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

Arre o bewafa tu apne kothe pe chadhela hai

Posted on: April 24, 2019


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3932 Post No. : 15005

Today’s song is from film Zamane ki Hawa-52.

From 1-1- 2019 to 23-4-2019, I wrote 43 posts here and out of this, only 8 posts are about films of 1950’s decade. This is roughly 20% of my output in this period. If I calculate the number of posts of 1950s decade in my entire 750+ articles, then the percentage may hover around just about 10 % only, I am sure, though I have not calculated that. It is not that I deliberately avoided them, but the problem is, this Blog has covered most popular films fully and I guess, the maximum percentage of songs covered is also from the decade of 1950’s.

In such a case, I was not left with much scope and choice. Still, I wrote on many left out Gems. In fact, I ran few ‘Series’ too like ” Missing Gems from the 50s decade” with 18 songs and ” Bhajan Mala-Golden 50s” with 12 songs. There was yet another one also-” Shankar-Jaikishan in the 50s ” with 10 songs. However, all said and done, I will not hide the fact that I am very partial to songs from the 1930s and the 1940s. Discussing these songs- which is my Forte and also Comfort Zone, I get Nostalgic and I am able to share information on forgotten artistes of that era. Today, these posts may not mean much, but after I am gone and after a few years, I know that my posts will be the Researcher’s “Wanted list” and will be much sought after for their rare contents.

When I first heard today’s song, sometime in the early 1950s, I was in Hyderabad and had, till then, not been to Bombay anytime. The kind of language and the words used in this song are typically Bambaiya. I did not know it and we friends used to laugh at the lyrics and wordings of this and other similar songs ( of Johnny Walker, mainly). Over a period of time I realised that in Hindi film songs, the greatest victim is the language Grammar, pronunciation and diction of words.

Most lyricsts and composers twisted words to suit the Meters, Rhyming and never bothered about the gender of the words. Words like Tu, Tum,Hum, Mai, Aap, Voh, Un, Unhen etc were used irrespective of their suitability in the lyrics just because they fitted in Meters and rhymed perfectly. Once I realised this aspect, I and my friends started finding such wilful blunders in melodious and popular songs.

The reason I remembered all this is, few days back I found an article ” Vyakaran, Uchharan aur Utpeedan”( व्याकरण, उच्चारण और उत्पीडन), by shri AK ji, who is a reader and well wisher of this Blog, posted on his Blog – Songs of yore. He has written an absolute Gem discussing how in Hindi songs, the Grammar, pronunciation and right usage of language and words is molested/abused. He has also quoted several examples in songs. I strongly recommend this article to connoisseurs of HFM.

Film Zamaane ki Hawa-52 was a film made during the transition period of Hindi cinema from the works of pre independence artistes to cope up with the changing times and tastes of the Indian audience in the rapidly ascending Golden Era of HFM. The major change was the extra emphasis on churning out melodious and musical films than on Histrionic excellence or a strong story line. This film was produced and directed by a veteran of pre-independence era- Wali Sahab, under the banner of his own production outfit Punjab Film Corporation.

Music direction was by not one, but 4 less known and less successful composers like, Z.Sherman, Gulshan Soofi, Khan Mastana and Aziz Khan. For 12 songs of the film, as many as 5 Lyricists were there, which included Wali sahab, his brother Nazim Panipati, Kaif, Khalish and Sagar Badayuni. One song from this film has been discussed here earlier. The cast of the film consisted of Mumtaz Shanti, Husn Bano, her mother Shareefa, Shakuntala, Suresh, Murad, Pran, Kesari and many others. It was an uncommon instance, when both mother and daughter worked together in the same film. While launching Nutan in film Hamari Beti-50, both Nutan and her director mother Shobhana Samarth had acted in the same film.

This pair of Mother and daughter- Husn Bano and Shareefa- had strange life stories.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, her mother, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios.However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as a Heroine. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house ‘Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 40s. Leela Chitnis was the first to feature in this Ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee had also featured in these ads.

The story of actress Shareefa is very strange.

Sharifa was an actress in the 20s and the 30s. She hailed from the Central provinces and joined the Corianthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper ( the actor singer Minu cooper/the mystique of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For an year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, Shareefa brought her to Bombay and she built a very big mansion in Dadar called ” Shareefa Manzil’.
Shareefa acted in almost 40 films and sang 10 songs in 5 films in early cinema. She continued working till early 50s, when she died.

Another interesting artiste in this film was one of its Music Directors- Gulshan Soofi. He was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.

Finally, he came to Bombay with Bhai Dessa and recorded few songs. He joined nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother india-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.

he started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.

Today’s song is composed in a very lilting and melodious tune. The language used here is typical lower class Bambaiya. During Johnny Walker’s time, such words were used in songs sometimes, but after that it stopped totally. As such, the system of having an independent Comedian itself is no more, so no question of comedy songs. I enjoyed this song. You too will, I am sure.

(I have used some information in this post from the book ” Stages of Life- Indian Theatre autobiographies ” by Kathryn Hansen, Filmdom-46 and my notes, with thanks.)


Song-Arre o bewafa tu apne kothe pe chadhela hai (Zamaane Ki Hawa)(1952) Singers- Khan Mastana, Sulochana Kadam, Lyrics- Nazim Panipati, MD- Gulshan Soofi

Lyrics

arre o bewafa
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
tera aashaq kai kallak se neeche khadela hai
tera aashaq kai kallak se neeche khadela hai
are o bewafa
o hi hu ha ha

tumhari jaan mein jaaneman
museebat me padeli hai
tumhaari jaam mein jaaneman
museebat me padeli hai
padosi bhi jagela hai
padosan bhi jageli hai
padosi bhi jagela hai
padosan bhi jageli hai
are o bewafa

sa re ga ma
pa dha ni sa

arre marne de in dono ko
aur tu saath chal mere,
saath chal mere
arre marne de in dono ko
aur tu saath chal mere
saath chal mere
idhar tamtam khadeli hai
udhar taanga khadela hai
idhar tamtam khadeli hai
udhar taanga khadela hai
are o bewafa
o ho ho ho ho

chaloongi saath tere
kya hai tamtam ho ke taanga ho
chaloongi saath tere
kya hai tamtam ho ke taanga ho
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
arre o bewafa

sa re ga ma pa dha ni sa

magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
maal le aao
maal le aao
magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
humaare paas kadki hai
na dheli hai na dhela hai
humaare paas kadki hai
na dheli hai na dhela hai
are o bewafa
o ho hui ho ha

ghar ka ghar loot ke
le aaungi
darr kiska hai
jaan kiski hai
jigar kiska hai
sar kiska hai

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15 Responses to "Arre o bewafa tu apne kothe pe chadhela hai"

It was lunch time for me when the mail for this post arrived. After finishing my lunch I just started to read this post on mail first, but then I could not leave it and shifted to blog site and read it fully.
Thanks for this information post Sir ji. I enjoyed the song too. Thanks for the information about Shareefa, Husn Banu and Gulshan Soofi.
Your posts are always valuable and they will be as ever. They are timeless classics. The information and knowledge that you have shared today is because it is there since years with you. So it was valuable then also, today, tomorrow and for coming generations.
Thanks a lot once again,

Like

Thanks for this Informative post*
(Correction)

Like

Avinash ji,
Thanks a lot for your thoughtful comments. I have always believed that ” sharing increases knowledge”, and indeed so.
Your comment came on the blog in such a short time after posting that I was surprised.
I could do this because of this Blog and Atul ji. I can not ever forget this.
Thanks again.
-AD

Like

Atul ji,
The 8th and 9th line…
The word kallak is right. ( derived from ‘Clock’, I suppose)
In Bombay/Mumbai it means hours.
The question mark can go.
-AD

Like

Done.

Like

Thanks..

Like

Kallaak is Gujarati word for hour, Kai kallaak se- Kai ghanton see…

Like

Arunji,
Thanks a lot for this post. They have overdone ‘Tapori’ language. In early 50s it is surprising. Thanks also for a very generous mention of my post. I find after my article that phonetic and grammatical violence in songs irritates many people.
AK

Like

AK ji,
Thanks for visiting and your comment.
-AD

Like

A typical Mumbai kind of language. Where the Hindi has a lot of words from Marathi and Gujarati.
Potatoes are batata not aloo
Pumpkins are laal bhopla or safed bhopla not kaddu or lauki or ghiya.
Etc etc
Similarly an hour is kalaak.

Like

Good observation,indeed. Remember, this is a 1952 song and still this kind of Tapori language is used in this song !

Like

Here is the word “ kallak “ . Have heard this after ages. Reminds me of my child hood friend. Her mother will permit her to play for ek kallak or aadh kallak .

This sort of genuine Bambaiyya tapori language was missing in newer films like Rangeela, Ghulam and Munna Bai MBBS etc. Among the movies I have seen, in Mashaal Anil Kapoors character was more typical and looked natural in taporigjri, to use a bambaiyya word.

Like

True.
In Bambaiya language, there were more Marathi origin words than were Gujarati. But Gujarati words lasted longer, like Wandha. Those were emphatic too. This sure is a matter of research.

Like

Your narration and style are indeed praiseworthy. Yes, the information shared by you – authenticated one will remain a treasure trove for
posterity. The responses elicited herein are indeed very knowledgeable.
Hats off to you.

Like

Manohar Lal Dave ji,
You have always been very kind in appreciation.
I am only doing my KARM, as detailed in Bhagwad Geeta by Krishna, without expecting any fruits thereof.
It is upto the others to do the valuation.
-AD

Like

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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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