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

Main to beti thhaanedaar ki re

Posted on: September 3, 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.

Blog Day :

4430 Post No. : 15857

Today’s song is from the film Actor-51. This was a film by Sarosh Pictures, directed by Ramjibhai Arya. It was produced by H M Kerawala and Bhojani. The music was by 2 MDs- Aziz Hindi and Ibrahim, both small time composers. The 10 songs of the film were written by Nazim Panipati (8 songs) and Shewan Rizvi (2 Songs).

I can understand two composers working together on one song in the film…like Aziz and Ibrahim composed four songs together, in today’s film , but I was surprised to find that even Lyrics are written jointly by two lyricists in some films ( not in today’s film). I have always wondered how two different poets can write one song together. But in Hindi films this was not a rarity. Actually, a few years back, thinking that this phenomenon was worth discussing, I started finding out such songs from the HFGK. After getting names of films where more than one lyricist have jointly written songs, like Chandrtalekha-48, Anyaya-49, Sheesh Mahal-50 Hum Log-51, Buzdil-51, Footpath-53, Chandni Chowk-54, Dhobi Doctor-54, Darbar-55, Miss Bombay-57, Changez Khan-57, pardesi-57…I stopped my search. I realised that this happened in many films and it was not a novelty. I cancelled my idea of discussing this matter in my posts.

Connected to these issues is another problem with stories of films like Actor -51. There are many cases in Hindi films, where remakes of earlier films on the same stories are made. As far as Folklore like Laila Majnu or Shirin Farhad or stories from Ramayan and Mahabharat, one can surely understand, but it is very strange why people want to make films on the same stories.

In some cases, in addition to the same stories, even the film titles are the same. The case of actress Sulochana-Ruby Meyers, is unique. She featured in 7 such films where the Titles and stories were the same. Sulochana acted in Anarkali-28, Anarkali-35 and Anarkali-53. She also acted in Madhuri-28 and Madhuri-32. She also acted in Indira B.A.-29 and Indira M.A.-34. Then there was Gunsundari-27 and Gunsundari-48, with different heroines. All these films had the same Titles and same stories.

Then there are other films which have same stories, but different Titles. Some of such films are Panghat-43 and Chitchor-76, Mala-41 and Amar-54 (MD was Naushad for both films and Jayant did the same role in both films), Grihasthi-48 and Ghar Basa ke dekho-63, Malkin-53 and Biradari-66, Aurat-40 and Mother India-57(Kanhaiyalal did the same role in both films) etc etc. There are 100s of such remakes, but I have yet to see a film which mentions it in their credits. One can not forget films like Do dooni char-68 and Angoor-82. Here the first hindi film Do dooni char was a remake of Bangla film of 1963 ” Bhrantibilas”, which was based on the novel of the same name by Ishwarchandra Vidyasagar who had taken inspiration from Shakespeare’s play ” Comedy of Errors”- which was an adptation of a play by Plautus ” Menaechmi”. Hope this was atleast the original story !

It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost same story and Bhagwan was the Hero in all 3 films – Actor-51, Daamaad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.

Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj Kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.

Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no main stream Heroine was ready to work in his film and he would not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !

The director of film Actor-51 was Ramjibhai Arya, who came to Talkie films from silent films. After working as an assistant to few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.

Ibrahim- one of the MD duo of this film was the brother of MD Ghulam Mohd. He was an excellent Harmonium player. He gave music to only 3 films-two with Aziz Hindi…Utho Jaago-47, Bachelor Husband-50 (with Sarswati Devi) and Actor-51. After this film, Ibrahim joined Naushad as his assistant and was with him for many years. He should not be mistaken with Master Ibrahim- the great Clarinet player. He too gave music to 2 Hindi films, namely Parbat ki Rani-48 and Bigde dil-49. Such names cause ‘Same name Confusion’. Fortunately none of them was a famous one.

In Hindi films, there were two names of Composers – Aziz Khan and Aziz Hindi. Many people thought that these were two separate persons, but the fact is they are the names taken by One composer only. Some time ago, our friend Shri Sadanand ji Kamath had dug out some important and revealing and authentic information from an Internet site of Parvez khan-the International Sitarist, son of Aziz Khan.

” Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without his father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from his father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in the USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now. ”

A senior RMIM member Mr. Jayraman reported in 2008 that he had traced, found and met the only son of Hafiz khan Mastana,in Mahim,Mumbai. His name was Zaheer aka Alla Rakha. The son confirmed all the above facts and also that Aziz Khan was Aziz Hindi.

Though this fact was confirmed, books like ‘ Dhunon ki yatra’ (Pankaj Raag) mentioned Aziz Khan and Aziz Hindi as two different persons.As the book was published in 2006, he can not be blamed for this,however. But since it is mentioned in a book , for many readers this wrong information is ‘authentic’ and this is quoted by many in their writings. This is because the findings of Mr. Jayaraman did not get enough publicity widely.

In addition to this revelation,one more sort of Revelation has been made by Aziz Khan’s grandson-Shakir Khan-International Sitar player himself, on his own site http://www.shakirkhan.in . According to him,Aziz Khan gave music to 4 films, along with Khayyam. Those films are Heer Ranjha-48, Parda-49, Beevi-50 and pyar ki Baten-51. As per HFGK, Aziz Khan’s name is mentioned only for Heer Ranjha-48 and Beevi-50,while there is no mention of his name in the other two films. It is also interesting to note that singer Hafeez Khan Mastana was the elder brother of composer Aziz khan. To fulfil his father’s wishes, if not him,at least his son Shahid Parvez should become an Etawah Gharana Sitar expert, Aziz Khan left the film world after 1958 and devoted himself to train and teach his son. Thus Shahid Parvez became an International Sitarist.

Aziz Khan gave music to these film-sometimes as Aziz Hindi and with other composers in few films-
Flying Prince-46, Pandit ji-46, Intezar ke baad-47, Utho Jaago-47, Parivartan-49, Roomal-49, Shoharat-49, Putli-50, Beewi-50, Actor-51, Zamane ki hawa-52,Dhoop Chhaon-54, Danka-54 and Chalta Purja-58.

Today’s song is a comedy song and is sung by Sulochana Kadam and Yeshwant Bhatt. Actually most songs of this film are good songs.


Song- Main to beti Thaanedar ki re tu beta chapraasi ka re (Actor)(1951) Singers- Sulochana Kadam, Yeshwant Bhatt, Lyricis-Najim Panipati, MD-Aziz Hindi

Lyrics

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu bhaabhi mere maamu ki re
main maamu teri maasi ka re
to phir kya baat bane ae
to phir kya baat bane

mohe lahnga la de saatan ka saatan ka saatan ka
mat laana kabhi kaatan ka kaatan ka kaatan ka
tu lahnga maange saatan ka
ho jo saatan ka aahe ji saatan ka
munh dekho jaise kaatan ka
munh dekho jaise kaatan ka

munh dekh zara apna
ki jaise tabla ho miraasi ka
to phir kya baat bane ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane

toone rogi kar diya sainya aa aa aa
toone rogi kar diya sainya aa aa aa
kapde dho dho thhak gayin bainya
kapde dho dho thhak gayin bainya
washing ka bill de nahin sakta aa aa
I am sorry
washing ka bill de nahi sakta aa
tees rupaye hai meri tankha
meri tankha
o jee tees rupye hai meri tankha
meri tankha

abhi chhod ke tujhko pakdoongi main
haath kisi madraasi ka
kya baat bane ae ae
to phir kya baat bane

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu to bhaabhi mere mamu ki re
main maamu teri maasi ka re
to phir kya baat bane
to phir kya baat bane

14 Responses to "Main to beti thhaanedaar ki re"

Arun ji,

An excellent article. Kudos to you. I have observed from your last couple of articles that you have changed the presentation style which is refreshing.

The making the multiple films based, more or less, on the same story could itself be the theme of a series of articles for the Blog. But here I will restrict into one or two points. To my mind, the evolution of Indian motion films itself is based on remaking of popular plays that were successfully staged by major theatre companies like New Parsi Coronation Theatrical Company (their plays such as ‘Shirin Farhad’, ‘Indra Sabha’), New Alfred Theatre ( ‘Laila Majnu’), Parsi Natak Mandali (Yahudi Ki Ladki) and by many more regional theatres. With the advent of the silent films in India in 1913, some of these popular plays were adapted in such films, some with the same main actors from the plays.

Similar patterns were noticed when sound films came into being from 1931. Some of the film makers started adapting the stories of their silent films into talkies. I will take the one film you quoted – Anarkali. It was a popular Urdu play written by Syed Imtiaz Ali ‘Taj’. The play was converted in to a silent film ‘Anarkali’ (1928) which was again turned into a talky film ‘Anarkali’ (1935). More or less the same story was used by Filmistan in ‘Anarkali’ (1953) and K Asif in ‘MughalE-Azam’ (1960) without giving credit to its original author. Of course, K Asif had changed the story to a happy ending.

In regards to two lyricists jointly writing the lyrics of the songs, I first felt that during the 1930s and in the early 40s, the songs used to be generally written by the dialogue writers. If there can be more than one dialogue writers who jointly write the dialogues for a film, why not lyricists? But this argument did not hold good for the post-1940s films. And most of the films which you have quoted belong to 1950s. I have not been able to come to any definitive conclusion. But in few cases, I have noticed one trend in joint-lyrics writing. For example:

Buzdil (1951) – Shailendra-Kaifi Azmi
Footpath (1953) – Majrooh Sultanpuri – Ali Sardar Jafri
Dhobhi Doctor (1954) – Majrooh Sultanpuri – Ali Sardar Jafri
Chandni Chowk (1954) – Saifuddin Saif – Majrooh Sultanpuri
Pardesi (1957) – Prem Dhawan – Ali Sardar Jafri

One common factor in these joint-venture in lyrics writing is that the song writers were members of IPTA/PWA – a left ideological platform/s. There moto was comradeship especially in early 1950s. I guess, one of the joint-lyricists may have helped other in giving inputs or even one or two lines in the lyrics and their comradeship reflected in giving credit as a joint writer of the song.
.
But most of the names appearing films as joint-lyricists may be due to the fact that the songs in questions could not be identified with one or more of the lyricists for the film.

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Sadanand ji,
Thanks a million for your appreciation and very intersting musings on the contents of the post.
-AD

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Songs were often created at informal brain-storming sessions, from what I have read. So it was very much possible that one person gave the complete mukhdaa and other person completed the song with antaraas. Most cases the credit was not given to more than one person.

Prakash Mehra is also credited as song writer for songs in film ‘Lawaaris’ and ‘Namak Halal” along-with Anjaan.

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Mrs.Nahm ji,
Thanks for your views.
-AD

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Thanks to Arun ji and Sadanand ji for such a wonderful post and analysis thereof. Got enriched with information.

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Manohar ji,
Thanks for your kind words.
-AD

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As usual -highly informative.
Thank you Guruji

Like

Thanks.

Like

As usual- highly informative.
Same story, different title:- Panghat, Chitchor followed by “main prem ki deewani hoon” starring Kareena kapoor (Zarina Wahab), Hrithik Roshan (Amol Palekar), Abhishek Bachchan (Vijendra).
Remembered Humaare Tumhaare and Khatta Meetha.
A string of movies on Bhagat Singh in 2002.
What a coincidence that I was reading the post on “Mummy o Mummy” yesterday which mentioned some movies with same stories
Thank you guruji

Like

Peevesie’s Mom ji,
I would not count film stories like Bhagat singh in this category. These are open to anybody and not much can change in the main story,anyway.
There were writers and producers who used the same story from their first successful film, for their subsequent films. The lucky ones succedded like Nasir Hussain and Manmohan Desai, but people like Roop K.Shorey failed in every successive attempt after Ek thi ladki-49.
-AD

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True. The story for the Bhagat Singh movies cannot be changed. But Rajshri pictures had Nadiya Ke paar and Hum Aapke Hain Kaun, Upkaar and Abodh, as also Chitchor and Main Prem ki diwani hoon . Will these qualify?

Like

Yes, of course !

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Aziz Hindi was born on 15th February 1925 and died on 12th February 1972. He worked as a Music Teacher at Pilani High school and later at Hisar University after he left Bombay.

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Raaj Bothra ji,
Thanks for this valuable information. It would have been better if the source of the information was also given.
-AD

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