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

Kuchh chuhalen hon kuchh charche hon

Posted on: March 14, 2016

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.

The song under discussion today is from the film Shin Shinaki Boobla Boo-1952. The film was produced and directed by Pyarelal Santoshi aka P.L.Santoshi, who wrote its songs also. One of the iconic songs of Lata “tum kya jaano, tumhari yaad mein hum kitna royen…” is from this film only. It was a film made by Santoshi Productions,Bombay.

In 1950, when Santoshi wrote songs for the film, ” Nirala “, he never dreamt that his ‘Kismat’ will play a ‘Nirala’ game for him, in a couple of years ! Soon after the film Shin Shinaki Boobla Boo bombed at the box office, his stars changed and his slide downwards started rapidly. He somehow managed to survive for another two decades,in the industry- albeit as a nobody. What had remained was a broken man who lost not only all his riches and possessions, but also name and fame.

Santoshi’s is perhaps the only case in the industry who destroyed himself-all for unilateral Love for a woman who only used him but never ever responded to his intense love. Rehana, on her part, had never indicated that she cared for his love. He, however, never came out of the stupor of his love for her. Finally when she left for Pakistan, after her demand diminished here, Santoshi was a gone case. Only stories of how he squandered his huge money on her remained as matters of gossip.

There was a time when, between 1947 and 1952, the Trio of Rehana, Santoshi and C.Ramchandra ruled the roost with their successful musical comedies- mostly produced by Santoshi to win his love. Pyarelal Santoshi was born on 7–1916 at Jabalpore, MP. After completing his Matriculation, he joined film industry by writing songs for Jaddanbai’s film, ‘Moti ke Haar ‘-1937. Then there was no looking back. His songs were in great demand. From 1937 to 1941 he wrote for Ranjit films. From 41 to 43 he wrote for Bombay Talkies films. He was one of the writers of the story of “Kismet”-43.

In 1946, Prabhat gave him first break as a Director, in “Hum ek hain”-46, in which Dev Anand, Rehana and Rehman made their Debuts as actors. Santoshi went on to direct 21 films and wrote for 14 films, including many Blockbusters, in his career. His last film as director was Roop Rupaiah-68. As a lyricist of repute, he wrote 350+ songs in 100+ films. He even established “Santoshi productions”- a film making company to produce and direct films for Rehana. Once his luck exhausted, he became a bankrupt. he was not able to repay his debts,for which he went to jail too. Later he developed Kidney trouble and Cirrhosis of Liver. He was on Dialysis during his last days in the general ward of KEM Hospital,Bombay. Finally, he was relieved of all his troubles, for ever, on 7-9-1978.

Here is some information on Rehana-Santoshi’s obsession- Rehana was a top actress of Hindi cinema in the late 1940s and early 1950s. She is regarded as Hindi cinema’s first ‘jhatka queen’, her dances catering to the front benchers or the ‘chavani class’ as they was called then, while being labelled vulgar by the educated gentry! Today when one looks back, one finds her dances and stagey acting pretty harmless wondering what the furor was all about. Rehana, however, loved her sex-pot image and was known to have quipped, “Am I Sexy? Good, I like that!”

Rehana was born Mushtar Jehan in Mumbai. After beginning with dancing roles and small supporting roles in films like the KL Saigal – Suraiya starrer Tadbir (1945), Rehana was cast as one of the leading ladies in the Prabhat drama, Hum Ek Hai (1946) co-starring Dev Anand, Kamala Kotnis and Rehman. The film was the beginning of a fruitful partnership – in more ways than one, it is said – with the debutant director of the film, PL Santoshi, a partnership that would go on till 1952 through films like Shehnai (1947), Khidki (1948), Sargam (1950), Chham Chhama Chham (1952) and Shin Shinaki Boobla Boo (1952).Shehnai and Sajan (1947), both made for Filmistan, were Rehana’s breakthrough films that made her a star. The former, pairing her with Nasir Khan, also established director PL Santoshi and music director C Ramchandra, whose super-hit song for the film Aana Meri Jaan Meri Jaan Sunday ke Sunday was hummed thoughout the country. Sajan saw her paired with Ashok Kumar and remains one of her most well-known films.

Rehana entered the best phase of her career from 1948 – 1951 as she did a variety of films paired opposite most of the top heroes of the day – Prem Adib (Actress (1948)), Raj Kapoor(Sunehre Din (1949), Sargam (1950)), Dev Anand (Dilruba (1950)), Shyam (Nirdosh (1950), Surajmukhi (1950)), Shekar (Ada (1951)) and Premnath (Sagai (1951)). Two of her biggest hits from these were Sargam (1950) and Sagai (1951). Most of the films preferred to capatilise on her seductive dances rather than make any great acting demands on her. In particular, C Ramchandra’s light-hearted ditties in the last two films went extremely well with her ‘moves’. However, post Sagai, Rehana’s career sharply went on the decline as films like Rangeeli (1952), Chham Chhama Chham, Hazar Raatein (1953) and Samrat (1954) all sank at the box-office. And soon, Rehana found herself playing second lead in films like Dhola Maru (1956) and Delhi Durbar (1956).

With her career on the decline in India, Rehana migrated to Pakistan with the hope of continuing her career there. Rehana’s films in Pakistan like Shalimar (1956), opposite Sudhir, Wehshi (1956), Apna Paraya (1959) failed at the box office. The only succesful film she really had in Pakistan as leading lady was Raat ke Rahi (1960). Aulad (1962) was also successful but by then she was no longer leading lady and Nayyar Sultana played the heroine of the film. Rehana married the producer of Raat ke Rahi, Iqbal Shehzad, but it was a short-lived affair. After separating from him, she married businessman Sabir Ahmed. She had a cameo dance number in the Zeba-Syed Kamal-Mohammed Ali starrer Dil Ne Tujhe Maan Liya (1963) after which she faded away from the film scene. Rehana resurfaced in Pakistan in 1995 as a member of the jury for the Nigar Awards. After her husband’s death, she lived a secluded life.(adapted from Upperstall,with Thanks)

As far as film Shin Shinaki Boobla Boo is concerned, when I heard this name first time, I was perplexed as to what it meant. It was only after I saw the film in the 50s, that I came to know that Shin Shinaki is heroine’s name and Boobla Boo is Hero’s name in the film ! One may wonder about the strange names. These were the fruits of the fertile imagination of the story and screenplay writer P L Santoshi and his assistant for this film Baleshwar Guru.

Santoshi wrote a story based on the Parsi Theatre Fantasy, in which there was ample opportunity for attractive dancing and singing for Sadhana Bose and his favourite Rehana.

C Ramchandra who was a partner of his friend Santoshi in these ventures experimented with the film’s music by using jazz and Latin American Rhythm.

This was a revenge story. The heroine Sadhana Bose-Shin Shinaki-wants to kill Taishi who had killed her parents. Boobla Boo(Ranjan) who is a Dacoit helps her in this. After Taishi is killed, Shin Shinaki wants to kill his daughter Rehana too, with whom Ranjan falls in love.

In 1952 Government had ammended the Cinematograph act, by which it got a right to ban any film, even after Censor certificate was issued, if the Governmentt felt that the film was worth banning.

Shin Shinaki Boobla Boo was the First film to become its victim. Though the film had been passed by central censor Board with a U certificate, the government banned the film stating that “The film has a low moral tone and accords glamour and heroism to criminals, treating sacred subject irreverently and it is against the interests of public decency and morality.”

The producers, Santoshi Production Limited appealed against the decision and subsequently the ban was revoked but it had killed the commercial success of the film anyway. The film did not come up even for a second run.

The second victim of this act was Kamal Hasan’s VISHWAROOPAM. Though Kamal revised the film and released it, the effect was the same as SSBB. The film made on a budget of 95 crores had collected only 7.56 crores in first 2 days. I do not know of any other films attracting such bans later.

Today’s song is sung by Kishore Kumar and Lata with chorus as per HFGK. The tune is typical 50’s tune and the style of Kishore’s singing is akin to what he sang in those years in films like Funtoosh or Paying Guest etc.


Song-Kuchh chuhalen hon kuchh charche hon (Shin Shinaaki Boobla Boo)(1952) Singers-Kishore Kumar, Lata, Lyrics-P L Santoshi, MD-C Ramchandra


Kuchh chuhalen hon
kuchh charche hon
kuchh gaana aur bajaana ho

itne mein parde se kahin jo
chham se tera aana ho o
kaun hai aisa mehfil mein
jo na tera deewaana ho o
jo na tera deewaana ho o
ek baar jo parde se phir
chham se tera aana ho o
kaun hai aisa mehfil mein
jo na tera deewaana ho o
jo na tera deewaana ho

kiski kaun ada kab bhaaye
ya main jaanoon
yaa wo jaane
kiski kaun ada kab bhaaye
ya main jaanoon
yaa wo jaane
yoon to ek shama jalti hai
laakhon phirte hain parwaane
soch samajh kar is mehfil mein
aane waale aana ho

kaun hai aisa mehfil mein
jo na tera deewaana ho o
jo na tera deewaana ho


ye dhoom rahe
ye rang rahe
mehfil yoonhi aabaad rahe

param param pam pam pam pam
param param pam pam pam pam

ye dhoom rahe
ye rang rahe
mehfil yoonhi aabaad rahe
koi baat nahin
jo main na rahoon
lekin meri bas yaad rahe
koi ?? saamne aake
kar gayi dil veeraana ho o

kaun hai aisa mehfil mein
jo na tera deewaana ho
jo na tera deewaana ho
ek baar jo parde se phir
chham se tera aana ho o
kaun hai aisa mehfil mein
jo na tera deewaana ho o
jo na tera deewaana ho

1 Response to "Kuchh chuhalen hon kuchh charche hon"

I could imagine CR rehearsing KK and Lata. KK voice somewhat matches with CR. Tune is superb.


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