made by New Theatres during their last years. It was probably after this film that they closed shop for ever. The film was directed by Souren Sen. Souren Sen was a product of New Theatre’s policy of producing directors from within the company. Examples are Premankur Atorthy ( es writer), Nitin Bose ( ex Editor) and Bimal Roy ( ex Editor). Souren Sen had started as an Art Director for film Desher Mati or Dharati mata-3 and followed it by films like Kashinath-43,Dui Purush-45, Milan-46, Desher Dabi-47, Nauka Dubi-47, Ramer Sumati-47, Manzoor-49 etc. He got a break as Director only in the last film of New Theatres Roop katha-50 Bangla and Roop kahani-50 Hindi version. Later he also directed one more film from Ashok Films, Calcutta- Chitrangada-54 in Bangla and Hindi. Thereafter he shifted to Bombay and he was an Art Director in Sahib bibi aur Ghulam-56, he did Shankar Narayan Bank-56 and Girls school-5 in Calcutta again. He did in Bombay Ek musafir ek haseena-62,Leader-64, Bahren phir bhi aayengi-66, Shikar-6 and Abhilasha-68.

The cast of Roop kahani was Asit Baran, Ashita Bose, Natwar, Vijay Kumar, Rajlakshmi, Tulsi Chakraborty etc etc. During my visit to Calcutta somewhere in 1992, I saw this film in the “New Theatres film festival” in one of the theatres. The print was terrible and songs were inaudible, but the theatre was overflowing, with extra chairs in the gangway too, to see the films of New Theatres.

Here is the synopsis or rather the storyline of this film. Since my notes were very short, I have modified the story from its booklet using my notes-

The picture opens in a small way-side Railway Station. It is early dawn-the dawn of another day of wants and struggle, to live, to the Station Master and to his niece, Sandhya who is an orphan and has been grafted in the family by her loving uncle from whom she receives filial love and affection though her aunt maltreated her extremely. She was helpful to her uncle in the performance of his duties and she was of considerable utility in the household. Still her aunt grudged her because she owned another mouth that had to be fed. The girls life was one of drudgery and of jobs done without appreciation. The only silver lining being her association with the Station Masters children to whom she would relate fairy tales of princes and princess of dreamland, which proved to be her dreamland too.

Such was her life when one morning came her Prince charming in the guise of Arun – an energetic young man of independent means whose principal hobby was painting. He was on a painting tour in a bullock cart accompanied by an old servant of the family who had reared him from his childhood, and as usual in such cases, assumed guardianship over him. There by the way-side station, the young painter had the first sight of the girl.

Arun developed love at first sight and he decided to pitch his tent on the spot. That he did. Madhu used to call him Rajkumar. A young son of the Station Master heard Arun addressed so and took him to be a real one. He carried his findings to Sandhya. To the little boy Sandhya was emphatic that Arun the new-comer could not be a real Rajkumar as he had not the necessary paraphernalia. Nevertheless she spontaneously identified Arun as the Rajkumar of her dreams and made herself the Rajkumari.

Thence forward when she would relate the stories of princes and princess she would visualize herself a Rajkumari and Arun as Rajkumar of the tale. . As in a fairy tale the inevitable devil appears between the prince and princess to separate them, so in the story the devil appears in the person of Keshab Thakur, an accomplice of a professional kidnapper between the lives of Arun and Sandhya. As in fairy tales the devil does not succeed so also here the evil intent of Keshab Thakur and his master was foiled. Evil is always doomed in the end and true love succeeds.

The kidnappers wanted to kidnap Sandhya,as she had inherited a hugh property,which was originally bought by her father for nothing. Now the property was worth millions.

When Madhu,a girl in the neighbourhood and the Station Masters little boy hear their secret plans,he goes and tells Arun, who immediately alerts the local police. A trap is laid and the kidnappers are caught. Sandhya finally gets her Prince Charming of her dreams !.

Now let us enjoy this song sung by Asit Baran. Not only the tune but even the music of the song testifies that Pankaj Mullick had not lost touch of his magic in this last film of New Theatres.

Song-Ham udnewaale ghode(Roop Kahaani)(1950) Singer-Asit Baran, Lyrics-Prakash, MD-Parkaj Mullick


ham udnewaale ghode
ham udnewaale ghode
tum udnewaale ghode
ham sab udnewaale ghode
ham mastaane albele ae ae
udne waale ghode
chubuk isko nahin chaahe
aur na kare sawaar
apni marzi se ye daude
koi na maare kode
ham mastaane albele ae
albele ae
albele ae ae
udnewaale ghode

khaane ka tum naam na lena
na lena
khaaye nahin ye koi daana
khaane ka tum naam na lena
na lena
baadal dal ki sair kare ye
gagan se naata jode ae ae
udne waale ghode
subaha shaam
aakash mein ud kar
door door ye jaata
neel gagan mein pankh hilaa kar
apna man behlaata
aur desh ka raaj kunwar jo
pari desh mein jaata
wahaan baithh kar
premi apne prem ko mil jaata
aa aa aa
aur dekh dekh harshaata
aur dekh dekh harshaata
aur dekh dekh harshaata

is milan ko
is milan ko dekh kis ka dil
?? pukaar
aao aao
aao bhar do pran mein jhankaar

4 Responses to "Ham udnewaale ghode"

As I have heard it,
jagat (?) – is ‘gagan’
wahan ?? is ‘wahan baith kar premi apne premi ko mil jaata’
Last line is ‘aao bhar do pran mein jhankaar’


Prakash/Prakash Bakshi, BA
Manzoor (1949)
Titli(For Ladies Only) (1951)
Chhota Bhai (1949)
Pehla Aadmi (1950)
Maang (1950)
Goonj (1952)
Raag Rang (1952)
Hope I got it right


Excellent ! Please narrate sometime similar history in Bombay talkies and there derivatives


Thanks,JAY ji.


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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