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

Tez hawaayen toofaani dariya

Posted on: July 9, 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.

Today’s song is from film Dahej-50, a melodramatic film from V.Shantaram. The song is sung by Jayashree Shantaram.

Film Dahej-50 was a Rajkamal film directed by V. Shantaram. It was based on the ill effects of Dowry-giving and taking.

Shantaram was an intelligent person, besides being a shrewd businessman. He understood that by making entertaining films dealing with controversial issues of the society, the advantages would be two fold – One, people will see the film to look for a solution and secondly, he woould earn name as fame as a social reformer.

He tackled various socially evil traditions in his movies and then he turned to song and dance themes beginning with Jhanak Jhanak Payal Baaje-57. His contribution towards the highlighting the need to do away with the ills of unjust social traditions is valuable…whatever his gains from it.

As I have said in my last post on Shantaram, he stretched the stories of his films to extreme ends and usually, the Hero or Heroine or both died in the end of his films. Some examples are Padosi-41, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Surang-53, Subah ka tara-54, Do aankhen baraa haath-57 and also today’s film Dahej-50.

The Music Directors of this film were Vasant Desai ( 8 songs) and S. Purushottam ( 2 songs). A lot is known about Vasant desai, but S. Purushottam is an obscure and less known name.

PURUSHOTTAM SOLANKURKAR or S. Purushottam ( 9-4-1919 to 30-1-1958 ) was from Kolhapur district. Born in a poor family and bereft of education, Puru started learning to play various instruments, Violin, Sarangi, Harmonium and Tabla. When he was 21 years of age, he started playing in the concerts of Kumar Gandharva or Shivputra Siddhramaiah Komkalimath- as an accompanist. Vasant Desai-who was the ‘de facto’ Talent Hunter for V.Shantaram ( he had already discovered Promodini and Vinodini Desai and Vatsala Kumthekar as well as Dattaram Wadkar and Dattaram Gadekar) spotted him in one Mehfil and called him to Bombay. Shantaram gave him his film ” Bhool”-48 and Maharashtra Chitravani’s film Mere Laal-48 as a Music Director. He was an excellent singer himself and had a very good voice. Noted composer Sudhir Phadke, who was his classmate in school, used to praise his singing,but Purushottam never sang any film song in his career. He believed that his job was to compose music and not singing.

Impressed with his style, Shantaram gave him his revolutionary film ‘Apna Desh’-49. True to his salt, Purushottam presented 2 Ghazals of Ghalib,’ Koi ummeed nahi hain” and Dil e naadan in a totally nontraditional tune and style. Later Shantaram gave ‘ Dahej’ to Vasant Desai and Purushottam.

Discarded, without reason, as was his habit, by Shantaram, Purushottam did Devyani-52 and Durga Khote’s Sandesh-52. In all he did 6 Hindi films and 2 Marathi films, as Music Director. Realising that he had no scope in films anymore, Purushottam returned to Kumar Gandharva once again ,as his accompanist. Thus he disappeared from the film line and there was no trace of him afterwards. One more name was added to less known and forgotten composers’ list !

The cast of the film Dahej-50 was karan Dewan, Jayashree, Prithviraj kapoor, Lalita Pawar, Ulhas, Mumtaj begum etc etc. Jayashree was V.Shantaram’s second wife. Jayashree Kamulkar was born in Girgaon, Mumbai on 4-3-1922. Her father was a Steno-Typist ( IMDB says she was of chinese origin and was born in China Town, Calcutta !). After her father’s sudden death, she had to earn a living. She started acting on stage dramas. Jayashree was doing a Gujarati drama in 1935, when Datta korgaonkar ( K.Datta, MD) saw her. Her acting and singing impressed her. She took her to Young India Record Company and recorded few songs. With his and Sudhir phadke’s help, she also worked in 2 Marathi films. Then she got the main role in Prabhat’s film ” Sant Sakhu”, directed by V.Shantaram.

Jayashree was very good looking with a very sweet voice. Shantaram was mesmerised with her and fell in her love. This was of course against the company’s rules. When 5 founders established Prabhat film copany, they also stipulated a rule that no one from the company should fall in love with any artiste. if it happens, he will have to choose between that person and the company. Shantaram’s love for jayashree was open and the partners did not like it. Shantaram removed Jayashree from film Sant Saku and started his own film Padosi, with Jayashree as the Heroine. Finally, as per company principles, Shantaram had to leave Prabhat. He however completed his film Padosi (shejari in Marathi)-41, left Prabhat and came to Bombay. Along with him some more people also left Prabhat, like Vasant Desai and his nephew Sadanand Desai-Editor, Parshuram the actor etc.

Shantaram joined Films Division of Govt. of India as its chief. Sadanand also joined there, Vasant Desai joined Wadia Movietone as a composer. Shantaram married jayashree . Later on Shantaram established his own company Rajkamal kalamandir. Shantaram was already married to Vimla, his first wife. Those days polygamy was allowed. Vimla was pregnant, same time even Jayashree became pregnant and they married hurriedly. Both Vimla and Jayashree delivered with a gap of just 3 months. Vimla gave birth to Charusheela on 29-3-1943 and Kiran was born to Jayashree on 26-6-1943. In due course Jayashree also got Rajashree and Tejashree.

Jayashree initially, worked only with Shantaram’s films like Padosi, Shakuntala, Dr. Kotnis….,Dahej,Parchhain,Subah ka taara etc. In the end part of her career, she worked in other’s films also like Mehendi,Didi,Naya Sansar, Ramleela etc etc.

Jayashree had a sweet voice and she sang very well when the composer was Vasant Desai especially. When playback became common and she became older,it was C. Ramchandra with the connivance of Shantaram gave her playback from other singers ( read Lata) in Parchhain and Subah ka taraa. This upset jayashree very much and she had disputes with Shantaram. Her relations with Shantaram further deteriorated when Sandhya came on the scene and clearly won over Shantaram from Jayashree. She could not tolerate their intimacy and finally they were divorced on 13-11-1956. Shantaram married Sandhya next month on 22-12-1956. In matters of marriage Shantaram was very prompt !For the sake of her 3 children, Kiran, Rajashree and Tejashree, Jayashree started working again. She died of Heart attack on 19-10-2004, about 14 years after Shantaram died.

The composer of film Dahej was Vasant Desai. I would have loved to write about his unknown side of life, but the post may become too long. may be some other time. Desai gave music to 62 Hindi films and composed 390Hindi songs. He gave background music to 99 films.

I did not see Dahej-50, because I don’t like films where the lead pair dies in the end. Here is the film story from wiki….

Thakur (Prithwiraj Kapoor), his wife (Mumtaz Begum) and daughter Chanda (Jayshree) live in a big old-style house. Though he has this ancestral property, Thakur is not wealthy and he makes this clear to lawyer Biharilal (Ulhas) and his wife (Lalita Pawar) when they ask for Chanda’s hand in marriage. He tells them that he can not give a dowry as tradition demands. The lawyer says he does not want a dowry for his son Suraj (Karan Dewan) and are happy having Chanda in their house. He has said this thinking that Thakur is rich and would anyway give a dowry. Soon after the marriage, the lawyer dies and Chanda’s blamed by her mother-in-law for bringing bad luck. She plans to throw Chanda out of the house and get Suraj remarried. Meanwhile, seeing the suffering his daughter has to endure Thakur decides to sell his entire property and get a big dowry for Chanda. He proceeds to bring the dowry to Chanda’s house with big fanfare. Suraj lies hurt following an accident and Chanda’s mother-in-law refuses to let Chanda look after him. In the melee, Chanda also gets hurt when the door she’s standing against is broken down. Suraj hearing the commotion gets out of his bed and collapses dead. Thakur reaches the house only to have Chanda die in his arms.

Song-Tez hawaayen toofaani dariya (Dahej)(1950) Singer-Jayshree, Lyrics-Shams Lucknowi, MD-Vasant Desai


Tez hawaayen
toofaani dariya
andhe musaafir
andha khevaiya
doobegi naiya to aankh khulegi
kaaghaz ki naao o o o
kaaghaz ki naao
kab tak chalegi
kab tak chalegi
ho o o o
kaaghaz ki naao

tez hawaayen toofaani dariya aa aa aa
tez hawaayen toofaani dariya
andhe musaafir andha khevaiya
andhe musaafir andha khevaiya
doobegi naiya to aankh khulegi
aankh khulegi
ho o o o
kaaghaz ki naao

baag bageeche
mehle do mehle ae ae ae
baag bageeche
mehle do mehle
chhod ke jaana hoga akele
chhod ke jaana hoga akele
duniya kisi ka saath na degi
saath na degi
ho o o o
kaaghaz ki naao

duniya mein jinke bajte thhe danke ae ae ae
duniya mein jinke bajte thhe danke
baaqi nahin hai naam bhi unke
baaqi nahin hai naam bhi unke
kiski rahi aur kiski rahegi
kiski rahegi ho o o
kaaghaz ki naao
kab tak chalegi
kab tak chalegi
ho o o o
kaaghaz ki naao o o


3 Responses to "Tez hawaayen toofaani dariya"

Thanks for this informative article and the song. Like the song too.
I always like to read about V.Shantaram and his life and works.
Thanks for the information about Jayashree and Pursuhottam Solankurkar.
Will wait for the article and information about the ‘unknown side’ of Vasant Desai ji.

V Shantaram was a doyen among our film makers and known for
tackling and projecting social issues in a telling manner. He succeeded
to a large extent. Many got inspired from his way of film making.
One should not read too much about the personal side of any artists and
should come to a conlusion this way or that way. There are many artists
who may have a dark background and unknown side of their life. This is my view.

It is human nature to peep into others’ lives. It is more so with celebrities. As long as they are not evaluated on the basis of their darker sides, there is no harm.
A real student of film history does not give much weightage to the personal character of an artiste and he is judged only on his work.
In writing about any artiste you can not ignore his personal life, but not too much stress should be given to it.
As a human being, these artistes are rated great based on their work and contribution alone and not on personal stories.

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