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

Daakaa daaley been tihaari

Posted on: August 1, 2017

This article is written by Raja, 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.

Yesterday (31st July 2017) was the birthday of Mumtaz, one of Hindi cinema’s leading heroines in the early 70s.

Yesterday also happened to be the death anniversary of Rafisaab, and our posts were focussed on remembering him. So this post for Mumtaz is being posted a day late. Hopefully, if she is reading this, she won’t mind. 🙂

Anyway, on behalf of the blog, we wish Mumtaz a very happy birthday – and many happy returns of the day.

There have been a fair number of big stars in Hindi cinema but I don’t think there have been many who have “worked their way up the ladder” quite like Mumtaz.

Some got success early and didn’t have to struggle to become stars.

Some struggled early on, with the odd hit, a few flops, and eventually became stars.

In both cases, the goal was to become a star – and any bit roles done did not stereotype the actor, so it was a matter of just getting bigger roles.

But the case of Mumtaz was different. She moved from being a starlet to becoming a B-film “stunt heroine” to often playing the “second” woman to finally move into A-films – and then to become a big star in A-films.

Now that’s quite a career progression.

It’s SO easy in the industry to get stereotyped – if you’re a B-film heroine, chances are you might never get an A-banner. Producers are very conscious of their banner, who they cast – and even A-actors might not want to act opposite B-actors. In Mumtaz’ case, apparently Shashi Kapoor refused to act opposite her in Sacha Jhootha (1970).

This progression is what makes Mumtaz’ career quite amazing. Where others like Nishi, Nazima, and Farida Jalal couldn’t break into A-films as leading ladies, Mumtaz broke that ceiling when she bagged the leading role in Raj Khosla’s Do Raaste (1969).

And after that, there was no looking back.

But let’s start at the beginning.

Mumtaz started as a child artiste role in Sone Ki Chidiya (1958) and followed it up with a few films in the early 60s, mainly in small roles.

Although I haven’t seen the film, she can be seen in the “pankh hoti to ud aati re” song picturisation in Sehra (1963).

And in Rustom Sohrab (1963), another film I haven’t seen yet, there is a beautiful Asha Bhosle song “ab der ho gayi vallah” picturised on her and Premnath.

In the same year, she got a role in Gehra Daag, the Rajendra Kumar – Mala Sinha starrer. Again, a film I haven’t seen.

By then, she was beginning to get B-film lead roles opposite Dara Singh. They acted in many films together – Faulad (1963), Veer Bhimsen (1964), Samson (1964), Hercules (1964), Aandhi Aur Toofaan (1964), Tarzan Comes to Delhi (1965), Tarzan and King Kong (1965), Sikander-e-Azam (1965), Raaka (1965), Boxer (1965), Jawan Mard (1966), Daku Mangal Singh (1966), Do Dushman (1967), Jang Aur Aman (1967), Apna Khoon Apna Dushman (1969)…

The reason for mentioning all these films is to just emphasise how strongly entrenched Mumtaz was in B-films and how strong her partnership with Dara Singh was. Dara Singh was a very popular B-film hero at the time,always playing the role of a strongman, wrestling or breaking iron chains. (Even Naseeruddin Shah, in an interview, once said he was fond of Dara Singh films.)

Mumtaz herself admitted that Dara Singh was largely responsible for her success at that time.

During this period, she also used to do “secondary” roles for bigger banners. Films that come to mind are Kajal (1965), Mere Sanam (1965) – who can forget “ye hai reshmi”, Suraj (1966), Sawan Ki Ghata (1966), Hamraaz (1967), Patthar Ke Sanam (1967).

In Khandaan (1966), she had an important, somewhat negative role, triggering separation in the family.

Mumtaz was growing in stature, no doubt. All these films had big stars and did well – so even when she wasn’t the leading lady, she was getting reasonable opportunity to be known to the audience.

Mumtaz had a good dancing sense too. She could easily impress on a dance floor. In Pyar Kiye Ja (1966), where she is opposite Mehmood in a joint-lead role, she can be seen having fun in “o meri maina”. And who can forget her dance with “aaj kal tere mere pyar ke charche” with Shammi Kapoor in Brahmachari (1968)? And another dance I love – “Ruby O Ruby”, from Chaahat (1971).

It was in 1967 that Mumtaz broke into the big league when she got a lead role (albeit joint-lead) in Ram Aur Shyam. That was a huge thing for her – to star opposite Dilip Kumar.

This was when the next phase of her career started. The B-film “stunt” heroine began getting roles opposite A-film actors. She would still do the “second” heroine role in films like Aadmi Aur Insaan (1969) but lead roles were coming her way. I remember seeing her in Boond Jo Ban Gaye Moti (1967) opposite Jeetendra.

The big turning point then came with Do Raaste (1969). The film was a huge hit – and though it was very much a Rajesh Khanna film, Mumtaz had four songs picturised on her, including the superhit song “bindiya chamkegi”.

No looking back thereafter – Mumtaz just went from strength to strength. Even heroes who were hesitant to work with her earlier, were now happy to work with her.

Mumtaz got her one and only Filmfare award for Khilona (1970). It wasn’t a very big role – and like other roles she had got, this too apparently came to her because it had been rejected by others. But to her credit, Mumtaz not just took the role – she earned an award for it.

I remember there were a number of Mumtaz hit films with Jeetendra in the early 70s.

And around that time, she also had hits with Dharmendra with Jheel Ke Us Paar (1973) and Loafer (1973).

Feroze Khan was another popular co-star. He had gone through his own B-film struggles in the 60s, so their careers were rather parallel in that sense. When Feroze got into film-making himself, he cast Mumtaz in Apradh (1972).

Mumtaz also starred in a couple of Navketan films opposite Dev Anand. The superhit Hare Rama Hare Krishna (1971) and the less-successful (but a film I’m very fond of) Tere Mere Sapne (1971).

But of course, I am saving the best for last. 🙂

For all her other hits with other co-stars (and there were many), Mumtaz’ partnership with Rajesh Khanna was special – it was just phenomenal.

They seemed to have great chemistry – in every film that they were in together (with the exception of their last film together, Aaina), they dazzled.

And since this was the period I remember most fondly from my childhood, many of my Rajesh Khanna memories are linked to Mumtaz. From “ye reshmi zulfein” to “chhup gaye saare nazaare” to “yun hi tum mujh se baat karti ho” to “maine dekha, toone dekha” to “kajra laga ke” to “suno champa suno taara” to “duniya mein logon ko” to “gore rang pe” to “karvatein badalte rahein” to “jai jai Shivshankar” to “chal dariya mein doob jaayen – each one of these songs was very popular in its time, and most of them are popular to this day!

And then it ended abruptly.

Mumtaz got married in 1974 – while still at the peak of her career. Her husband, a successful businessman Mayur Madhvani, lived in England and Mumtaz moved there too. She just wrapped up her last few engagements and bid the industry goodbye.

After that, she could be seen in Aaina (1977) and much later, in 1990, in Aandhiyaan – but her career is best remembered till the mid-70s.

Looking back, even as I have been charting this journey, I have been thoroughly impressed – imagine the person who has gone through the journey herself!

I can only admire Mumtaz for not just sticking it out in the industry (that is tough enough) but for getting to where she eventually did – and then leaving it on her terms.

Now, moving on to the song for today.

It is from Pardesi (1970), a film in which Mumtaz has the lead role opposite Biswajeet. I remember seeing this film as a young boy, but can’t remember the storyline now. I vaguely remember someone falling off a cliff, being bitten by a snake or something like that. 🙂 It was probably Biswajeet – who then loses his memory (the famous “main kaun hoon, kahaan hoon”) as he is then brought back to health by these village folk. He is called Pardesi by them, and lives with them for a while. Not an uncommon storyline in Hindi cinema. 🙂

This film had fairly popular songs composed by Chitragupt – in particular, “lagi na chhutegi” was quite popular. I remember also hearing “pardesi piya o pardesi piya” off and on.

Today’s song is “daaka daale”. To be honest, I have no clue about the situation in the film (this is one film I did not see recently to get the song’s context). But it looks like a typical hero-heroine song out in nature – I am reminded of “kaanto mein phasa aanchal” from Do Dil (1966), also a Biswajeet film, albeit opposite Rajshree.

Anyway, it is quite a pleasant song, wonderfully composed by Chitragupt. Hope you enjoy it.



Song-Daaka daale been tihaari(Pardesi)(1970) Singer-Lata, Lyrics-Majrooh sultanpuri, MD-Chitragupta


Daaka daale
O daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re
Daaka daale
hO daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re

Julmi ki har taan jaise
Thhaame mori bainya
Julmi ki har taan jaise
Thhaame mori bainya
Ajab si hulchul padi jiyaa mein
Ka karoon sainya
ho ji ho o o
Le gayi tan man been tihaari
Baaj ke bairan loote hamaari
nagariya re
ho nagariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re

Sun ke tere bol
main to jaagi sotey sotey
Sun ke tere bol
main to jaagi sotey sotey
Teri lagan mein nikal padi main
Baawri hoke ho ji ho o o
Nainon mein aise jhool gayi main
Jaoongi kaise
bhool gayi main
Dagariya re
ho dagariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe
ho sanwariya re
Ho sanwariya re

Mohe ab kya chaandni ho
Ya raina andhiyaari
Mohe ab kya chaandni ho
Ya raina andhiyaari
Teri hi dhun mein thhumak rahi main
Bani matwaari ho ji ho o o
Preet ke ban mein paayal chhanki
Jaagi badan mein tere milan ki
Lahariya re
ho lahariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re

2 Responses to "Daakaa daaley been tihaari"

This post is by a true 70s ka bachcha. And it sketches a very lovely picture of our dear Mumu as she was fondly addressed. Thank u Rajaji. And what I like about the post is u spoke of “yeh hai reshmi zulfon ka andhera” & the song is she is romancing the hero she tried to seduce in the 60s ka song.
Wen i was mentally framing a post for Mumtaz i was thinking of her “hai mein marjaawaa” in “Mere Sanam”. And how she used to address Om Prakash as uncle in “Mere Humdam Mere Dost”. I remember her “tik tik mera dil bole” with Jeetendra, as also “Haan maine bhi pyar kiya”. Cannot forget her in “Le jaayenge dilwaale dulhaniya le jaayenge”. And she had a decent height and towered above many of her co actresses. Oh I loved so many things about her but was disappointed wen i saw her in “Aandhiyan” in 90s
Thank u Rajaji and Atulji for this post.
Happy birthday Mumuji



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