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

Dil ko chura ke chale jaana na

Posted on: February 28, 2020

This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in If this article appears in other sites without the knowledge and consent of the web administrator of, then it is piracy of the copyright content of and is a punishable offence under the existing laws.

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Hindi Songs in Bangla Films – 20

‘Aarohan’ (The Ascension, 2011 – Bangla film) was directed by Pinaki Choudhuri who wrote story and screen-play for the film. Soumitra Chatterjee and Sandhya Roy who were 76 and 69 years of age respectively at the time of making of this film were in the lead roles. The other supporting cast included Shamdarshi Dutta, Rituparna Sengupta (special appearance), Siddharth Chatterjee, Tulika Basu, Ashok Mukherjee, Rajesh Sharma, Nandini Chatterjee (special appearance) etc.

This film was selected for Montreal International Film Festival (2010) even before it was released in India. Pinaki Choudhury, the film’s director, in an interview, had said that he had read in a newspaper article about Mukti Bhavan in Varanasi where people who are about to die are given shelter for one month. He visited the place and spent few days with the inmates of the Bhavan. He was fascinated by the philosophy of the inmates who believe that dying in Varanasi give them salvation thus breaking the endless cycles of birth and death. Based on his experience, he wrote the story revolving around a patriarch of the family who decides to shift to Mukti Bhavan in Varanasi expecting that he would die within a month of his stay as per the prediction based on his horoscope.

It is not an easy decision for the old man to shift to Mukti Bhavan in Varanasi. There are clashes of thoughts between him and his aged wife, between him and his grandson also his friend. All of them react differently but for the same purpose of preventing him from going to Varanasi.

The film opens with a scene in which the 75-year old Surya Shekhar Chatterjee (Soumitra Chatterjee) while trying to cross a busy road in Kilkata is about to be hit by a speeding car when a young photographer saves him in the nick of time from the accident. Surya Shekhar is grateful to the photographer and invites him to his house.

Surya Shekhar is the firm believer in the horoscope. All predictions made on the basis of his horoscope has, so far, come true. One of the future predictions of his horoscope is that there will be threat to his life at the age of 75. And that threat was about to become true if the photographer had not saved him from the accident. Now he is fully convinced about his impending death as per the prediction in his horoscope. So, he plans to shift to Mukti Bhavan in Varanasi to attain salvation upon his death.

Surya Shekhar shares his plan with his wife (Sandhya Roy). She opposes his plan by saying that she had always supported him in his decisions but she would not agree for his shifting to Mukti Bhavan. But Surya Shekhar is adamant on his decision. His wife requests one of his close friends to counsel him to abandon his plan to stay in Mukti Bhavan. His friend tries to dissuade him from his plan by saying that what he is doing is not a faith but the plain superstition in believing the predictions. The young photographer who had saved him from the accident also tries to convince him by saying that astrology is not a science and no one can predict the future. But Surya Shekhar ends the debate by saying that Varanasi is his life’s last halting station.

As a flash back, Surya Shekhar does not have a good rapport with his son as the latter ridicules him for his so much dependence on the horoscopes. Their relation goes for the worst when the son decides to marry a girl outside his caste and that too without matching the horoscopes. Son gets married and settles down in the US. The son and his family had become persona non grata in Surya Shekhar’s house. Both father and son have not spoken to and seen each other for the last 25 years though his wife and the daughter-in-law are in communication with each other.

Surya Shekhar had not talked to his son when latter had a heart attack. He held a firm view that as per his horoscope, his son would not die before his death. Surya Shekhar has not even spoken and seen the face of his young grandson born and studied in the US who has come to India on a short vacation. The young photographer who had earlier saved Surya Shekhar is none other than his grandson Arijit (Samadarshi Dutta) which is revealed to Surya Shekhar by his wife while nominating him as the heir for his fixed deposits after his death.

Surya Shekhar departs for Varanasi along with his wife. Arijit accompanies them which would also give him the glimpses of Varanasi which has its unique character as a pilgrimage centre. The first few days of their stay in Varanasi goes well during which time he comes to know from the Manager of Mukti Bhavan that some old people who had come to die here have to make a revisit a number of times as they survived on each of their one-month stay. To hasten his death, Surya Shekhar decides to forgo dinner and also reduces his intake of food. The weakness caused by low intake of food makes him almost bedridden.

One day, Surya Shekhar get a mild chest pain. Since doctors are not permitted to visit Mukti Bhavan, Arijit informs his parents about his grandfather’s deteriorating health. Both his son and daughter-in-law rush to Varanasi to see him. Despite his son firmly telling him that by foregoing food he is in fact committing suicide, Surya Shekhar is not in a mood to argue with his son as he is destined to die in the next few days.

Parallelly, events are happening in Varanasi when Arijit gets involved with a married village woman from Bihar (Rituparna Sengupta) who also stays in the Mukti Bhavan with her mother-in-law who has also checked in for salvation. Her husband is a gay but her mother-in-law curses her being ‘baanj’ (barren) almost every day. Fed-up with her every day’s tantrums, daughter-in-law challenges her by saying that one day she will prove that she is not a baanjh. Her clandestine relation with Arijit results in her becoming pregnant. When her mother-in-law comes to know about it, she dies of shock. Now, the Bihari woman has to vacate the Mukti Bhavan. She becomes homeless as she has nowhere to stay with her illegitimate pregnancy. Seeing her predicament, Arijit decides to marry her and reveals his intention as such to his parents who at that moment are with his grandfather.

Arijit’s parents are shocked to know that he is going to marry not only a married woman but also outside his caste. Both of them oppose his proposal. But Arijit is adamant. In a fit of anger, Arijit’s father tries to slap him during which time, he gets a heart attack and dies in the Mukti Bhavan. Arijit performs his last rites at Varanasi Ghat. Surya Shekhar’s wife points out to her husband that he had said that the son would not die when he is alive. She questions him as to whose salvation he had predicted from the horoscope. After listening to his wife, Surya Shekhar takes out his horoscope from his pocket and tears it. He goes with his grandson to immerse his son’s ashes in the River Ganga. Arijit goes back to US with an assurance to his grandparents that he would soon return to India.

While returning to their room in Mukti Bhavan, Surya Shekhar finds the Bihari woman sitting with her meagre belonging at the Ghat. The film ends with Surya Shekhar asking the Bihari woman to accompany them to Kolkata where he has an old house. He would construct a bigger house where all of them would stay together. And that would be his salvation and emancipation.

This is the first time I watched the Dada Saheb Phalke Award winner, Soumitra Chatterjee in a lead role of 75-year old man in which he has got full scope to show his histrionic. He is well supported by equally talented Sandhya Roy with her excellent performance. I liked the young Samdarshi Dutta in the role of US returned grandson. His dialogues are in American accented English with American mannerism. Yet his character requires him to tune with the Indian ethos. It was a bit difficult role for him, that too in front of the senior actors which he has admirably performed. Ritupurna Sengupta in a role of a Bihari village woman has done a commendable performance of a rustic village woman with her dialogues in colloquial Hindi. All in all, it is a good film to watch.

In the DVD of the film I watched, there are 3 songs of which two are in Bengali and one in Hindi. In addition, there are two short Hindustani classical renderings by Ustad Rashid Khan in the background. I am presenting Hindi song ‘dil ko chura kar chale jaana na’ sung by Shreya Ghoshal which is picturised on Rituparna Sengupta who is in her beautiful dream sequence in Bollywood style. Samadarshi Dutta is also seen in the sequence. While lyricist of the song is unidentified, it is set to music by Suparna Kanti Ghosh.

Enjoy the beautiful interlude music from esraj (a musical instrument which produces the mixed sound of sitar and sarangi) and the flute along with the song.

Video Clip:

Audio Clip:

Song-Dil ko chura ke chale jaana naa (Aarohan)(Bangla)(2011) Singer-Shreya Ghoshal, MD-Suparna Kanti Ghosh

Lyrics (based on video clip)

hmm hmm hmm hmm
ha aa aaa
ha aa aa haa
ha aa aa aa aaa
hmm hmm hmm hmm chale jaana na
ha aa aaa
aa aa aaa
dil ko chura ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na

zulmi iss duniya ne aur kya kiya
badnaami aur aansoo se dil bhar diya
phir tu ne pyaar se jo apna liya aa
phir tu ne pyaar se jo apna liya
rahoon kaise tumko nihaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana naa

tere jo saath hai to mumkin nahin
magar ab to kuchh bhi hai mushkil nahin
dhoondhti hoon khwaabon ki manzil yaheen ee
dhoondhti hoon khwaabon ki manzil yaheen
mile to jee loongi tumhaare bina aa
apna bana ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na
ho o ooooooooo
o o o o o

3 Responses to "Dil ko chura ke chale jaana na"

Sadanand Ji,
Thanks for the post. As i commented in the past, it is an interesting theme( Hindi songs in Bengali movies). Thanks also for introducing the movie Aarohan. I have located it & it is currently on Youtube with English subtitles. Planning to watch it

I liked the song too. It is in Hindi because, I presume, the character singing it is a Bihari :))

As for what i guess as ESRAJ, I find it is almost like sarangi, and I cant connect Sitar with that sound :((


Satish ji,

About Esraj, I agree that its sound is closure to Sarangi than that of Sitar. But one can hear the subtle differences in the sound produced by Esraj and Sarangi. I do not know how to explain it . All I can say that while the sound of Sarangi represents a sombre mood, that of Esraj reflects a devotional mood – be it to to God or to the beloved or even to the nature.


Thanks. I will repeatedly listen to Esraj sound in this song.


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