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

Chubhti hai ye to nigodi mujhe bhaari angiyaa

Posted on: December 13, 2020


This article is written by Sadanand Kamath, 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 :

4531 Post No. : 16093

Today, December 13th 2020 is the 34th Remembrance Day of Smita Patil who today would have been 65 years of age, perhaps donning the hat of a director.

What an incredible filmy journey Smita Patil had in a short span of about 12 years! She acted in 70 Hindi films of which 18 films were new wave films. In addition, she acted in about a dozen non-Hindi new wave films. At the age of 23, she got her first National Award for the Best Actress for her role in ‘Bhumika’ (1977). After 3 years, she was bestowed with another National Award for the Best Actress in ‘Chakra’ (1980). At the age of 29, she was one of the juries in the Montreal International Film Festival (1984). At the age of 30, She got Padma Shri Award.

She had achieved fame and glory in a short period and left her legacies for the new generations of film enthusiasts to appreciate. Other eminent actresses had taken much longer periods to achieve more or less the same status in their acting career. It is amazing to note that during her 12 years of filmy career, she worked with many eminent directors of new wave/parallel cinemas such as Shyam Benegal, Satyajit Ray (Bangla), Mrinal Sen (Bangla), G Arvindan (Malayalam), T S Nagabharana (Kannada), Jabbar Patel (Marathi), Khwaja Ahmed Abbas, Ketan Mehta (Gujarati and Hindi), Kumar Sahani, Muzaffar Ali, Saeed Mirza, Govind Nihalani etc. In the sphere of mainstream cinema, she acted under the directors such as Raj Khosla, B R Chopra, Ramesh Sippy, Mahesh Bhatt, Prakash Mehra, Mohan Kumar, J Om Prakash, J P Dutta etc.

Smita Patil (17/09/1955 – 13/12/1986) was born in Pune to a freedom fighter turned politician, Shivajirao Patil, and a social worker, Vidyatai Patil. After completion of her school in Pune, Smita Patil joined her parents in Mumbai by which time, her father had become a cabinet minister in Maharashtra. She joined St. Xavier’s College for graduation. It is during her college days she got selected as a Marathi news reader in Mumbai Doordarshan following the start of its telecast in October 1972. (I have also watched her occasionally reading Hindi news as well).

In one of his interviews, Shyam Benegal has revealed that after the successful release of his first film ‘Ankur’ (1974), he had planned for two films for which he was looking for a new girl having an earthly look (colloquially called ‘desi’ look). When he noticed Smita Patil as a Marathi newsreader on Doordarshan. he felt that she had an attractive presence and has the required photogenic face as a village girl. She fitted very well as a second lead in his next film ‘Nishaant’ (1975). Shyam Benegal met Smita’s parents through a common acquaintance. Her parents readily agreed but Smita point-blankly refused to work in films. Her mother, Vidyatai Patil who had seen ‘Ankur’ (1974), didn’t want her to refuse the offer off-hand. It took some time for her mother to convince Smita to work in the film ‘Nishaant’ (1975).

However, before ‘Nishaant’ (1975) could start, Shyam Benegal took her in ‘Charandas Chor’ (1975), a children’s film which would be a sort of familiarisation process for Smita Patil. According to Shyam Benegal, unlike Shabana Azmi, who was a FTII graduate in acting, Smita Patil had no formal training in acting. But she was a quick learner and an intuitive actor. The only problem with her was that she had multiple interests and as such during shooting, her mind would get diverted to activities other than acting. She was an ace photographer and always carried her camera during the shootings. During the break, she would take candid photographs of her co-stars. For the initial period of shooting for ‘Nishaant’ (1975), and ‘Manthan’ (1976), Shyam Benegal was not only the director but also had to behave like her school teacher for imposing the discipline.

Shyam Benegal says that despite all her sundry interest on the sets, Smita gave an excellent performance in ‘Nishaant’ (1975) as well as in ‘Manthan’ (1976). He narrated an anecdote during the shooting of the film in a village near Rajkot. A few college students had come to watch the shooting and were enquiring about the heroine. Smita Patil was sitting with four-five local women squatting against the wall. Someone from the unit pointed out in the direction of Smita Patil to the college students. They refused to believe him saying how could a heroine sit with local women? Her character in the film got so much assimilated with the local women that she could not be recognised as a heroine.

Shyam Benegal had initially considered Shabana Azmi for ‘Bhumika’ (1977). Later on, he felt that Smita’s body language and dialect seemed culturally apt for Hansa Wadkar’s character which required Smita’s visual presence from the beginning to the end. There were contradictions, complexities and also sexuality in the character of Hansa Wadkar and Smita had excellently handled all these in her role which fetched her the National Award for the Best Actress. According to Shyam Benegal, it was only after this award, Smita Patil took the acting career seriously.

After working under the direction of Shyam Bengal in ‘Kondura’ (1978) a bilingual film in Hindi and Telugu, there was a gap of 5 years during which Shyam Benegal had no occasion to take Smita Patil in his films. The reason could be that Shyam Benegal was associated with a couple of high budget films in which Smita Patil did not fit into the character.

‘Mandi’ (1983) was the last film Smita Patil worked under the direction of Shyam Benegal. In my view, this film is the best among Shyam Benegal’s films as also performance-wise the best of Shabana Azmi and Smita Patil for Shyam Benegal. Both of them have situations in the film in which they have to display different moods even in a single scene which only a few actors can perform to create a lasting impression on the audience .

With so much name and fame Smita Patil earned in acting in off-beat films, what were the reasons for her to seek the foray into mainstream commercial cinema? She did not fit into the idioms of commercial cinema. If I have inferred her personality on the basis of the articles written on her, a strong role rather than the money was her consideration to work in the films. I got some explanations for her entry into mainstream commercial cinema from a book ‘Smita Patil – A Brief Incandescence’ (2019) written by Maithili Rao. It was because of an incidence which hurt Smita Patil to such an extent that she decided to work in commercial cinema forthwith.

Sometime in 1981, one eminent successful director known for making ‘middle of the road’ films promised Smita Patil a role which she loved it. Later on, she came to know through the press that she was replaced by an actress who was also a successful star in commercial cinema. Within a few days from this incidence, Smita Patil signed two stupid films on a single day – ‘Badle Ki Aag’ (1982) and another one (probably,’Tajurba’ 1981). She wanted to prove that she was also a star material. Both these films did not fare well on the box office front.

Fortunately for Smita Patil, her next two mainstream films, Praksah Mehra’s ‘Namak Halaal’ (1982) followed by Ramesh Sippy’s ‘Shakti’ (1982), both with Amitabh Bachchan clicked at the box office which made Smita Patil a star-actor. After these successes, she did a spate of mainstream films, the notable films among them being ‘Aaj Ki Aawaaz’ (1984), ‘Ghulaami’ (1985), ‘Aakhir Kyun?’ (1985), ‘Amrit’ (1986). During this period, Smita Patil continued to work in parallel films such as ‘Ardh Satya’ (1983), ‘Tarang’ (1984), ‘Raavan’ (1984), ‘Giddh’ (1984), ‘Debshishu’ (1985) and ‘Mirch Masaala’ (1987). The end result was that in terms of numbers, her mainstream commercial films far exceeded her parallel films.

Smita Patil worked with Raj Babbar for the first time in ‘Tajurba’ (1981). It was during the shooting of ‘Bheegi Palkein’ (1982) when both of them developed a close relationship. Their closeness resulted in working together in as many as 20 films. Their affairs culminated into the marriage. Raj Babbar was already married to Nadira Babbar with two children.

Smita Patil died on December 13, 1986, 15 days after giving birth to her son Pratiek due to complications arising out of childbirth.

Shyam Benegal was back into new wave films by making a triology on Indian Muslim women with ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and ‘Zubieda’ (2001). in a recent interview, he said that after Smita Patil, he has worked with many actresses but none of them came close to the versatilities of Smita Patil.

On the occasion of Smita Patil’s 34th Remembrance Day, I have selected a song from the film ‘Mandi’ (1983) which is directed by Shyam Benegal with Smita Patil in the role of Zeenat. It is a mujra song, ‘chubhti hai ye to nigodi mujhe bhaari angiya’ sung by Asha Bhosle and picturised on Smita Patil. This raunchy song is written by Insha which is set to music by Vanraj Bhatia.

The film starts with this mujra song as credit titles are rolling. One can see Naseeruddin Shah as a worker in the kotha, Shabana Azmi as Madam of the kotha and Harish Patel as police who is watching the mujra through the window. The mujra starts with the classic ‘sit-down’ pose with alluring expressions of Smita Patil. In the last part of the song, she gets up and steps into a vigorous dancing in kathak style.

According to Vanraj Bhatia, Asha Bhosle who had sung many songs for him, refused to sing this song by saying that it was a dirty song. She cancelled the recording three times. It was Ismat Chugtai who convinced her by saying that she had sung many kotha songs. Why not one more? The reason as to why Vanraj Bhatia persisted on Asha Bhosle even after she cancelled the recording three times could be that only Asha Bhosle could do justice to sing to sound like a raunchy song.

Although the name of the lyricist is mentioned as Insha, I feel that he is Syed Insha Allah Khan ‘Insha’ (1756-1817). He had used his nom de plume ‘Insha’ in some of his poems. He had also used in the song under discussion. Insha was a contemporary of Mir Taqi Mir in Mughal court. Later, he shifted to the court of Nawab of Awadh in Lucknow for getting a higher stipend. He was a multilingual poet who wrote poems in Urdu, Persian, Hindi, Punjabi, Kashmiri, Bengali, Marathi etc. I have gone through some of his ghazals and nazms. He seems to be a witty and unconventional poet. His prose work, ‘Rani Ketki Ki Kahaani’ is regarded as the first short story written in Hindi.

The video version has the full song interspersed with some dialogues, while the audio version is without dialogues and does not have the last stanza.

Video Clip:

Audio Clip:

Song-Chubhhti hai ye to nigodi mujhe bhaari angiyaa (Mandi)(1983) Singer-Asha Bhonsle, Lyrics-Inshaa, MD-Vanraj Bhatia

Lyrics(Based on Video Clip)

chubhti hai
chubhti hai
ye to chubhti hai
ye to nigodi
mujhe chubhti hai
chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai
koi saadi si
haan koi saadi si
mere vaaste laa de angiya
laa de angiya

pokhron leher ban ke
daak sitaare
kise ho jaati hai kambakkht
gawaari angiya
ho gawaari angiya
mujhe chubhti hai
Allah chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai

gend ek maine jo phenki to
haan gend ek maine jo phenki to
jhijak kar un nein kuchh ajab dol se
kal apni sanwaari angiya
biwi mughlaani jo see laayi thhi
aayi na pasand
aayi na..aa pasand
o beghma ji ne wo sar unke
haan beghma ji ne wo sar unke
de maari angiya
de maari angiya
mujhe chubhti hai
Allah chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai

odhani mujhse jo badli to
aji odhani mujhse jo badli to
baazi jaan ki bhi ek deeje jo ho
bhaari se bhaari angiya
ye ajab koi sugad(?) jisne kaadhe ye boote
kaadhe ye boote
wah chire(?) ban gayi
ban gayi ek phoolon ki kyaari
haa aan ban gayi ek phoolon ki kyaari
kyaari angiya
pyaari angiya
mujhe chubhti hai
ye to nigodi mujhe bhaari
bhaari angiya chubhti hai

aa aa aa
noz pehne koi
shabnam ki katori saahab
taare..ae youn doob gaye
wo ko sudhaari angiya
wo ko sudhaari angiya
sudhaari ee angiya
haath ‘Insha’ ka kahin chhoo jo gaya to boli
haath ‘Insha’ ka kahin chhoo jo gaya to boli
tera maqdoor
tera maqdoor ke tu chhede hamaari angiya
hamaari angiya
hamaari angiya

6 Responses to "Chubhti hai ye to nigodi mujhe bhaari angiyaa"

Our tributes to Smita Patil on her ‘Remembrance Day’ today.
Thanks for this detailed post Kamath Saheb. Enjoyed the post and liked it very much and like the song too.
Thanks again,

Like

Thanks.

Like

Sadanand Ji, great piece on versatile Smitha Patil. Things I did not know.
I have seen Mandi and liked it. Bu , since this song is along with credit lines, the impact of the mujra was lost on me at that time, nor did I hear it any time later thru any medium. Now with your presentation I thoroughly absorbed the excellence of the mujra. For a person not trained, Smitha is possibly impeccable in this enactment.
Thanks.

Like

Satish ji,

I am glad that you liked the presentation of mujra in this song which is in a traditional manner. If you have watched some mujra songs of early 50s’ films, you will will have noticed that the mujra starts with a ‘sit-down’ position and ends with kathak style dance. Just codmpare this mujra with a similar mujra in ‘Bazooband’ (1954) performed by Roopmala.

Like

badhiya post and badhiya song. Heard it for the first time here

Like

Thanks.

Like

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