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

Mann Ko Kaise Behlaayen

Posted on: June 18, 2017


This article is written by Sadanand Kamath, 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.

Before the partition in 1947, two of the well-known and successful Lahore-based producers-directors were Dalsukh M Pancholi of Pancholi Art Pictures and Roop K Shorey of Shorey Pictures. After the partition, both of them had to shift to Bombay (Mumbai), having lost their assets including the studios which were burnt down during the communal riots. It took some time for both of them to re-organise their film production companies in Bombay. Roop K Shorey released his first post-partition film, ‘Ek Thhi Ladki’ (1949) under a new banner, Shorey Films. Dalsukh M Pancholi took one more year to release his first post-partition film ‘Meena Baazar’ (1950) under a new banner, Pancholi Productions.

There was one more producer-director who was also affected by the partition woos. But his case was on a different footing. His filmy career started in Bombay and then ended in Bombay, traversing the Calcutta-Lahore-Calcutta route. His name was Raghubir Chand Talwar, better known as RC Talwar.

I was aware of his association with films like ‘Sangdil’ (1952), ‘Mem Sahib’ (1956) and ‘Ek Dil Sau Afsaane’ (1963) which he produced and directed. But it was only during the last 5-6 years, I became aware of the fact that RC Talwar also produced and directed some films in the 1940s and that he was one time the First Assistant to Director Kidar Sharma for the film ‘Aulad/Dil Hi To Hai’ (1939).

A few days back, I came across an interview of RC Talwar, taken sometime in 1949 at the time of commencement of the shooting of ‘Khilaadi’ (1950), his first film in Bombay as producer-director after the partition. I was amazed by his fighting spirit to come out successfully each time he faced problems due to extraneous factors during his film career from 1937-1965. The interview was published in August 1949 issue of SOUND magazine. I am thankful to Prof. Surjit Singh ji for making available some old issues of filmy magazines on his website which have some invaluable information and rare images of the films of the second half of 1940s.

RC Talwar was born on 21/10/1910 at Talagang, near Rawalpindi (now in Pakistan) in an affluent family. After completing his school in Rawalpindi, Talwar graduated from Dayal Singh College, Lahore. The father had observed that his son was interested in pursuing a filmy career. In order to specialise in some branches of film production, Talwar was enrolled in The Institute of Photography and RCA Institute of Sound Engineering, both in New York. After completing the two years courses in these institutions, Talwar was awarded Diplomas in the respective subjects.

Having gone to USA, Talwar spent 6 months in Hollywood but was disappointed as he could not get to meet any film technicians. While returning to India, he took break at London to study the working of film studios. In London, with the help of Diwan Sharar who was his father’s friend and a well-known person in the Fleet Street film circle, Talwar got opportunity to visits film studios in London and met some technicians.

Armed with the technical knowledge about the film productions, Talwar returned to India and landed in Bombay sometime in the middle of 1937. On his very first day in Bombay, he was employed by Bombay Talkies as a Technical Assistant in its laboratory. He worked in Bombay Talkies for one year after which he joined Film Corporation of India (FCI), a film production company based in Calcutta as the Head of Laboratory, a higher post with a higher salary.

Having worked in two full-fledged film production companies, Talwar’s ambition was to become a film director, a commanding position in the film industry at that time. When FCI roped in Kidar Sharma as director for their film ‘Aulad/Dil Hi To Hai’ (1939) and ‘Chitralekha’ (1941), Talwar got chance to work as his First Assistant. When ‘Chitralekha’ (1941) was in the making, FCI’s financial position worsened with debtors going to court for the liquidation of the company. Before ‘Chitralekha’ (1941) was released, the company went into liquidation. For the first time, Talwar faced the impending unemployment.

Instead of looking for work elsewhere, Talwar decided to form his own film production company called Talwar Productions by taking some of the displaced staff of FCI and getting an office space in FCI’s studio at Tollygunj. After producing and directing two Punjabi films, Talwar decided to produce and direct his first Hindi film ‘Khamoshi’ (1942). The film was an average success at the box office.

When Talwar was planning his next ambitious film on a big scale, he faced his second tragedy. The Japanese air force bombed some part of Calcutta in December 1942. In the circumstances, he decided to close down his production office in Calcutta and shifted to Lahore along with his staff who were willing to join him in Lahore. He reorganised his film production unit and started the shooting of his next film ‘Manchali’ (1943), followed by ‘Shikaayat’ (1944) in one of Lahore studios. Both these films were box office hits and celebrated jubilees.

Talwar’s next film was ‘Albeli’ (1945) followed by ‘Raazdaar’ and ‘Toote Sapne’. While ‘Albeli’ (1945) was released, the other two films could not be released due to the tense situations in Lahore following the announcement of partition. The situation in Lahore became worse, turning into communal riots. Following the partition in 1947, Talwar faced his third tragedy. He had to leave everything in Lahore except the negative of his completed film ‘Toote Sapne’ which he carried with him when he decided to shift to India after partition.

While Pancholis and Shoreys decided to shift to Bombay, Talwar decided to shift once again to Calcutta where he was more familiar with the film industry than in Bombay. To his surprise, the conditions in Calcutta had so much changed in the post-partition period that Talwar could not even make a new start. Sometime in 1949, he shifted to Bombay and started reorganising his film production unit. He got an office space in Bombay Talkies and in June 1949, he launched his first Hindi film in post-partition period. The name of the film was ‘Khilaadi’ (1950) starring Ashok Kumar and Suraiya in lead roles. The film was a box office success.

Talwar’s other films in the post-partition period were ‘Sangdil’ (1952), ‘Saaqi’ (1952), ‘Ilzaam’ (1954), ‘Rukhsana’ (1955), ‘Mem Saheb’ (1956), ‘Ek Dil Sau Afsane’ (1963). His last film which he directed was ‘Naya Kaanoon’ (1965).
As mentioned earlier, ‘Khamoshi’ (1942) was RC Talwar’s first Hindi film he produced and directed under his own banner, Talwar Productions. The star cast included his favourite actress Ramola Devi paired with AS Gyani. Others actors included Sundar, Ram Dulari, Manorama, Leela Mishra, Shyam Sundar, Nand Kishore, Himmat Rai etc. It may be observed that some of the actors had worked in the films produced by Film Corporation of India before it became defunct.

The film had 11 songs written by Himmat Rai, the younger brother of Kidar Sharma. All the songs were set to music by GA Chishti. The interesting features of the songs are that all the 11 songs have been rendered by actors on themselves and Ram Dulari who was in the supporting role in the film has sung 10 out of 11 songs. Two songs have been covered in the blog.

I am presenting the third song from the film to appear in the blog, a rare one. This song was not available on YT until I uploaded the video a few months back. The song is ‘Mann Ko Kaise Behlaayen’ sung by Ram Dulari.


Song – Mann Ko Kaise Behlaayen (Khamoshi) (1942) Singer – Ram Dulari, Lyrics – Himmat Rai, MD – GA Chishti

Lyrics

mann ko kaise behlaayen
mann ko kaise behlaayen
ye bipda aa
ye bipda kise sunaayen 
hum mann ko kaise behlaayen

kisko o mann ki baat sunaayen
kisko o mann ki baat sunaayen
kaise mann ka meet bulaayen
kaise mann ka meet bulaayen
neer bhare pyaase nainon ki
neer bhare pyaase nainon ki
kyonkar pyaas bhujaayen
o o o o
kyonkar pyaas bhujaayen
hum mann ko kaise behlaayen

kit jaayen ab kaun hamaara
kit jaayen ab kaun hamaara
rooth gaya hamse jag saara
rooth gaya hamse jag saara
kaah karen ab kaun jatan se
kaah karen ab kaun jatan se
bigdi baat banaayen
o o o o o
bigdi baat banaayen
hum mann ko kaise behlaayen
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मन को कैसे बहलाएं
मन को कैसे बहलाएं
ये बिपदा॰॰आ
ये बिपदा किसे सुनाएँ
हम मन को कैसे बहलाएं

किसको मन की बात सुनाएँ
किसको मन की बात सुनाएँ
कैसे मन का मीत बुलाएँ
कैसे मन का मीत बुलाएँ
नीर भरे प्यासे नैनों की
नीर भरे प्यासे नैनों की
क्योंकर प्यास बुझाएँ
ओ ओ ओ
क्योंकर प्यास बुझाएँ
हम मन को कैसे बहलाएं

कित जाएँ अब कौन हमारा
कित जाएँ अब कौन हमारा
रूठ गया हमसे जग सारा
रूठ गया हमसे जग सारा
काह करें अब कौन जतन से
काह करें अब कौन जतन से
बिगड़ी बात बनाएँ
ओ ओ ओ
बिगड़ी बात बनाएँ
हम मन को कैसे बहलाएं

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3 Responses to "Mann Ko Kaise Behlaayen"

Very melodious Voice and tune.

Sadanand ji,
Nice article on R C Talwar.
Here is an anecdote about him, drawn from my earlier article on him in Dec 2013 on this Blog….
” Talwar directed Kishore kumar in 3 films,Ilzam,Rukhsana and memsahib. In all films,the Heroine was Meena Kumari. While Ilzam was a social film,Rukhsana was a Costume film and Memsahib was supposed to be a comedy film.This was also produced by him.
After the film Memsahib was completed,Talwar had to pay a balance amount of Rs.8000 to Kishore Kumar. Even after Kishore’s several reminders,Talwar failed to pay Kishore his dues. Kishore kumar employed a novel idea. Everyday,in the morning,before proceeding for any shooting,Kishore would go to Talwar’s house. Standing outside at his gate,Kishore used to shout loudly,” Hey Talwar,de de mera Aath Hazaar “. This continued for few days and Talwar was so much disturbed that he paid off Kishore’s dues.”
-AD

Arun ji,

Thanks for the anecdote.

This may be one of the reasons that Kishore Kumar got to sing only one song in this film which seems unusual for a Kishore Kumar film. Shammi Kapoor had a negative role and yet he got two songs..

Incidentally, this film had one song https://atulsongaday.me/2009/09/11/hamaari-gali-aana/
which was almost a copy of the similar tune with mukhda of a song https://atulsongaday.me/2011/01/04/hamaari-gali-aanaa/
in R C Talwar’s earlier film SHUKRIYA (1944). The antaras were, however, different.

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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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