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

Prabhu Dwaar Chali Prabhu Ki Daasi

Posted on: January 14, 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 : 3467 Post No. : 13918

Today’s song is from film ‘Sheroo’ (1957).

The lead pair in this film was Ashok kumar and Nalini Jayawant. This was quite a popular pair in the 1950s decade. They did 11 films together. Their association started from film ‘Sangram’ (1950) and the last time they came together was after 16 years, in film ‘Toofan Mein Pyar Kahaan’ (1966). In Bombay, their bungalows were in Union Park, Chembur, opposite to each others. Saadat Hasan Manto, in one of his books mentions about their mutual attraction and a failed plan to elope and marry.

Once a pair is successful, our Indian producers, try to repeat them in their films. Ashok kumar worked with a total of about 30 Heroines in his career. He was paired with Madhubala in 5 films, With Devika Rani in 8 films and with Leela Chitnis in 9 films. His record is 21 films with Nirupa Roy – from film ‘Bhai Bhai’ (1956) to ‘Dana Pani’ (1989), a whopping period of 33 years. In his times, he probably created a record of sorts.

Ashok Kumar (13-10-1911 to 10-12-2001) was a lucky actor. He did not have to struggle to become a hero. In fact, he started his career in film ‘Jeevan Naiya’ (1936) as a hero itself. He reigned the film industry as a hero from 1936 to 1960, a long period of 24 years. It was from film ‘Kanoon’ (1960) that he switched over to character roles. He worked in 310 films. Though he was in his early and late 40’s, he was a much sought after Hero even in the 1950’s decade. In this decade (from 1950 to 1959), he worked as a hero in 56 film- an average of almost 6 films an year ! In the years 1952 and 1958 he did 9 films in one year. Even as a character artiste, in 1962, he did 9 films.

Film ‘Sheroo’ was produced by SP Pictures, which was a pair of Sant Ram and Pachhi. Ram Prakash ‘Pachhi’ was the younger brother of (Bakshi) Om Prakash (Chibbar) the comedian.

Like his illustrious brother Om Prakash, Ram Prakash was also jovial by nature and had a similar sense of humour. But he had no ambition to become a comedian in Hindi movies. At the same time, Ram Prakash ‘Pachhi’ was in love of Hindi movies and wanted to become a film producer and to be master of his own destiny. One of his friends, Sant Singh, was doing well as a successful art director , who also nurtured the same ambition. They formed a film company PS Pictures and started from scratch by producing ‘Mr. Chakram’ in 1956. The film was directed by SP Bakshi and had music by Husn Lal Bhagat Ram. Bewitching Shyama (may God bless her soul) was the heroine. Next year Pachhi & Sant Singh signed an upcoming director Shakti Samant for their next movie, a crime caper ‘Sheroo’. After the grand success of his maiden directorial venture, ‘Bahu’, Shakti Samant was already signed by Nadiadwalas for two movies i.e. ‘Inspector’ and ‘Hill Station’. After the release of ‘Sheroo’, Pachhi helped Shakti Samant to become a producer and in 1958, he produced and directed the highly successful ‘Howrah Bridge’. His elder brother directed ‘Kanhaiyya’ in 1959 for PS Pictures, which had Raj Kapoor and Nutan, the hit pair of ‘Anari’ (1959) and its music was by Shankar Jaikishan. Financial result of the movie was depressing, as the movie had illogical story.

In 1960, Sant Singh & Pachhi again engaged Shakti Samant for their movie ‘Jaali Note’. They signed OP Nayyar as the music director and the beautiful pair of Dev Anand and Madhubala . Encouraged with the positive response and success of the movie, the producers duo announced a crime movie ‘Hong Kong’ (1962), in colour. This film was to be directed by Shakti Samant with the super hit pair of ‘Howrah Bridge’ Madhubala and Ashok Kumar, along with king of rhythm OP Nayyar. It was decided to shoot the crime movie, at the exotic locales of South East Asia like Singapore, Bangkok, Rangoon & Hong Kong. Pachhi got a jolt when Madhubala opted out from the project due to her ill health and subsequently Shakti Samant also declined to be associated with the venture. Discouraged by the turn of events, Pachhi decided to tackle the problem by taking the bull by the horns and made up his mind to direct the movie himself. He brought the ‘Sasural’ fame Kannada actress B Saroja Devi on board as heroine. It was the last movie (released in 1962) which was made by two friends Sardar Sant Singh and Ram Prakash Pachhi. After this film they mutually decided to end their partnership. Now Pachhi was alone, dejected, but determined to go ahead. He produced a path breaking film which in its time was miles ahead of all Hindi movies and was shot at foreign locales around the planet – ‘Around The World’ (1967). The film turned out to be a debacle.

In 1974, Pachhi produced and directed ‘International Crook’. He got a shock of his life, when censor board suggested many major cuts, after viewing his big budget film. He approached the Appellate Tribunal to seek justice. The Appellate Tribunal, instead of granting relief, objected to the story itself and banned the movie altogether. The fact of the matter was, in his capacity as the president of the Indian Motion Picture Producers Association (IMPPA), he had many face-off’s with the authorities, in the past, for the legitimate causes of film industry. Now it was the payback time for the authorities in power. They harassed him, although the movie had nothing objectionable. It had an escapist story, with usual blending of romance, dance & music. It was shot at various location around the world. Pachhi was heartbroken, but somehow he re-shot some portion, omitted most of the shots & presented again to censor. Censor gave him certificate with A stamp, which was as good as killing half the movie. The final print had lot of continuity jumps & was inconclusive, despite the patch works. The opening of the movie at theatres was worse than the worst, which left Pachhi inconsolable .

Perhaps, it was the destiny. His elder brother Om Prakash had faced it with ‘Jahan Ara’ (1964), and his eldest brother Bakshi Jang Bahadur with ‘Tipu Sultan’ (1959). Pachhi after a while decided to start from the scratch and made ‘Eent Ka Jawab Pathar’, with small star cast and controlled budget. The only luxury, he allowed himself was that he signed Shankar Jaikishan again for music and shot the movie in Vista Vision. The movie was released in 1982 and sadly like a defeated gambler, Pachhi lost once again. Bakhshi Jang Bahadur had already gone and Pachhi also passed away soon after. It was a big shock for Om Prakash, who lost his wife after some time. Pachhi was a jolly and energetic fellow, who regaled his audience by showing exciting foreign locations. He will be remembered for his occasional appearances as a jolly natured person in various movies, and also as a visionary. He is the one who introduced 70 mm format first time in the Indian film industry.
[Note: The above bio sketch is based on material received from Shri MN Sardana.]

The cast of the film was Ashok Kumar,  Nalini Jayawant, Anup kumar, Madan Puri, Chaman Puri, Om Prakash, Leela Mishra, Shyam Kumar,  Krishna Kant etc etc. The name of Krishna Kant or KK is known to many people. Krishnakant (15-9-1922 to 24-10-2016) was a noted character actor of long standing. His career spanned from 1943 to 1989, a whopping 46 years. After retirement he had settled in Surat, Gujarat.  His life story has been made into a Gujarati book ‘Guzara Hua Zamana’ written by the famous author Shri Biren Kothari ji. He has gifted me a copy of this book. Reading this book takes you into those times. KK had a knack of telling the history in an interesting way, with lot many photographs. Till the last day (94 years) his memory was excellent. During my visit to Surat in early 2016, I could not meet him, due to paucity of time. This will pinch me forever. Our Sudhir ji and Bakshish Singh ji have met him.

Krishnakant acted in 109 Hindi, 16 Gujarati, 2 Bangla and 2 English movies. He has also directed 2 Hindi and 13 Gujarati films. In addition, he was active on TV in his later years. He acted in 8 Hindi and 6 Gujarati serials and directed 3 Hindi serials. He also acted in 1 Hindi and 7 Gujarati stage dramas. Here is his short bio sketch,

Krishnakant (15-9-1922 to 24-10-2016)

Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Aravind Sen on ‘Muqaddar’ (also acting in it) and with Subodh Mukherjee (‘Paying Guest’, 1957). First major acting role in Phani Majumdar’s ‘Andolan’; other notable roles are a paralytic in Amiya Chakravarty’s ‘Patita’ and the villain in Shakti Samant’s ‘Detective’. Left films in the late 1950s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.

FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar; Mashaal; 1951: Andolan; 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954: Baadbaan; Dhobi Doctor; Naukri; 1955: Faraar; Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab; Jagte Raho; Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi; Begunah; Hum Panchhi Ek Dal Ke; Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar; Detective; Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar; Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivno Jugari; Vanraj Chavdo; 1969: Do Raaste; Kanku; 1971: Duniya Kya Jaane; Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee; Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor; Annadata; Gunsundari No Ghar Sansar; 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay; Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee; Koi Jeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar; Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*; Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.

(Adapted from Encyclopedia of Indian Cinema)

‘Sheroo’ is about a soldier of second world war who returns to his town for a peaceful retired life. Instead he has to deal with the Government babus and various rules. For a soldier, this indiscipline, corruption and lethargy was beyond tolerance. He is sad when his mother dies and very furious when his  wife is kidnapped by villains of the town. Frustrated Sheroo resorts to his gun to solve the problem.

I remember having seen a film of Nana Patekar. The film was ‘Prahar’ (1991). The story has similarity except the end. After 35 years Hindi cinema had become more direct and the end of these two films having similar content was entirely different. Instead of subtle and suggestive results, Nana Patekar is shown to punish the enemies of the society with death penalty, unlike the ‘Sheroo’ of 1957. This also reflects our modern society thinking.

The music is by Madan Mohan and he has given some wonderful songs. The top 2 songs, one by Rafi (“O Mati Ke Putle, Itna Na Kar Tu Gumaan”) and the other by Lata (“Naino Mein Pyar Doley, Dil Ka Qaraar Doley”) are already discussed. Today’s song, byManna Dey is the third top song. This is the 5th song from Sheroo to be discussed here. Enjoy this melodious classical based bhajan. . .


Song – Prabhu Dwaar Chali Prabhu Ki Daasi (Sheroo) (1957) Singer – Manna Dey, Lyrics – Kaif Irfani – Madan Mohan
Unidentified Male Voice

Lyrics (Provided by Sudhir)

parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali

muskaan ke phool sajaaye huye
naino ke deep jalaaye huye
muskaan ke phool sajaaye huye
naino ke deep jalaaye huye
nikli preetam ke rijhane ko
man me apne visvaas liye

parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali

(taal)

(taal and dance steps)

tero naam onkaar
gaawat sab baar baar
tero naam onkaar
gaawat sab baar baar
laaj meri tere haath
jagat ke khiwaiyyaa

(taal)

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली

मुस्कान के फूल सजाये हुये
नैनों के दीप जलाए हुये
मुस्कान के फूल सजाये हुये
नैनों के दीप जलाए हुये
निकली प्रीतम के रिझाने को
मन में अपने विश्वास लिए
प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली

(ताल)

(ताल एवं नृत्य भाव)

तेरो नाम ओंकार
गावात सब बार बार
तेरो नाम ओंकार
गावात सब बार बार
लाज मेरी तेरे हाथ
जगत के खिवैया

(ताल)

 

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2 Responses to "Prabhu Dwaar Chali Prabhu Ki Daasi"

Arun ji

Iss Sunday ka poora credit aapke naam,
Aaj ka post toh Treasurehouse of valuable information nikli,

Thanks for that from the bottom of my heart

Regards

prakash

Thanks, Prakash ji, for your kind remarks.

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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13900 song posts by now.

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