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

Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon

Posted on: September 1, 2018


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.

Blog Day : 3697 Post No. : 14614

In the early 1930s, New Theatres (NT) of Calcutta (Kolkata) had become the ‘sanctuary’ for Hindi film artists from Bombay (Mumbai), Lahore and for upcoming artists for better prospects. Some of the prominent Hindi film artists who had joined NT were K L Saigal, Prithviraj Kapoor, Durga Khote, Mazhar Khan, M Kumar, Jagdish Sethi, Kidar Sharma, Aarzoo Lucknowi, K N Singh, Bikram Kapoor Hiralal, Sitara Devi among many others.

Between the end of the 1930s and the beginning of 1940s, almost all of the above mentioned artists left NT to join the Bombay film industry. At the outset, it would appear that they had shifted to Mumbai for better opportunity and prospects in their filmy careers as the number of Hindi films produced in Mumbai far exceeded that from Kolkata. However, there was one more reason for the artists leaving NT and it had something to do with the way the system of film making in NT worked.

Most of the films produced in NT were simultaneously made in Bengali and Hindi based mostly on the Bengali stories. So the film was shot scene by scene first in Bengali with actors for Hindi version being asked to copy the way the Bengali actors acted and delivered dialogues. There was not much of creative freedom for Hindi actors. The same was true for the screen-play and dialogue writers for Hindi version as they only had to provide verbatim translation from the Bengali version.

Kidar Sharma who worked with NT as screen-play and dialogue writer in addition to writing lyrics for the Hindi versions, left NT sometime in 1939 due to creative differences with director Debaki Bose. Also he had an ambition to become a director which was not possible in NT as they preferred directors well versed in Bengali literature for the reason that most of their films were based on Bengali stories. After directing films ‘Aulad’ (1939) and ‘Chitralekha’ (1941) for Film Corporation of India, Kolkata, Kidar Sharma joined Ranjit Movietone on 3/10/1941.

‘Armaan’ (1942) was first film of Kidar Sharma for Ranjit Movietone. Apart from directing the film, Kidar Sharma also wrote the story, screen-play, dialogues and lyrics. The star cast included Motilal and Shamim Bano in the lead roles supported by Nagendra Majumdar, Meera, Bhagwandas, A Shah Shikarpuri, Nazir Bedi, Reva Shankar, Rajendra Singh etc.

There are a couple of interesting trivia while selecting the lead actors for the film. Kidar Sharma wanted to cast Motilal as the lead actor who was not attached to any studios. But he used to work in Ranjit Movietone’s films with an understanding that he would choose the director. Motilal agreed to work with Kidar Sharma on three conditions. First, he would work with a fixed schedule from 9.00 A.M. to 6.00 PM. Second, he would not work on Sundays. And lastly, he would not attend rehearsals. Since Kidar Sharma had fixation about Motilal for his natural acting, he agreed with all his three conditions. However, during the shooting of the film, Motilal himself broke two of his three conditions, rehearsing the scenes and working beyond 6.00 p.m.

When Kidar Sharma selected Shamim Bano (niece of Khurshid Bano, the top actress of Ranjit Movietone) as the lead actress for the film, Chandulal Shah, the boss of Ranjit Movietone had warned him that Khursheed Bano would never work with him as she was jealous of her niece. However, Kidar Sharma not only went ahead with his choice of heroine for the film, he also directed Khursheed Bano in one of his Ranjit Movietone’s films ‘Mumtaz Mahal’ (1944). These are anecdotes which have been mentioned in Kidar Sharma’s autobiography ‘The One and Lonely Kidar Sharma’ (2002).

The gist of the story of ‘Armaan’ (1942) based on the review of the film appeared in October 1942 issue of ‘Filmindia’ is as under:

Prince Kanwal (Motilal) the son of a big zamindar of Ballabhgadh travels to a nearby village to commission the renovation of old paintings to village artist Vyas (Nagendra Mazumdar) who lives with his only daughter, Meera (Shamim). Meera who has seen the Prince in the village with his big car, falls in love with him but Prince is not aware of it. The prince has also given Vyas the task of decorating his palace hall with murals.

Prince has a scientific bend of mind and is doing research in his laboratory of a magical ray that registers the feelings of pains and pleasure. One day during his experimentation of rays, Prince becomes blind. In the meanwhile, Vyas, the artist and his daughter, Meera visit Ballabhgadh for commencing the work of decorating palace with murals. Meera accidentally meets Prince in his palace garden and enters into conversation with him without realising that the Prince has become blind. When she come to know about his blindness, she becomes romantically close to him which Prince reciprocate.

The romance progresses to the dislike of Prince’s uncle (Bhagwandas) who is also the Diwan of Ballabhgadh. He pressurises the King to separate the two by sending Prince out of Ballabhgadh on some pretext. Meera is heart-broken. Meera’s conditions make Vyas worrisome and one day in the fit of depression, he commits suicide. Meera is now orphan. She decides to devote her entire life to the service of God.

One day, Meera meets a Sadhu whose asceticism is shattered after seeing Meera. Very soon, Sadhu starts making some indecent advances. Hearing the story of the blindness of Prince, Sadhu promises Meera that his medicine would restore the eye sight of Prince. But Meera has to pay the cost (in terms of her submission to him). She agrees provided the eye-sight is restored. When the medicine is ready, Meera kills Sadhu and runs away with the medicine to the palace only to find that Prince has become the King after the death of his father.

Meera is not allowed to enter the palace. However, she is compelled to hand over the medicine to one of the dancing girl so that if successful in restoring the eye sight of Prince, Diwan can claim credit for the same. Prince’s eye sight is restored only to see Meera being brought to the palace as a killer of Sadhu. All evidences are against Meera. However, when Meera reveals to the King all the background, Prince recognises the voice and the lovers are united.

The film was released on 22nd August 1942 at Royal Opera House but had to be withdrawn within one day due to communal disturbances. It was once again released after a few weeks at Royal Opera House. The film was regarded as a box office success bringing Shamim Bano into the mainstream cinema.

‘Armaan’ (1942) had 9 songs, all written by Kidar Sharma and set to music by Gyan Dutt. I am presenting the first song ‘Laao To Zara Dil Ko Isey Dil Mein Chhupaaun’ sung by Shamim Bano who was paired with Motilal in the lead role.

From the wordings of the lyrics, it appears that this song was picturised in the palace garden where Shamim meets Motilal without realising that he had become blind. When Shamim comes to know about his blindness, she says ‘Let your heart be with my heart. Let my eyes become your eyes to see the whole world’.


Song – Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon (Armaan) (1942) Singer – Shamim Bano, Lyrics – Kidar Sharma, MD – Gyan Dutt

Lyrics

laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
baitho meri aankhon mein
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
 
kasturi hai in mein
jinhen khud soongh rahen hain
kasturi hai in mein
jinhen khud soongh rahen hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain

seedhe hain ke sadhe se lagey
door khade hain
seedhe hain ke sadhe se lagey
door khade hain

aur jugnu hari jhaadion mein heere jade hain
aur jugnu hari jhaadion mein heere jade hain

aakash ke kuchch taaren hain
wo  jhaank rahe hain
aakash ke kuchch taaren hain
wo  jhaank rahe hain

aur jal mein bechaare hain jo wo
jal mein bechaare hain jo wo
kaanp rahe hain

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

लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ

कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं

सीधे हैं के सधे से लगे
दूर खड़े हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं

और जुगनू हरी झाड़िओं में हीरे जड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं

आकाश से कुछ तारे हैं
वो झांक रहे हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं

और जल में बेचारे हैं जो वो
जल में बेचारे हैं जो वो
काँप रहे हैं

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What is this blog all about

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 over TEN years. This blog has over 14700 song posts by now.

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