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

Baali umar piya mor mor mor

Posted on: November 21, 2017

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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.

After an enforced hiatus of over a month, I am back again with yet another song from the yore.

During this period, I acutely realised how much this Blog, its people, Hindi old films and songs had become a part of my life and I missed all this. When I was younger and ran after my career, the same feeling used to be there. Now of course, there are deadlines,commitments,accountability and work satisfaction, but of different kind. Equally important, nevertheless. I was overwhelmed with the good wishes and prayers for me from friends during this period. God is Great and everything fitted in place finally and I am once again ready to pour my heart here in discussing songs, people and films. Thanks to all.

Today’s song is from a film called Gopinath-48. This film is known to many, only for the original song and tune, used by Raj Kapoor in his film ‘Satyam Shivam Sundaram ‘-78 in the song “Yashomati maiyya se poochhe Nandlala, Radha kyun gori, main kyun kaala “.

But there is much more to this film than only this song.

The film belongs to the Bengali tradition of melodramas. The main Heroine Tripti Mitra has given a remarkable performance. In shifting the tragedy from Devdas type male anxiety for a woman’s condition, the film chronicles how women get caught in the traditional environment. Mahesh Kaul, who wrote the story, screen play and dialogues, besides directing it, picked a delicate subject and handled it skilfully. He also acted in this film in the role of a movie director.

This was Raj Kapoor’s first major appearance on screen, before he became a legend later on. He excelled as an actor here. The film ends with an unusual scene.

When the film was released, it was hailed by critics as a work of art, much ahead of its time. It was creditable for Mahesh Kaul to have made this film, when the Indian Cinema was yet to become an adult. No wonder, the Government of India has preserved a print of Gopinath-48 in its National Film Archives for posterity. The acting of Raj Kapoor confirmed, his greatness would have matched any actor in the world, only if he had not wasted his talent in imitating Chaplin. This is my personal opinion.

There were two Heroines. One was Tripti Mitra, a big name in Bangla films and stage movement. She acted in only 3 Hindi movies. Gopinath-48, Dharati ke Lal-46 and Munna-54. Munna was a sequel to Dharati Ke Lal- both films directed by K.A.Abbas.

Smt. TRIPTI MITRA, née Tripti Bhaduri (Born 25 October 1925 – Died 24 May 1989), popular Indian Actress of Bengali Theatre and Films. She was the wife of Sombhu Mitra, noted Theatre & Film Director, with whom she co-founded pioneering theatre group Bohurupee in 1948. She has acted in films like Jukti Takko Aar Gappo and Dharti Ke Lal.

She was awarded Padma Shri and the Sangeet Natak Akademi Award, the highest Indian recognition given to practicing artists, given by Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.

Tripti Mitra was born in Dinajpur (British India) on 25 October 1925. Her father was Ashutosh Bhaduri and mother was Shailabala Debi. In Dinajpur Minor School she studied up to class six, then she came to Kolkata and got admission in Pyaricharan School. After passing Higher Secondary Examination from that school, she got admission in Ashutosh College. But she could not complete her studies since she got a job. She married Sombhu Mitra in December, 1945. She has a daughter Shaoli Mitra, who is also an actress and director.

Tripti Mitra had been acting in theatre since her teens. She first acted in her cousin Bijon Bhattacharya’s play Agun (Fire) in 1943. After watching her stage performance in noted IPTA play, Nabanna (Harvest) based on Bengal famine of 1943, director Khwaja Ahmad Abbas took her to Bombay to act in Gana Natya Sangha’s film Dharti Ke Lal in 1943, partly based on the play. Her first Bengali film was Pathik in 1953, the film was directed by Debaki Kumar Basu. She also acted in Ritwik Ghatak’s last film, Jukti Takko Aar Gappo (1974).

In 1948, Shombhu and Tripti Mitra founded their own theatre group named Bohurupee. She acted in innumerable plays mostly along with her husband Sombhu Mitra,a colossus in the field of theatre, to become one of the most legendary beings of Bengali theatre, most famous for her role as Nandini, the protagonist of Rabindranath Tagore’s Rakta Karabi. She also acted in Jago Hua Savera, a 1959 Urdu movie produced in Dhaka, East Pakistan (now Bangladesh), based on a Manik Bandopadhya’s classic novel Padma Nadir Majhi. Tripti Mitra died on 24 May 1989.

The second Heroine was Latika. In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.

” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.

The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.

Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.

In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).

Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.

It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.

Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too become a Jehovah’s Witness.

Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had became a hotel but I’m not sure what has happened to it now.

Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.

Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”

On 25-9-2012, I had written this review of Gopinath-48, in this Blog–

GOPINATH-1948 was a Shanti lok Chitra film.It was produced and Directed by Mahesh Kaul, who not only wrote its story,screenplay and dialogues,but also acted in it.

The music was by Ninu Muzumdar and lyrics by Ram murthy Chaturvedi.There were 9 songs in the film, including 2 Bhajans of Meerabai and Surdas each.

The cast was Raj Kapoor,Tripti Mitra,Latika,Randhir,Anwari Bai, Sachin Ghosh etc.

This was a story of Gopi (Tripti Mitra), who is an orphan in the house of Mohan (Raj Kapoor). She is abandoned by her only brother. Gopi loves Mohan, but Mohan loves Neela Devi, an actress (Latika).

Gopi is frustrated and is mad,when Mohan returns to her after getting fed up and disillusioned by Neela Devi.

I saw this movie in its IInd run in early 1950s, but I had my notes on this movie.

Although some critics had actually lauded Raj Kapoor’s performance in this film, I felt that Tripti had outclassed RK in this film.

There are in all 9 songs in the film. Today’s song is only the second song to be discussed here. All songs,videos and the film are available on YT. This song is sung by Shamshad Begum and chorus. This dance song is very melodious, with a lilting tune. You will enjoy it….

Song-Baali umar piyaa mor mor mor (Gopinath)(1948) Singer-Shamshad Begam, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar


baali umar piyaa mor mor mor
jiyaraa naa maane
haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane

haay jiyaraa naa maane
o o o

jabse dekhaa hai tumhen aen aen aen
bas kho gaye hain ham kahin
naa tasalli hai
naa ji ko chain hai ae
ek dam kahin
chhaayi ghataa ghanghor ghor ghor
jiyaraa naa maane

haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane

haay jiyaraa naa maane
o o o

par nahin
ud kar tumhaare paas jo aa jaayen ham
aa jaayen ham
aa jaayen ham

dil samajhtaa hi nahin
kyun kar ise samjhaayen ham
samjhaayen ham
samjhaayen ham

chhoot jaaye gham ke haathon se
jo nikle dam kahin
khaaq aisi zindagi par
tum kahin aur ham kahin
pi pi papihaa kare shor shor shor
jiyaraa naa maane

haay jiyaraa naa maane
o o o
baali umar piyaa mor mor mor
jiyaraa naa maane
haay jiyaraa naa maane

o o o


6 Responses to "Baali umar piya mor mor mor"

Thanks. Interesting account of Latika, an actress I never heard of..
The song featured here has an old world charm.

Thanks for your comments.

amzing !…hats off to your research sir…thanks a ton for sharing this rarest of rare information about latika…i read somewhere that latika was a jew who migrated to israel after gope’s death…but your write up has revealed the truth…thanks again…

Shishir Krishna Sharma ji,
Thanks for your appreciation. It works as an encouragement for me to continue doing what I do.

Indeed, everywhere else it is mentioned that Latika was a jew and she migrated to Israel. Clearly people copy from each other and then that information becomes gospel.

That is true.
I gave a copy of this letter to Cineplot and they too have published it, with credit to me, making corrections on their earlier information.
I try to make corrections on various such wrong info, on the Fb and other sites, whenever I find them.

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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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