Sabse pyaare hain duniya mein khet hamaare
Posted by: Atul on: January 31, 2020
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.
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Today’s song is from film Sant Dnyaneshwar-40. This film was made by Prabhat Film company,Poona.
In the early era of Talkie phase, many film companies were active like, Sagar, Ranjit, Imperial, Saraswati, Maharashtra, Krishna, East India, Madan, Wadia etc, but only New Theatres of Calcutta and Prabhat of Poona stood out for their excellence and social awareness.
Prabhat had 5 founding directors and each one had his own special department, e.g., Fattelal was an expert in Costume and Set Erection. Among these five, initially only Shantaram was active in film direction.He had started directing silent films since the time he was with Baburao Painter’s Maharashtra Film company, from where all the partners of Prabhat also had come.
When the Talkie started, Prabhat also jumped into the fray, but their first Talkie was made in 1932 and not in 1931, like all other major film companies, who vied with each others to become the historical “First Talkie Maker”. One wonders why companies like New Theatres, Calcutta and Prabhat, Poona did not take initiative in making the first ever Hindi Talkie film. The reason is, Prabhat was not yet a big company in 1931 and it needed finance to buy the sound equipment which was not possible in 1931.
As far as New Theatres is concerned, they did make a Talkie film in 1931, but not in Hindi. They made it in Bangla. Hindi was not their priority then ( or even later, for that matter). Bangla was their forte and main market. In fact NT released its first Bangla Talkie short film “Jamai Shashti”, in Crown Cinema Hall of Calcutta, on 11-4-1931 and its first Bangla full length feature film “Dena Paona”, in Chitra Cinema Hall in Calcutta on 30-12-1931.
Incidentally, it is interesting to know who all made their Hindi Talkie films in 1931. In all 24 Hindi Talkie films were made in 1931. The number of films made by every film maker, in 1931 is as following…
| Madan Theatres, Calcutta | 7 films |
| Imperial Film Company, Bombay | 5 films |
| Krishna Movietone, Bombay | 5 Films |
| Sagar Movietone, Bombay | 3 Films |
| Ranjit Movietone,Bombay | 1 Film |
| Bharat Movietone, Bombay | 1 Film |
| Saroj Movietone, Bombay | 1 Film |
| Indian Art production, Bombay | 1 Film |
| Total | 24 Films |
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The first Talkie film of Prabhat came in 1932. It was a Bilingual. In Marathi, it was called “Ayodhyecha Raja” (अयोध्येचा राजा ), and in Hindi it was titled “Ayodhya ka Raja”. The film depicted Raja Harishchandra’s story. The director was V. Shantaram. One after another, Shantaram directed 7 films in 4 years till Amar Jyoti-1936. Most films became popular and brought good revenues and profits. The name of Prabhat and Shantaram was now famous all over India.
This was not digested by few directors of Prabhat. They felt that their work was equally responsible for company’s success, but Shantaram hogged all publicity for himself. Slowly, but steadily the the discontent spread. Shantaram came to know about it. To set the matters right, he insisted that the next Marathi film “Sant Tukaram” be directed by Damle and Fattelal. It took place that way. At every stage, Shantaram helped them sincerely. He wanted them to understand that he was not selfish. Film Sant Tukaram-36 had a phenomenal success, even internationally. After this, Shantaram’s 2 big films “Duniya na maane”-37 and “Aadmi”-39 came and again he was applauded.
The duo of Damle and Fattelal decided to direct another Saint film – this time in both Marathi and Hindi. The film was “Sant Dnyaneshwar”-40. Earlier, Sant Tukaram-36 was made without any miracles or trick scenes. This time, it was planned to include some miracles/trick scenes in this film. Like in the earlier venture, this time also, Shantaram offered all possible help, to stress team spirit.
1940 was a period, when Dalits had no entry in any Temple and lot many agitations for it were held in India against this wrong tradition. Shantaram suggested the name of actor Shahu Modak for the main role of Dnyaneshwar. The reason was Sant Dnyaneshwar was a Bramhin saint. ( out of the 100 odd saints of Maharashtra during the Bhakti Movement period, only Sant Ramdas – Shivaji’s Guru – and Sant Dnyaneshwar were Bramhins. All the rest were from lower castes.) Shahu modak was not only a Dalit but also a converted Christian. So, Prabhat would act in consonance with their policy of social reforms, through films. By making a Dalit do the role of a Bramhin Saint, the right message would have gone to the society. His idea was unanimously accepted.
Shahu Modak had started his career by doing Krishna’s role in film Shyamsunder-1932, made by Saraswati Cinetone, Poona. His face, diction and acting was perfect for this role. In 1933, when film Pooran Bhagat was made by NT in Calcutta, in wake of the communal riots ongoing there that time, to avoid public displeasure, the Muslim Hero of the film Syed Ali Hasan Zaidi (aka Mijjan) was made to change his name to Kumar. In 1934, film Waman Awatar had a Parsee actor Phiroz Dastoor as a Hero. He also faced such problems and the film had to be withdrawn in some areas. However, in case of Shahu Modak, his name was sounding Hindu. So, no problem was foreseen.
Shahu had earlier worked in 2 Prabhat films, namely Mera Ladka-38 and Aadmi-39. For Aadmi, he had to increase his weight by bodybuilding, as the role was of a Policeman. But now for Sant Dnyaneshwar, he had to reduce his weight, for most of the film appearance, he had to be open chested only. In this film there is a character – Narmada ( Sumati Gupte Joglekar’s debut role). She was supposed to love Dnyaneshwar, but never expresses her love since childhood. Though Damle-Fattelal were the directors, V. Shantaram had also shot some scenes in which her mute love and respect for Dnyaneshwar is shown artistically.
There is a scene in the film where sage Changdev (Ganapatrao Tambat) comes to meet Dnyaneshwar. He always wears live snakes and moves around on a Tiger. For his scenes, live snakes, without teeth and poison sacs were worn over neck, by the actor. ( one by one many others too tried snakes around their necks, for curiosity and fun, in the studio). For the Tiger ride, a trained Circus Tiger was brought and the shot was taken, under the watchful eyes of its trainer. Just before the scene started, the tiger gave away a terribly loud roar. Changdev and his disciples got so scared that one of his disciples fell unconscious and had to be hospitalised !
Today’s song is sung by Vasant Desai for himself on the screen, in the role of a bullock cart driving farmer. It was known that the song and the composition was done by Desai himself, though the MD was Keshavrao Bhole. Desai was assigned by Shantaram to assist Bhole in composing and as an arranger. Desai assisted Bhole in few other films as well, but Bhole never spoke a single word of appreciation for Vasant Desai. Desai’s life was like that only.
Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his due.
That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, had not been given his due by the film industry befitting his stature and contribution to its music.
Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Maazzhe Sangeet” (माझे संगीत ) applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song “Jo Dard Ban Ke” from “Parbat Pe Apne Dera”. Hear Rafi’s immortal “Kahdo Koi Na Kare Yahan Pyaar” and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.
Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignores his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like “Jo Tum Todo Piya” (“Jhanak Jhanak Payal Baaje”), “Tere Sur aur Mere Geet” (“Goonj Uthi Shehnai”), “Main Gaon Tu Chup Hoja” (“Do Aankhen Barah Haath”), “Piya Te Kahan” (“Toofan aur Diya”) or “Ik Tha Bachpan” (“Aashirwad”). Even though Desai made her “Ae Malik Tere Bande Hum” (“Do Aankhen Barah Haath”) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan “Humko Man Ki Shakti Dena” into a nationwide school prayer through Vani’s vocals.
His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song “Rail Gadi” (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his “Bole Re Papiha” to Himalyan heights of popularity.
Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.
Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.
Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.
In his initial stage of career, he had acted in 4 films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang 12 songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films, composing 382 songs. His first film was Shobha-42 and Last released film was Shaque-76. (some information in the article adapted from Wiki and The Hindu).
With this song, film Sant Dnyaneshwar-40 makes its Debut here. The song tune is catchy and it is sung in a haunting way. Enjoy….
( I thank Isak Mujawar’s “Santpatanchi Santwani” (संतपटांची संतवाणी ), Shantaram Ahavle’s autobiography, Wiki and Shantaram’s “Shantarama”, along with Encyclopedia of Indian Cinema, for information used herein. I also thank Sadanand Kamath ji for uploading this song on my request, promptly).
Song-Sabse pyaare hain duniya mein khet hamaare (Sant Dnyaneshwar)(1940) Singer-Vasant Desai, Lyrics-Pt Mukhram Sharma, MD-Keshavrao Bhole
Lyrics
Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
jahaan saanjh sakhaare
Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
shyaam dhan ?? aaye
Shyaam dhan ?? aaye
gwaal baal sang laaye
gwaal baal sang laaye
baajen mridang
chang shor machaawe
baajen mridang
chang shor machaawe
Sabse pyaare hain duniya mein khet hamaare
sare aaaam
jape raaam
sada raam hari re
rimjhim rim pyaar jhare
rimjhim rim pyaar jhare
dharti ka hiya bhare
hey ae ae ae
dharti ka hiya bhare
har man mein sukh ka mor jhoom raha re
Lachhmi saj saaj harey
Lachhmi saj saaj harey
Motin ka daan karey
Motin ka daan karey
ghar ghar mein daulat ka dher laga re ae
ghar ghar mein daulat ka dher laga re
Sabse pyaare hain duniya mein khet hamaare
Sabse pyaare hain duniya mein khet hamaare ae
sare aam
jape raam
sada raam hari re
sada raam hari re
aao chalo jaayen wahaan
aao chalo jaayen wahaan
machi huyi loot jahaan
machi huyi loot jahaan
kheton mein gokul ka rang jama re
chalo chalo chalo
gokul ka rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
rang jama re ae ae
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4 Responses to "Sabse pyaare hain duniya mein khet hamaare"
February 1, 2020 at 7:42 am
Arun ji ,
I forgot to mention about the song U hv uploaded .. A nice song which remeinded me of its marathi version
” आम्ही दैवाचे दैवाचे शेतकरी रे
करु काम स्मरु नाम मुखी राम हरी रे ”
Thnx .
February 1, 2020 at 9:54 am
I know.
The Marathi song was composed first and the Hindi was its version later. Desai kept the same tune almost and Pt. Mukhram Sharma managed the metre of Hindi words suitably.
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February 1, 2020 at 7:37 am
Arun ji ,
Namaste.
Thnx for one more informative post which made me nostalgic .
Ur posts always give me a feel of सिनेमा का सुहाना सफर nd this post is also no exception.
I liked to read all the 3 major points U hv discussed – 1931 , Shahu Modak , Vasant Desai.
Shantaram bapu had that जौहरी नज़र which resulted in 2 gr8 roles of Shahu Modak – Hawaldar Moti in आदमी nd then this – संत ज्ञानेश्वर.
The incident U hv given about चांगदेव was amusing . U hv re-created that scene for us by Ur effective style.
Yes .. Vasant Desai gave pleasant melodious songs yet he was underestimated in bollywood …
Lata , in my opinion , must hv done all that U hv mentioned , just out of a feeling of insecurity .. After the early nd sudden death of Dinanath , her father .. Lata had struggled a lot to bring – up her family ….
Arun ji , thnx once again .
With regards ,
Pramod Godbole .
LikeLiked by 2 people
February 1, 2020 at 9:48 am
Pramod ji,
Thanks for your appreciation. I am glad you enjoyed the post.
When I write my posts, I have to control the quantity of my inputs, because I dont want to present a lengthy post. I have so much to say that I have to, at times, prune the article, to make it of acceptable length.
May be Lata initially felt insecure, but after she was saddled firmly, this turned into an undesirable quality, which was a blot on her reputation.
Thanks again.
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LikeLiked by 1 person