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

Dil phaanse de ke jhaanse

Posted on: March 27, 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 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.

Today’s song is from the film Daaka-59. The film was directed by Nanabhai Bhatt and its music was by Chitragupta – one of the very few composers in films to make melodious tunes in almost every film. According to me, Chitragupta, along with Hansraj Behl, Khemchand Prakash and Ravi, formed a quartet of composers, who had tremendous talents and who made melodious music in almost every film that they were associated with !

Name and fame came to Ravi, Chitragupta, Khemchand Prakash and Hansraj Behl-in that order but none of them were ever considered “A” grade composer like Naushad, C.Ramchandra, Shanker-Jaikishen or Laxmikant Pyarelal, during their times. It is a matter of Luck that Chitragupta and Hansraj Behl rarely got major Banners, nor were they favourites of any big Production Houses.

The cast of the film Daaka-59 was Ashok Kumar, Nirupa Roy, Pran, Smriti Biswas, Badri Pershad, Maruti etc .Seeing this cast, I was wondering how star pairs are made by the producers. Once a pair’s film becomes successful, producers and investors insist on keeping the same pair for successive films. This suits the stars too, as after working with the same co-star repeatedly, they become comfortable with each other.

In the beginning of her career, Nirupa Roy was a key star in B and C grade Mythological films. Her role as Mata Parvati, with Trilok Kapoor as Lord Shiv became famous and she ended up doing 18 films with Trilok Kapoor during the 40s and 50s. When she became famous in social films, with “Do Bigha Zameen”-53 with Balraj Sahni, she was offered similar roles with him and they worked together in 11 films. In the film Bhai Bhai-56, Nirupa Roy was paired with Ashok Kumar. The film was a runaway hit and as a result she was paired with him repeatedly. In a span of 33 years- from Bhai Bhai-56 to Daana Paai-89, they worked together in 21 films. This could be a Record in Hindi films !

Ashok Kumar was initially (in his Bombay Talkies days ) paired first with Devika Rani and then with Leela Chitnis. Afterwards, Ashok Kumar got paired with Nalini Jaywant. From Sangram-50 to Toofan mein Pyar kahan-66, they worked in 11 films as lead pair. In between he got paired with Madhubala for some films, but Nirupa Roy was his companion for most films and for the longest period.

Actress Smriti Biswas was born in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s. Hoping to make a better career, she shifted to Lahore. here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil and Roop rekha were also released there. After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta alongwith her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Daaka was a crime film, a genre of films that was quite popular during the decade of 1950. After film Sangram-50, Ashok Kumar had established himself as an actor for suspense and crime films. Many of his films in this decade were crime stories. However, unlike Kismet or Sangram, Ashok Kumar preferred to be on the side of law. Many of his films in this period showed him as a Police or CID officer, a spy or a Detective. When Sangram-50 became popular ( it was the first film wherein the Hero used a Pistol ! ), there was a campaign to ban the film claiming that a criminal has been glorified and that he fired on the Police, thus lowering police image in public mind. The producers were worried. Ashok Kumar met Morarji Desai, who assured him that the film will not be banned but advised him to do roles of police than a thief. He said public gets influenced by his roles. From then onwards, Ashok Kumar stopped playing the roles of criminal in his movies.

The story of film Daaka-59 was-

A dare-devil Bank robbery takes place in broad daylight and Vinod ( Ashok Kumar) is branded a dacoit behind this robbery. Police is on the look out for him. News papers display his photographs with a handsome prize for his arrest.

It shocks Rai Bahadur Manohar Lal’s daughter “Rekha”( Nirupa Roy) too. She also sees his photograph in the papers. Was he a decoit? The past incidents and facts all prove so and she can not ignore the facts. Yes, he was the looter, the stranger whom she too had given everything in a glance.

But he is absolutely innocent and has nothing to do with that Bank Dacoity. Since he is unable to prove his innocence, he disappears before the Police could arrest him. And lo: the looted money of the dacoits also disappears as suddenly as him. The police start tracking him, thinking that he has taken the money.

His life became a game of hide and seek and his aspirations of a happy and peaceful life goes up in smoke. Just by chance he runs into “Flora”( Smriti Biswas) a fire brand sultry siren, a flame, a dream for pleasure seekers. She too sees him, his innocent face and becomes infatuated with him. She becomes ready to do any thing for him, his love.

Flora is a dancer who works with a gang of dacoits. His love kindles a strange fire in her life. She longs to sweep him into her arms for her own self. He strikes a deal with her with the condition that she should tell him about the man who looted the bank and sholud help in getting him the looted money.

Flora knows about the man behind the bank robbery but is not aware where the loot is kept. She starts searching for the looted money. In the process, she comes across Rekha who tells Flora that he was hers.

Now Flora, a woman spurned, is furious. She has to decide how to avenge her slight. Should she hand him over to the gangsters or to the police !

Vinod meets her. They are talking when the dacoit chief Rajan(Pran) sees them. Thinking that she is spilling the beans about him, he shoots her. Meanwhile the Police also reach there. Before dying, Flora reveals everything to the Police and dies in the arms of Vinod.

The police and Vinod lay a trap and catch Rajan and his gang, who are about to run away with the loot money. So, Vinod is free now and unites with Rekha.

The film had six songs in it. The songs of the film were recorded in 1956 itself, but the film was censored only in 1959. Today’s song will be the third song from the movie to be discussed here. This song, sung by Rafi and Geeta Dutt, is penned by Prem Dhawan.


Sing-Dil phaanse de ke jhaanse (Daaka)(1959) Singers-Rafi, Geeta Dutt, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

dil phaanse
hoho
de ke jhaanse
haaha
haaye teri nazar mastaani
jaao jaao
aaha
na sunaao
oho
ye mohabbat ki jhoothhi kahaani
aaha ha
dil phaanse
oho
de ke jhaanse
ha ha
haaye teri nazar mastaani
jaao jaao
oho
na sunaao
aaha
ye mohabbat ki jhoothhi kahaani

tera kisi ne jab naam liya
humne dil apna thhaam liya aa aa
tera kisi ne jab naam liya
humne dil apna thhaam liya aa
rakho sambhaal ke
jaan ?? jaan ke
tumko ko ki door se salaam kiya
rakho sambhaal ke
jaan ?? ke
tumko ko ki door se salaam kiya

na sataao
hmm hmm
paas aao
hmm hmm
ke bulaati hai rut ye suhaani
jaao jaao
aaha
na sunaao
oho
ye mohabbat ki jhoothi kahaani
dil phaanse
oho
de ke jhaanse
aaha
haaye teri nazar mastaani
jaao jaao
aaha
na sunaao
oho
ye mohabbat ki jhhoothi kahaani

kaun yoonhi jeena dushvaar kare
shaamat aaye jiski wo pyaar kare ae
kaun yoonhi jeena dushvaar kare
shaamat aaye jiski wo pyaar kare

dil mein to pyaar hai
koi dildaar hai
chaahe tu bahaane hazaar kare
o dil mein to pyaar hai
koi dildaar hai
chaahe tu bahaane hazaar kare
rahe aise
aaha
koi kaise
ye jawaani hai aakhir jawaani
jaao jaao

dil phaanse
oho
de ke jhaanse
aaha
haaye teri nazar mastaani
jaao jaao
aaha
na sunaao
oho
ye mohabbat ki jhoothi kahaani
ara ra
dil phaanse
oho
de ke jhaanse
mastaani
jaao jaao
aaha
na sunaao
oho
ye mohabbat ki jhhoothhi kahaani

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3 Responses to "Dil phaanse de ke jhaanse"

Though Shakeel-Naushad duo churned out many famous song, it was Shakeel-Ravi which fetched Shakeel 3 Filmfare awards!!!

Nitin ji,
What you say is only partly true.
The very First Film Fare Award for Music Director in 1953 was for a song and not for a Music Director. The song was “Tu Ganga ki mauj mein…”written by Shakeel Badayuni for film Baiju Bawra-52- MD Naushad.
-AD

Smriti Biswas had done a lengthy role in Chandni Chowk(1954) too.

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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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