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

Haariye na himmat bisaariye na raam

Posted on: January 5, 2018


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.

Blog Day : 3458 Post No. : 13873

Today’s song is from film Aazaad-40, made by the famous Bombay Talkies.

Bombay Talkies was one of the premiere production companies of India in those times. Its films became very popular and the music was lapped up by the audience. There were other equally famous production houses like Prabhat Films,Ranjit studios and New Theatres of Calcutta, all churning out block busters. While Ranjit showed how to make money, Bombay Talkies added prestige to films.

Language in Hindi films was a great issue in those times and it is here that Bombay Talkies won hands down ! Prabhat films had its Hindi totally influenced by Marathi ( and hence was popular in western India), and New Theatres films had their Hindi straight lifted from books of Hindi Prachar Sabha- too pure ! It was only Bombay Talkies films which used the colloquial language of India- easily understood by the masses and acceptable to all classes equally. While Prabhat called it “Preet” , and New Theatres said ” Prem”, Bombay Talkies used the words like ” Pyar” and “Muhabbat” – a mix of Urdu and Hindi ( called Hindustani). Prabhat dialogues were too formal, while New Theatres’ were highly literary and Bombay Talkies used day to day language understood easily over the length and breadth of India.

Surprisingly,it was not by design. Himanshu Rai’s Hindi was not good. Whenever a new film story was read out to him, he would insist for simpler language so that he understood it. This culminated into the strongest point of Bombay Talkies films !.

Bombay Talkies was run on Hollywood style. Very systematic, disciplined and maintained a conducive atmosphere for best performance by all. All facilities were provided to the staff, with a common canteen for all- high and low. Bombay Talkies believed in recruiting talented people and also developing their own staff. From the begining, it was considered a Heaven for Bangla artistes. But to its credit, it never neglected or denied opportunities to any Non Bangla artistes. This enabled the Film industry- in later years – benefitting with a variety of experts in all fields of cinema making.

In the initial period, Devika Rani used to be the Heroine in all films, but in 1939, Bombay Talkies invited Leela Chitnis to work in film Kangan-39, opposite Ashok Kumar. The usual director Franz Osten had directed it. The film was a hit and Bombay Talkies went ahead with another film Bandhan-40. When the shooting of Bandhan started in end 1939, its Director Franz Osten and all other German Technicians of the studio were arrested by British police and interned at Deolali, near Nashik, Maharashtra. The film was then completed by the assistant director N.R.Acharya, who graduated to Director’s post. Even this film was a Hit. Yet another film was launched with the pair of Askok Kumar and Leela Chitnis, viz. Aazaad-40 and this film too was directed by N.R.Acharya.

N.R.Acharya – was a Hindi director born in Karachi. He was a government contractor when he joined East India film Company in Calcutta (1934). Later he worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. He became a producer with KISHORE SAHU’s Kunwara Baap (1942). He continued producing under the Acharya Arts Production banner until 1950. He also made Gujarati films, e.g. Lagna Mandap. In 1942, when there was a split in Bombay Talkies and one group left to establish Filmistan, Acharya too left but did not join any group and he became a free lancer. Later he started a company,’N.R.Acharya Productions.’

FILMOGRAPHY:

1940: Bandhan; Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru. ( adapted from Ency.of Indian cinema )

In early 1940, Bombay Talkies’ expert writer and Himansu Rai’s long time associate Niranjan Pal left Bombay Talkies, and Sardendu Bannerjee, a noted Novelist from Bengal was recruited. However his first film Aazaad-40 did not click unlike other films of the lead pair. The film had a cast of Ashok Kumar, Leela Chitnis, Hansa Wadkar, Rama Shukul, Mumtaz Ali, Nazir Bedi, Ramchandra Pal, Nana Palshikar etc etc. Hansa Wadkar was new to Bombay Talkies, having worked as a Heroine in its earlier film ” Navjeevan-39″, opposite Rama Shukul. She had impressed the company and hence even in film Aazaad she was paired opposite Rama Shukul again.

Hansa Wadkar’s real name was Ratan Bhalchandra Salgaonkar. She was born at Bombay on 24-1-1923 in a family of professional singers or ” Kalawanteen” as they are called in Maharashtra.These Kalawanteens were similar to courtesans or Devdasis. They earned their living by entertaining guests by their singing,but they could not get married. They would have their ” Seths ” or benefactors to look after their living needs and sometimes they would have children also from them. However Hansa’s mother had married an upper caste person Salgaonkar. Hansa’s father was a useless person,who lived on wife’s earnings and drank whole day and night.

Hansa was beautiful and knew singing and dancing. She wanted to work in films. There was a family friend-a distant relative- Bandarkar,who would take Hansa to various studios for finding work. She got a film,” Shaadi ka mamla”-1936 at the age of 13 years. this was actually a Marathi drama ( ” Vijayachi Lagne” by Mama Warerkar) shot as a film,which became a flop. meanwhile Hansa was made pregnant by Bandarkar and to save face,she was married to this 10 year older person. She was just 14 year old then.

her next film was Modern Youth-37. Then she did a few B grade films. Hansa changed her name to Hansa Wadkar,which was her maternal surname. She was not only attractive but also expert in dancing and singing. She was offered films by Bombay Talkies ,where she did 3 films-Durga,Navjeevan and Azaad. Later Prabhat also called her for Sant Sakhu in 1941. She did 3 films for Shantaram-Sant Sakhu,Ramshastri and Matwala Shayar.

Hansa worked with top banners and opposite Top actors in her heydays. She did 28 Hindi films. From 1949 onwards,she did 25 Marathi films, including Record breaking ‘Sangatye Aika-59,Ramshastri-44 etc .

Hansa’s life was was in two extremes.On her professional front,she was very successful,but on her personal front,she was very sad. She always sought Love,but she got deception,heartbreaks and torture. Her first husband Bandarkar was a very suspicious character. Due to him she had many abortions,which spoiled her health. She tried many men in search of Love,but she was a disappointed soul throughout.

Hansa Wadkar wrote her autobiography ” Sangtye Aika ” in 1970. It was the same title of her most successful film in Marathi.The book created many waves in the industry since she was very candid and open in the book. After retirement,she lived with Rajan Javale,a handsome Marathi film actor ( he did many Hindi films too ). She called him Baba. She was always ready to give Interviews,because she wanted that people should know the truth. She died on 23-8-1971.

Hansa’s Filmography- Shadi ka mamla, Modern youth,Bahadur kissan,Sneh lagna,Zamana,Durga,criminal,Navjeevan,Azaad,Sant sakhu,Apna paraya,Dillagi,mwera gaon,Ramshastri,Meena,Aarti,main kya karun,begram khan,matwala shayar,gaurav,Dhanyawaad,Dhanwale,Mere Laal,Sant janabai,Shrikrishna Darshan,Maya machhindra,Shrikrishna Satyabhama and Shri Gurudev dutt from 49 to 66, she did 25 Marathi films.

Shyam Benegal made a film on her autobiography-Bhumika-1977. Hansa’s role was done by Smita Patil and Bandarkar was Amol palekar The film was very successful and won many awards.

Film Aazaad-40 did not become a hit film, because the popular romantic pair of Ashok Kumar and Leela Chitnis was shown as an old couple in the later part of the film, which probably was not liked by the audience. The story of the film is….

AAZAAD(1940) was a Bombay Talkies’ film,in which two composers were there. Ramchandra Pal also composed one song in this film. He also acted in this film.

The screenplay and story were of Sardendu Bannerjee, while the Dialogues and Lyrics were by Jamuna swaroop Kashyap “Natawaa”.

Azad was a story of three friends and the ageold conflict of conservatism v/s Modernism. Vijay(Ashok Kumar) is a wealthy young collegian with modern thinking and rebellion against bad customs.Loknath is a conservative while Jagdish is oscillating between the two.

One day they come accross a girl Jamuna(Leela Chitnis) hunted by a badman. Loknath and and Jagdish stay away,but Vijay rescues her and takes her home.She is stamped a fallen woman,but Vijay knows she is pure and courageous.They fall in love, marry and go away to another villege Ratanpur,to avoid trouble from society.

After 25 years, Jagdish settles as a Lawyer in Calcutta.He has one motherless daughter Seeta(Hansa Wadkar),who is rescued from Train dacoits,by Anand ( Rama Shukul),the Doctor son of Vijay.Jagdish calls him home and learns that he is Vijay and Jamun’s son.He is in a dialemma now.

However love triumphs and the youngsters finally get married in presence of Vijay,Jamuna,Jagdish and Loknath.

This was a film in the tradition of bringing new thinking through films by Bombay Talkies, for which they were known.

Film Azad-40 had 9 songs. only one song was composed by Ramchandra pal and he sang this song. He also acted in the film, but this song is not picturised on him. The song is basically a Kabir bhajan, but patched with some lines by Jamuna prasad Kashyap.


Song-Haariye na himmat bisaariye na Raam (Aazaad)(1940) Singer- Ramchandra Pal, Lyrics-Lyricist- Kabir and Jamuna Swaroop Kashyap, MD- Ramchandra Pal

Lyrics

haariye na himmat
bisaariye na raam
haariye na himmat
bisaariye na raam

tu kyun soche bande
sab ki soche raam
tu kyun soche bande
sab ki soche raam

haariye na himmat
bisaariye na raam
deepak leke haath mein
andha raah dikhaaye
auran aage chaandna
aap andhere jaaye
paap puny aur bhale bure ki wo hi karta tol
paap puny aur bhale bure ki wo hi karta tol
ye saadhe nahin jagat haath ke
ye saadhe nahin jagat haath ke
tu kya jaane mol

jaisa jiska kaam
paata waise daam
jaisa jiska kaam
paata waise daam
tu kyun soche bande
sab ki soche raam
tu kyun soche bande
sab ki soche raam
haariye na himmat
bisaariye na raam
haariye na himmat
bisaariye na raam

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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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