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

Hansi chaand ki aaj niraali

Posted on: September 28, 2021

This article is written by Sadanand Kamath, 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 :

4820 Post No. : 16593

In the early 1940s, New Theatres (NT) was going through some lean period as some of its films like ‘Meenakshi’ (1942), ‘Saugand’ (1942), ‘Kashinath’ (1943), ‘Waapas’ (1943) etc could not garner box office success. During this period, there were exodus of some of the artists and technicians from NT to Bombay. In this background, NT produced ‘Udayer Pathe’ (1944) in Bengali with some new artists, new technicians and also with a new director, Bimal Roy who was the Cinematographer and the Editor with NT. The film became a big box office success, recouping to some extent the lost glory of NT.

Buoyed by the fresh success, NT decided to remake Hindi version, ‘Hamraahi’ (1945) with more or less the same star cast that were in the Bangla version. The star cast included Binota Bose (her first and the last Hindi film as an actress) and Radhamohan Bhattacharya in the lead roles, supported by Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc.

Incidentally,as reported in The Daily Telegraph’s E-paper, the lead actor, Radhamohan Bhattachraya’s 100th birth anniversary was on September 27, 2021. Bangla film fraternity gathered in Kolkata to pay tribute to him especially by actors who had worked with him. At the end of the gathering, one of his film, ‘Udayer Pathe’ (1944) was screened for the audience.

‘Hamraahi’ (1945) did not get the same success at the box office as was with its Bangla version. DVD of ‘Hamraahi’ (1945) is not available for viewing on any of the video sharing platforms. So, I watched the Bangla version, ‘Udayer Pathe’ (1944) with English sub-titles. The story of the film is the theme of rich-poor conflicts. The idea of making the film on rich-poor conflicts may have come when NT produced a documentary film on the Bengal famine of 1943 which was directed by Bimal Roy. The story of the film is as under:

Anup (Radhamohan Bhattacharya) is a middle-class journalist staying with his mother and a sister, Sumitra (Rekha Mullick). Anup gets a job at industrialist, Rajendranath’ office as a as a Publicity Officer. He also writes speeches for Rajendranath (Ramesh Sinha in Hindi version) which are well appreciated and Rajendranath attains a status of an intellectual.

Anup meets Gopa (Binota Bose) in a library where he comes to know that Gopa is the daughter of Rajendranath whose wife had falsely accused his sister, Sumitra of stealing from his house when she attended a party on the invitation of her school friend, Gopa, Anup decides to leave the job. After some persuasion by Rajendranath’s son, Souren (Debi Mukherjee), Anup agrees to complete the speech he was writing for Rajendranath. Souren in return agrees to get Anup’s novel printed.

Gopa gets hold of the manuscript of Anup’s novel. After reading it, she is impressed with the viewpoints he has about the rich-poor class struggles. She starts meeting Anup quite often. In the meanwhile, the novel is printed and released but instead of Anup’s name, the novel carries the name of Sauren as the author. Anup is not in a position to prove the wrong-doing of Souren, Instead, he decides to take up the issues of the workers in factories of Rajendranath. Gopa also gets involved with workers’ union to understand their problems. Anup becomes popular among the workers and becomes the leader of the workers’ union.

Souren is not happy with this development. He hires goons to to disturb the workers’ meeting during which Anup gets hurt. Gopa arrives to take care of him. The next day, the photograph of Gopa with Anup becomes a scandalous news. Rajendranath bars Gopa from meeting Anup. He also visits Anup’s house requesting him not to meet Gopa in future which Anup agrees under the impression that Gopa regretted her decision to join him as told to him by Gopa’s father. But it was not true as Gopa decides to leave her father’s house to join Anup for the betterment of underprivileged.

It is interesting to note that the film ends with Gopa driving a car to catch-up with Anup who has decided to leave the place. As soon as she locates him walking on the road, she abandons the car and walks with Anup for ‘udayer pathe’ (new path of dawn). In a way, the film became ‘udayer pathe’ for Bimal Roy as well as a renowned director. Later, he directed ‘Do Beegha Zameen’ (1953) with more or less the similar theme of rich-poor conflicts.

Generally, in the films with the story of rich-poor conflicts, capitalists have been mostly shown as a ruthless exploiters of the working class. The leaders representing the working class have often been shown with militant attitude. In ‘Udayer Pathe’/Hamraahi’, Bimal Roy has shown the characters representing the capitalist and the labourer in a restraint manner. There are no rhetoric dialogues for one-upmanship. Even the romantic relationship between Anup and Gopa have been kept in a very restrain fashion. In the film, they meet mostly in the context of understanding and solving the problems of workers with an undertone of liking for each other.

The story of ‘Udayer Pathe’/Hamraahi’ was written by IPTA writer, Jyotirmoy Roy. After the tremendous success of ‘Udayer Pathe’, Jyotirmoy Roy wrote a full-fledged novel in Bengali on the subject which became among the best seller novel.

‘Hamraahi’ (1945) had 7 songs (including one song in Bangla) of which 5 songs have been covered in the Blog. I am presenting the 6th song, ‘hansi chaand ki aaj niraali’ sung by and picturised on Binota Bose. The song has been written by Munshi Zakir Hussain which is set to music by R C Boral. Actually, the tune of this song is almost the same as that of the Bangla version of the song, chander hasir bandh bhengechhe which was written and composed by Gurudev Rabindranath Tagore and used in ‘Udayer Pathe’ (1944).

I have watched the Bangla version of the song which is available in the film ‘Udayer Pathe’ (1944). The song has been beautifully picturised in a full moon light setting. I have given below the link to the Bangla version of the song just to get an idea as to how the song was picturised in Hindi version of the film. The background behind the song picturization is as under:

After attending the workers’ meeting, Gopa and Anup are on their way to return to their respective homes. On the way, they find moonlit path. Gopa desires to spend some time to enjoy the nature in the midst of moon light. It is at this point, Anup reminds her of the commitment she had made to sing a song for him. He says that it is a perfect setting for singing a song. She sings the song full of description of the nature (prakriti varnan) which is Gurudev Rabindranath Tagore’s one of the favourite themes. Munshi Zakir Hussain’s lyrics for Hindi version retains some parts of the ‘prakiriti varnan’ with some different imageries, probably to fit words in the pre-composed tune of Gurudev Rabindranath Tagore.

I heard both the versions of the songs only a few days back. But the songs often linger in my mind for the beautiful nature poetry woven with melodious tune.

Audio Clip:

Video Clip (Bangla version)

Song-Hansi chaand ki aaj niraali (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Munshi Zakir Hussain, MD-MD-R C Boral


hmm hmm hmm hmm
hmm hmm hmm hmm
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali
andhere ko door hataa ke
phailaaye ujiyaali ee ee
hansi chaand ki aaj niraali

daudi hawaa chaman mein aaye ae
ye nahin jaane kaun bulaaye
ae ae ae ae ae ae
phool phool par man bharmaaye
phool phool par man bharmaaye
phirti daali daali ee ee
hansi chaand ki aaj niraali

aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
phire magan hanson kaa jodaa
apne pankh milaaye
swarg desh ki kaun ye baalaa aa aa
dhoondh rahi phoolon ki maalaa aa aa aa aa
aaj ye kaise deep jalaati
kaisi ye deewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali

2 Responses to "Hansi chaand ki aaj niraali"

Sadanand ji,

Thanks for this post. I don’t tire praising your style of narration !

I remember having seen this film at Hyderabad sometime in the 50’s, in its second or third run. Bimal Roy had become famous after his Do Bigha Zameen, and people were curious about him.

This film (Hamrahi) was clearly based on Leftist Philosophy, wherein the oppressed classes are up against the richer classes. Bengal has always been a hub of political activities. Bangla people breathe in and breathe out politics. Every Bengalee is perpetually against the establishment, be it a Capitalist or even their own Government. No wonder the Left Front Ruled West Bengal from 1977 to 2011 and then collapsed due to their own people . The subsequent government is following the same methodology, though !

Story of this film was written by Jyotirmoy Roy, who later married the Heroine of this film, Binota Bose ( and restricted her work only to Bangla films wherein he was associated in some way). He also wrote the dialogues.

There were some remakes or films made on the same story. In the film’s remake Naya Zamana-1971, Dharmendra and Hema Malini leave the house in millionaire father Ashok Kumar’s Limousine.
Satyajit Ray in his version of this film, Mahanagar-1963, shows Hero and Heroine walk out and merge into the moving crowd outside.
True to the cinematic branding of actors, Hamrahi Hero Radha Mohan Bhattacharya who played the incorruptible ‘Bhadralok’ Hero Anup, repeated his role in Kabuliwala-56 (Bangla film) and Akaler Sandhane-80.
Hamrahi-45 writer Jyotirmoy Roy was an IPTA worker. He was honoured by IPTA for his dialogues of the film, which depicted the Bengali melodrama between inherited and earned wealth.

Liked by 1 person

Arun ji,

Thanks a lot for your additional input.

Yes, the film’s story writer was connected with IPTA. Hence the story based on the leftist idealogies was to be expected from him.

I, however, feel that Bimal Roy may have been moved more by what he saw the exploitations of poor while making a documentary on Bengal famine of 1943 than the dictate of the leftist ideaology. That may be the reason, as I have mentioned in my write up, he projected the characters of industrialist (capitalist) and the leader representing workers in a restrain fashion without making them ruthless exploiter and the militant, respectively.


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