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

Laalan tum ho bade hathheele

Posted on: September 25, 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 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.

Blog Day :

3721 Post No. : 14657 Movie Count :


Today’s song is from a very old film, Raja Gopichand-1938. The film was made by Saraswati Cinetone, Poone in Hindi and Marathi. The film was directed by Bhal G Pendharkar. The music director was C.Balaji. Name of the Lyricist is not mentioned in HFGK. The cast of the film was Chandrakant, Ranade, Chandraprabha, Miss Leela, Usha, Dinkar Kamanna etc.etc. The story was written by Pendharkar and it was translated by Shri Arun, B.A., for film’s Hindi version.

Saraswati Cinetone was a film making company owned by one of the Pioneers of Talkie films in India- Dadasaheb Torne. He is one of those less fortunate people in the film industry, who failed to get the credit of being the First to make a full length Silent film in India. But there are a large number of people in India, who believe that the first film in India was made by Torne and not Phalke. Torne achieved that feat one year before Phalke released his film in 1913. Saraswati Cinetone was one of the major film making company in India in those days.

The young man who migrated from Konkan to Mumbai in search of a new horizon was the pioneer of Indian cinema, Ramchandra Gopal alias Dadasaheb Torne. Unfortunately, this name did not find its rightful place in the history of Indian cinema. Dadasaheb Torne, who had a flood of accolades for his various achievements in the film industry, lost his life’s work in real floods that occurred on July 12, 1961, when the swollen waters of Mutha River destroyed all the valuable negatives, photographs, documents after bursting from Panshet dam near Pune.

The forgotten father of Indian Cinema Ramchandra Gopal alias Dadasaheb Torne made the first ever Indian film ‘Pundalik’ which was screened at the Coronation Cinematograph in Mumbai on May 18, 1912. That was one year prior to Dhundiraj Govind alias Dadasaheb Phalke’s ‘Raja Harishchandra’ which was released at the same venue on May 3, 1913.

Born on April 13, 1890, at Sukalwad in Malvan taluka of (undivided) Ratnagiri district (now Sindhudurg district) Dadasaheb Torne lost his father when he was three years old. His mother Radhabai brought him up. Due to financial difficulties he could not get higher education.

After being involved in the distribution of full-length (30-40 minute long) English films in India, he hit upon the idea of film making, and founded his own studio ‘Saraswati Cinetone’ (1931) in Pune. Under Saraswati’s banner he produced memorable movies like ‘Shyamsundar’, ‘Aut Ghatkecha Raja’, ‘Bhakt Pralhad’, ‘Chhatrapati Sambhaji’, ‘Thaksen Rajputra’, ‘Savitri’, ‘Raja Gopichand’, ‘Bhagva Jhenda’, ‘Majhi Ladki’, ‘Devyani’.

‘Shyamsundar’-32 was the first ever Indian movie to celebrate silver jubilee. Dadasaheb Torne introduced the first ever double role in ‘Aut Ghatkecha Raja’. He was equally proficient in editing and sound recording. He successfully experimented trick scenes in ‘Bhakt Pralhad’ and ‘Savitri’ in the decade of 1930-1940 when the film technique was not advanced.

He gave first break to artists like Rose, Shahu Modak, Dada Salvi, Jayashri (Shantaram), Dinkar Kamanna (Dhere), Ratnamala (Kamal Desai) and Indurani.

Many famous music directors of the earlier years, such as Annasaheb Mainkar, Sureshbabu Mane, C. Balaji and Vinayakbuwa Patwardhan were introduced by Torne.

Dadasaheb Torne also worked as a manager at Maharashtra Film Company, Kolhapur from 1920 to 1924, and worked as a general manager at Laxmi Cinetone, Royal Art Company, Imperial Film Company and Sagar Movietone, later.

Dadasaheb Torne breathed his last on January 19, 1960 in Pune.

Movies produced: ‘Pundlik’ (1912), ‘Sati ka Shaap’ (1923), ‘Prithvivallabh’ (1924), ‘Neera’ (1926), ‘Sindbad Khalasi’ (1930).

Movies produced under the banner of ‘Saraswati Cinetone’: ‘Shyamsundar’ (1932), ‘Aut Ghatkecha Raja’ (1933), ‘Bhakt Pralhad‘ (1933), ‘Chhatrapati Sambhaji’ (1934), ‘Thaksen Rajputra (1934), ‘Krishna shishtai’ (1935), ’Savitri’ (1936), ‘Raja Gopichand’ (1938), ‘Sach Hai’ (Hindi-1939), ‘Bhagva Jhenda’ (1939), ‘Majhi Laadki’ (1939), ‘Devyani’ (1940), ‘Narad Naradi’ (1941), ‘Navardev’ (1941), ‘Awaz’ (Hindi-1942).

As far as the star cast is concerned,lead actor Chandrakant ( father of today’s award winning actor Vikram Gokhale) was given this name by pendharkar. His real name was Gopal. The lead Heroine Leela was Leela Chandragiri, about whom I have written in details in my article on film Alakh Niranjan-40. Dinkar Kamanna( Dhere) was a famous and popular comedian on Marathi drama stage.

Let us now come to the Music Director C.Balaji. I am sure, hardly anyone has ever heard his name so far. it is natural also, because Balaji gave music only to 2 Hindi films. The other film was Paisa-41. Both his films were bilingual-in Hindi and Marathi. Basically Balaji was a marathi film composer. He was the first music director to change his name to look like a South indian name. C.Ramchandra came much later.

His real name was Balaji Gopal Chougule. Originally his family was from Kolhapur, but he was born at Varanashi on 12-10-1913. After the death of his maternal grandfather Balaji came to Kolhapur. here he learnt music from Ustad Manji khan (son of Ustad Alladiya khan), Shankarrao Sarnaik and Govindrao Tembe. Tembe taught him the skill to give music to films.

He started working with some drama companies like Kirloskar natak mandali and Yeshwant Sangeet mandali, as a Harmonium player. In 1937, he became assistant to Govindrao Tembe for film ‘Pratibha'(Hindi/marathi). When Tembe left the film halfway, he completed its music, but his name was not credited. He got his first Marathi film independently, Kanhopatra. Its songs became very popular. Pendharkar gave him Raja Gopichand-38 as an independent MD. Later he did another film in Hindi/Marathi, Paisa-41.

In 1945, Balaji started learning music again, this time under Bhurji khan(youngest son of Alladiya Khan). Balaji gave music to 5 Marathi films and 2 Hidi/Marathi films. When Shivaji University started in Kolhapur in 1962, he started an agitation for inclusion of Music in its curriculum. His efforts bore fruits and it was done in 1964. He gave tutions of Music in his last days. C.Balaji expired on 11-9-1984 at his home town, Kolhapur.

The story of Raja Gopichand is from Navnath Pothi.

When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village, I used to hear a typical call, ‘ Alakh Niranjan ‘ from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people were the desciples of Nath Sampraday and used to visit a fixed number of houses for Bhiksha. They were also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).

A brief description of the Nath Sampradaay . It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nathimplies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath and
Naag Nath.

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.

Raja Gopichand was the son of Raja Bharthari nath’s sister and was blessed by him and Gorakhnath. The story of Raja Gopichand is..

King Padmasen and queen Mainavati had a son Gopichand and a daughter Chandravali. In due course, Gopichand got married. He got a daughter. He was married again and now also a daughter was born. He was married 16 times and he got everytime a daughter only. Queen Mainavati requested her brother Bharthari nath to help. He advies Gopichand to go to forest and do Penance for 5 years. He did the penance. After the 5 years, once he went , as usual , to get Bhiksha and by chance he visited his sister Chandravali’s home. Seeing her brother as a Gossain, she died in grief. Gopichand met Gorakhnath and requested him to make his sister alive again. Pleased by his love for sister, Gorakhnath not only brought alive Chandravali, but also blessed Gopichand for a Son.

Gopichand returned to his kingdom. He was crowned the king and in due course he got a son also.

Today’s song is sung by Leela Chandragiri. This is a rare song. With this song, MD C.Balaji and the film Raja Gopichand-38 are making its debut on the Blog.

( Credits- Marathi Sangeetkar Kosh,,,, wiki, HFGK,and my notes)

Song-Laalan tum ho bade hathheele (Raja Gopichand)(1938) Singer-Leela Chandragiri, MD-C Balaji


bade hathheele
laalan tum ho bade hathheele
laalan tum ho bade hathheele
bade hathheele
laaj lajeele
laalan tum ho bade hathheele

roothh gaye kya
tumhen manaaun
roothh gaye kya
tumhen manaaun
tum par bali bali jaaun
tum par bali bali jaaun
laalan tum ho saaj sajeele
bade hathheele
laaj lajeele
laalan tum ho
bade hathheele
bade hathheel

kyon chup ho
kuchh bolo bolo
bolo bolo
maa ki mamta man se tolo
maa ki mamta man se tolo
tum bin naina geele
bade hathheele
laaj lajeele

laalan tum ho
laalan tum ho
laalan tum ho
bade hathheele


4 Responses to "Laalan tum ho bade hathheele"

Chandrakant’s grandmother Durgabai Kamat was the first female artiste and mother Kamlabai Gokhale ( nee Kamat) was the first female child artiste of the Indian movies…. acted as Parvathi and Mohini in Dadasaheb Phalke’s MOHINI BHASMASUR,1913.

Yes,of course.
Mohini Bhasmasur -1913 was the first Indian film in which actresses were used. Kamlabai Gokhale (1900–1992), then called as Kamla Kamat, a Marathi stage actress, was cast as the heroine Mohini and Durgabai Kamat her mother played the role of Parvati. Kamala was only 13 years old at the time. However, in an era where women in performing arts were compared to prostitutes, this did not set a trend and male actors continued to perform female roles in cinema for some more years.

An excellent article but I think there is a m
istake in reporting that film sinhagad 1923 was seen by Shri Gopal Krishna gokhale as per my knowledge Shri gokhale passed away in 1915

R,p.deshpande ji,

Thanks for appreciation.
Thanks also for pointing out a factual error in the write up.
I have requested Atul ji to delete the related portion from the article.
Actually G K Gokhale might have attended the show of ‘ Pundalik’ in 1912.

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