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

Haseenon ke chakkar mein hargiz na aanaa

Posted on: September 25, 2021

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day :

4817 Post No. : 16588

Today’s song is a funny Parody song taking place in a Mental Hospital and the singing artistes on the screen are all hospital patients including the Hero of the film. The song is from the film Do Dulhe-1955.

This was a film made by United Film Art, Bombay, with the joint producer Gemini Pictures, Madras. The entire film was shot in Gemini Studios, Madras. This was a remake of a very successful Tamil film ” Manam Pola Mangalyam”- 1953, in which Gemini Ganesan ( real name R.Ganesh) and Savitri had acted. This was their first film together. Later they did many films, but from this film onwards their love story started and Ganesan made Savitri his second wife.

In the 30’s and 40’s decades there were many films made in Poona/Bombay and Calcutta which were Bilinguals, i.e. in Marathi and Hindi as well as Bangla and Hindi. This was primarily to grab the local and all India markets. In those days, there were no Hindi films from the south. With the launch of film Chandralekha-1948, first time producer director S S Vasan released his film’s Hindi version on a grand scale all over India with about 700 prints. It was a very bold and maiden effort, but it paid very rich dividends to Vasan.

Encouraged by Vasan’s success, other film companies of South, including AVM entered the fray and from 1949 Bilinguals and Trilingual films were made in Tamil , Telugu and Hindi. Within a few years film remakes in Kannada and Malayalam also started in Madras. Compared to other languages, Kannada and Malayalam film production had started late in their states. Madras took its advantage. Few Tamil film makers made remakes even in Sinhala languages for the Sri Lanka market. By that time their Burmese market was lost. This went on till about the 70’s. After that film makers resorted to dubbing the film or selling the rights to Bombay to make remakes and the import of Hindi remakes from the south ended.

It was interesting to note that during that period, southern film makers had some favourites among Actors, actresses and MDs. Bombay film artistes used to be very eager to go to Madras for shooting, because of few reasons. One- their payments were immediate. Secondly, their production schedules were well planned and the work culture was disciplined. Thirdly, their stay, transport, travel and food arrangements were impeccable. All in all, they had only to go there and work diligently, without having tensions, usually seen in the Bombay film industry.

I have been seeing southern language films since the late 40’s. Their films used to be very entertaining and suitable for family viewing. There was ‘ something for everybody’ in their films. Comedy, Tragedy, Adventure, Fighting, Tears, Love, Lullaby and what not ! But then this made their films lengthy and full of too many characters and subplots.

Today’s film was also one such film. The film was directed by K.J.Mahadevan and the MD was B.S.Kalla. Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like, Ghantasala, B S Kalla, S D Parthasarathi, E.Shankar, C.Subramanyam, B.Laxman, Vishwanathan, R.Sudarshanam, S V Venkataramana, T R Ramanathan and T G Lingappa are few of the less known names-for Hindi belt-from south who gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers, for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan- Ramamurthy were at least known names here. Their films like Piya milan-55, Suvarna Sundari-58 and Naya Aadmi-56 had many popular songs.

Balkrishna Kalla and E. Shanker team gave music to films like Mangala-50, Sansar-51, Mr.Sampat-52, Bahut din Huye-54. Balkrishna Kalla with Mohd. Shafi gave music to Krishna Kanhaiya-52. With Parthasarathi and Rajeshwar Rao he gave music to Nishan-49. Independently he gave music to only one film-Do Dulhe-54. B.S.Kalla had also done a small role in the film Mangala-50. The southern composers gave music only to dubbed films or remakes essentially.

The lyricist was south’s favourite Pt. Indra. The cast was huge. Main artistes were Shyama, Sajjan, Vananja, Agha, David, Lalita Pawar, Kanhaiyalal, B M Vyas, Achala Sachdev, Suryakantam, Ishwar lal etc etc. The hero was Sajjan- and in a double role too !. Some of the readers will be surprised with this name. Unfortunately artistes like Sajjan, who were multi-skilled, did not get due recognition in Hindi film industry or in even the general film going public. Artistes like Badri Pershad, Dewan Sharar, Shakuntala Paranjpye, Ranjan etc. were experts in fields other than film acting and had achieved expertise, name and fame in different fields. Sajjan was also one such artiste. He was a film actor, Stage actor, writer of Poetry, assistant film director, a poet, lyricist, Dialogue writer and a T.V.Artiste.

Born on January 15, 1921 in Jaipur, his full name was Sajjan Lal Purohit, a Pushkarna Bramhin. For many generations in his family, no one was interested in music or acting. He was famous with his first name in the movie world. Sajjan did his graduation from Jawahar college, Jodhpur. He had a desire to be a lawyer but not an actor.

In 1941, he arrived in Calcutta and worked as an apprentice in a laboratory of East India Film Company. His initial breakthrough in films was as an extra in films like Masoom (1941), Chowringhee (1942). Sajjan left Calcutta during World War II and reached Bombay. In Bombay he knew Prithwiraj Kapoor from his Calcutta days. He joined the Prithvi Theatre and worked in dramas like, Shakuntala, Pathan, Deewar, Aahuti, Kalakar, Kisan Paisa etc etc. Here he came into contact with Shammi, Raj, Shashi kapoor, Omprakash, Premnath, Zohra Saigal, B M Vyas, Ram Ganguli, Shankar, jaikishen and others. Afterwards, he started doing dramas separately. In ” Dhola Marwan” his heroine was Snehprabha Pradhan. He did many One Man Shows too.

He was a writer of Poetry. He participated in many gatherings of poets. His poetry book ” Jawan” became so popular that even Nehru had bought 100 copies of it. It was reprinted four times.

In Mumbai he worked as an assistant to famous director Kidar Sharma. At that time great showman Raj Kapoor also worked as an assistant to Kidar Sharma. He also worked as assistant to Gajanan Jagirdar and for the film Vakil Sahib-43 and got Rs. 35 as salary.

A poet by heart, Sajjan showed His talent when he wrote dialogues for Meena -1944 and lyrics for Door Chalen -1946, Jail Yatra-47 and Dhanyavad -1948.

His acting debut film was Mera Suhag-47. After that Bombay Theatre’s Muqaddar was released in 1950. His heroine was Nalini Jayvant. As a Hero, he worked with Geeta Bali,Nutan,Nimmi,Shyama,Shakila, Nalini Jaywant etc etc.

Now Sajjan was well established in the film world. In 1950s- 60s Sajjan acted as hero or side-hero in films like, Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, paridhaan, Do Dulhe, Ghar-Ghar Mein Diwali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam, Jhanjhar, Halla- Gulla. As a hero his last film was Kabuliwala-61 and as an artist he last appeared in the 1986 release Shatru.

Artiste of more than 150 films, Sajjan also worked in TV serials. In Vikram-Betaal he played Betaal. His other serial was Lena-Dena.

Sajjan acted in more than 150 films. Though he was a reasonably good actor, he felt very awkward while singing a song on screen. His Producers and Directors knew this and they gave him minimum songs. Thus he is on record in his 150+ films to have sung around 20 odd songs only, in spite of being a Hero in some films. After retirement, Sajjan was not in good health, but he wrote a book ‘ Ras-Bhav ‘, discussing all the 9 Rasas as enunciated by Bharat Muni’s Treatise on “Natya Shastra”. He also published a book on the Birth Centenary of Prithviraj Kapoor, whom he revered very much. Sajjan died on 17-5-2000.

Film Do Dulhe was an entertaining film. I saw this film again yesterday evening. Here is the story, in short…

Parvati/ Paro (Shyama) is a motherless daughter of B.M.Gupta (B.M.Vyas). Her step mother (Lalita Pawar) and step sister Dulari (Vanaja) torture her with household chores etc. Dulari’s marriage is arranged with Kundan (Sajjan), who comes from Madras to see Dulari. On the way he meets Paro and they fall in love. Paro’s marriage is being arranged with an old widower Seth Deen Dayal (David) who has lent 15 thousand to Paro’s father. Kundan goes to Madras to bring money to pay Deen Dayal . When he comes he sees Paro’s marriage preparations. He returns heartbroken to Madras. Meanwhile Paro also runs away from home and goes to Madras to meet Kundan. They meet but due to misunderstanding he leaves her.

Kundan is caught by mental Hospital employees as their patient kanhaiya-a look alike(Sajjan again). The patient Kanhaiya escapes and is brought as Kundan to Dulari’s house. After a few (actually many) coincidences, everything is clear and finally Kundan marries Paro and a recovered Kanhaiya marries Dulari. Thus Do Dulhe get Do Dulhans and the audience feels relieved from seeing further ridiculous levels the story could go to !

Today’s song is the 6th song from this film to feature here. This is a funny parody song sung by patients of the mental hospital on the screen and after seeing this video you are supposed to ROFL !



Song- Haseenon ke chakkar mein hargiz na aana(Do Dulhe)(1955) Singer- Mohd. Rafi, Unknown male, chorus, Lyricist- Pt. Indra, MD- B.S.Kalla


Naam hai mere baap ka
Soda Subedaar
iski soorat dekh ke
aata mujhe bukhaar
sa re ga ma pa

ta dhin taka dhin
ta dhin taka dhin
ta dhin taka dhin

aa aa aa
haseenon ke chakkar mein hargiz na aana
haseenon ke chakkar mein hargiz na aana
tu mar ke bhi inpar
na hona deewaana
haseenon ke chakkar mein hargiz na aana
tu mar ke bhi inpe na hona deewaana

jo ?? mein atka
arre waah atka
jo ?? mein atka
wo latka umar bhar
?? kachoomar hua hai
jo ?? mein atka
wo latka umar bhar
?? kachoomar hua hai

ta dhin taka dhin
ta dhin taka dhin
ta dhin dhinna dhid tak tak dhin
ta dhin dhinna dhid tak tak dhin
ta dhin dhinna dhid tak tak dhin
tad tik ta

aa aa
aa aa
abke saawan
ho ghar aajaa
ho o ho o
abke saawan ghar aaja

kaahe ko ho gaye
fauz mein bharti
kaise ??? ki
?? sataawe
?? laga jaa

abke saawan ghar aajaa
ho o
abke saawan ghar aajaa
ho sainyya
abke saawan ghar aajaa o sainyya
abke saawan ghar aajaa

aaja re aajaa
ho ho ho
aaja re aaja

aaja aajaa
aaja meri barbaad muhabbat ke sahaare
Bhagwaan bhi sunta nahin
kis kis ko pukaaren
aaja aajaa
re re re re re re re re
re re re re re re

dekha jo tera husn to
hum ho gaye lattoo
hum ho gaye lattoo

rote huye aaye thhe hum
rote hi sidhaare
Bhagwaan bhi sunta nahin
kis kis ko pukaare
hey ae ae
kaise karoon kaise karoon pyaar re
ho o ho o
kaise karoon kaise karoon pyaar re

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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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