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

Gaye wo mere dil ko veeraan kar ke

Posted on: February 11, 2022

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 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 :

4956 Post No. : 16824

Today’s song is from the film Nirdosh-1950.

There were 4 films with the same title – Nirdosh-1941, Nirdosh-1950, Nirdosh-1973 and Nirdosh-2018. The first film Nirdosh-1941 had singer Mukesh as Hero, opposite Nalini Jaywant and he sang his first film song on the screen. Film Nirdosh- 1950 was a film made by Filmistan Ltd.,Bombay and it was directed by Najmul Hasan Naqvi or simply Najam Naqvi. This shortening of his name had a history behind it.

Initially, when Najam came into the film line, he joined Bombay Talkies as an assistant doing odd jobs. However, soon ,looking at his interests, he was kept as a Continuity man in the direction department. In 1935, a handsome young man joined Bombay Talkies and the first film of Bombay Talkies-” Jawani ki Hawa”-1935 was made with Devika Rani and this young man-Najmul Hasan as the lead pair. The film was a Hit film. During the making of this film, he and Devika Rani fell in love. While their second film-” Jeevan Naiya”-1936 was on the floor, the Love Birds eloped to Calcutta. There was great commotion in the studio and everyone talked about it. The prestige of Bombay Talkies was at stake as the wife of the owner had run away with her lover.Eventually, Devika Rani was persuaded to return to Bombay. Najmul Hasan dared not come back. He continued in Calcutta, did some films and a roaring love affair with actress Kajjan, before migrating to Lahore.

The whole episode of elopement had become a matter of embarrassment for the continuity man; working in the same studio. His name too was Najmul Hasan. Because of the same name, this innocent chap -who had nothing to do with the elopement drama- had to suffer staring eyes and hush hush whisperings within the studio and the film circle of Calcutta !

He was Najmul Hasan Naqvi, born on 11-4-1913 at Moradabad-UP. He was working in Bombay Talkies doing odd jobs-continuity man and even as an actor in Achhut kanya-36. He was a very hardworking person. After this episode he changed his name to a shorter edition- Najam Naqvi.

He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940. He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film- Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films- Kunwari Bewa-56, Naghma e dil-59, Dil e nadaan-60, Qaidi-62, Ek manzil do rahein-62, Ek tera sahara-63 and lastly Payal Ki Jhankaar-66. Najam Naqvi died on 26-1-82 at Lahore. Due to the same name, many sites still mix up the filmography of these two artistes.

The cast of the film Nirdosh-1950 was Shyam, Rehana, Kuldeep Kaur, Om Prakash, K N Singh, Mukri and others. 3 Lyricists wrote the 10 songs of the film. They were S H Bihari, Asad Bhopali and RMA Khan. The Music Director was Shyam Sunder-one of my favourite MDs. He is one of the very few old time composers who composed some songs which will never fade away. He was not very prolific- just 20 films in a career of 10 years, but some of his songs are evergreen. he showed his talent right from his first film “Nai Kahani”-1943, by composing the beautiful song ” Neend hamari khwab tumhare”, sung so nicely by G M Durrani and sung on screen by the handsome B. Nandrekar.

To be famous and to shine in this world, mere Talent is not enough. You must also have Lady Luck with you. While it is generally true,it is more true in the case of our Film Industry.

It is said that LAXMI and SARASWATI do not stay together. Laxmi is the Goddess for Wealth and Saraswati stands for Arts,music and Wisdom. We have seen several examples of Actors,singers,Directors and composers,where,despite being talented,the person did not shine in life and had to remain unhonoured and unrecognised. But we have also seen cases where genuinely talented people in various fields do get honoured,recognised and become wealthy too.

So,what is the factor that binds Laxmi and Saraswati together ? It is ,Undoubtedly,LUCK ! Without having Luck,no one can get name,fame and wealth,however talented he may be.

But,what about those talented people who had almost everything coming their way,name,fame and wealth too,but just because of their own egos,bad tempers and bad habits,they lost everything and either died soon or spent their last days in neglect and sorrow ?

Yes,there are such examples too in the Film Industry. One such glaring example is that of Music Director SHYAM SUNDER. ( Another notable example is that of SAJJAD HUSAIN). Songs composed by Shyamsunder are one of my most favourite ones. His songs from Nai kahani,Bazar,Lahore and Village girl are to be remembered eternally.Bazar -49 song, ” Saajan ki galiyan ” is Lata’s No. 1 favourite song( so is mine ! ). The 6 songs of Noorjehan in Village Girl-45 are simply matchless.

Shyamsunder himself was a highly respected and preferred composer for singers and producers. He had the capacity to scale heights much higher than other composers of his time. But…Alas ! The habit of drinking and talking rubbish when drunk destroyed his career. Here is an anecdote of how much respected and remembered he was by the Ace singers like Noorjehan and Lata Mangeshkar…

Thirty five years after the partition and two wars between India and Pakistan; in the year 1982 the melody queen, Malika-e-Taranum Noorjehan visited India. It was certainly a grand occasion for millions of music lovers of the Indian sub-continent.

In her honour and to facilitate nostalgic music lovers, an impressive show was organised in Shanmukhanand Hall, Bombay which was attended by a large number of luminaries of Indian cinema. Notable amongst them were- Anil Biswas, Naushad, the maestro music composers and matinee idols- Devika Rani, Ashok Kumar, Dilip Kumar & nightingale of India Lata Mangeshkar to name a few.

Noorjehan came to the dais with a thunderous applause from the jam-packed auditorium and after a brief speech; as expected, she sang her most popular melody- ‘Awaaz de kahan hai, duniya meri jawan hei’ she recorded in India for film ‘Anmol Ghadi’ -Music was composed by Naushad.

Thereafter, it was Lata to sing, who found herself in a very difficult situation owing to a completely charged atmosphere all around the auditorium. She kept everyone guessing about the selection of her song.

Lata came out with one of her endearing melodies- ‘Saajan ki galian chhod chaley, dil roya aansoo beh na sakey’ from the film ‘Bazaar’ music for which was composed by Shyam Sunder. The applause was beyond imagination. The memory of the completely forgotten genius music director Shyam Sunder came alive, when in her next round Noorjehan sang– ‘Baithee hun teri yaad ka ley karkey sahara’ another immortal melody from film- ‘Village Girl’, music for which was composed by none other than Shyam Sunder.

The audience was indeed spellbound. Every one thought as to why she chose a completely forgotten Indian melody instead of a large number of songs she recorded in Pakistan after migrating from her performing place of origin- Bombay . Perhaps, it was in view of the fact that the singer and the composer of the film ‘Village Girl’ were from Punjab .

The momentous event continued with lots of nostalgic and tearful exchanges and it became a history in the annals of pre and post partition Indian art, culture, music and all such related aspects of humane

Why such a legendary music- composer has completely been forgotten,who composed music for some of the classics of his time, such as ‘Village Girl’- 1945, ‘Devkanya’ 1946, ‘Actress’ and ‘Ek Roz-1947, ‘Bazaar’ and ‘Lahore’- 1949, ‘Dholak’, ‘Kale Badal and Alif Laila’ -1951 just to name a few.

In 1943, he composed music for the film ‘Nai Kahani’. An alluring song of G.M. Durani and others–‘Neend hamari khwab tumhare, kitne meethe kitne pyare’ which became an instant hit. Even today after a gap of more than seventy years, the melody richly deserves an eloquent place in the list of popular melodies of yesteryears.

In his next film ‘Village Girl’ -1945, Shyam Sunder came with flying colours, wherein Noorjehan sang some of her fabulous melodies viz–‘Baithi hoon teri yaad mein ley karkey sahara’, ‘Kis tarah bhulega dil’ & ‘Sajan pardesi, balam pardesi’. In these vital numbers, the feelings immersed in the lyrics -written by Wali Saheb- she was in her complete command. The singer did not merely sing the words inscribed in the lyrics, but the depth of feelings. The class of accompanying instrumentation and the matching orchestration was superb and the genius of the composer was distinctively visible.

It is needless to reiterate that as and when a list of immortal melodies of previous century of Indian sub-continent in general and Noorjehan in particular will be drawn; these numbers will invariably find a prime place, music for which was composed by a totally forgotten genius called- Shyam Sunder.

For Shyam Sunder, after the exit of Noorjehan from Indian film music, there came the film ‘Actress’ in the year 1948, wherein Mohammad Rafi gave his initial introduction to the music world by singing – ‘Hum apne dil ka fasana unhe suna na sakey’ . This proved to be Rafi’s initial introduction. .

The music-creating journey of Shyam Sunder can be matched with another maestro called Sajjad Husain, who also composed music for just 14 films, but composed some of the finest melodies of his era.

Both the masters were highly perfectionists; but ill-tempered and uncompromising. Shyam Sunder, additionally in view of his addiction to liquor and excessive drinking, occasionally uttered abusive language and consequently used to lose control over his head and heart. During the making of the film ‘ Lahore ’, he had some abusive interaction with Lata Mangeshkar; as such, they were not on talking terms for a considerable time.

In the year 1952, when the film- ‘Alif Laila’ was in making, Shyam Sunder died in the recording studio, owing to excessive drinking and consequent heart attack; the music thereby was completed by his assistant- Madan Mohan. Due to his spat with Lata,she had stopped singing for him,but on his request she sang a song in his last film, Alif Laila-1953. She knew his calibre as a composer !

Shyamsunder was born in Multan (now in Pakistan). He was an expert Violin player and used to play in Jhande Khan’s orchestra in the early stage of his career. He started with Punjabi films from 1939. He gave a break to Mohd. Rafi in Punjabi film ‘Gul Baloch’. Nai kahani-41 was the beginning of his bright career and village girl-45,Lahore-49 and Bazar-49 were his pinnacle. He composed 187 songs in 20 films.

Shyamsundar died on 15-7-1952.

Some years back, Lata Mangeshkar had been interviewed on, on 7-1-2011, in which she gave some short memory clips of her famous MDs. About Shyamsunder, she had this to say……

” During the period of 1946-1947, I was an employee of Master Vinayak.

One day he summoned me to his house in Dadar and told me that Shyam Sudner had come and wants to hear you sing. I complied and sang a Bandish. There was no reaction on Shyam Sunder’s face. Days passed by. Master Vinayak met an untimely end. I was searching for work.

Then one day, Shyam Sunder called for me.

I have sung many melodious songs for Shyam Sunder. I remember a qawaali from the film Chaar Din. The singers included Rafi, Shivdayal Batish, Rajkumari, Hamida, Johrabai and Iqbal. This qawaali, Haseenon ki adaein bhi by Shyam Sunder was very challenging and consisted of difficult taans.

Our rehearsal was going on. I was the focus of his attention. He was keen to know how I perform on a song which had a Punjabi style. I sang all the taans much to the delight of Shyam Sunder. He told everyone, “This is how to sing a song in Punjabi style.”

Shyam Sunder was a jovial person. Due to some misunderstandings, I was not singing for him for a period of time.

One day, I received a message from him. He had composed a song especially for me. The song Tujhko Bhulana Mere Basme Nahi from the film Alif Laila was the last song that I sang for him. He met a sad, untimely death. The song from his film Bazaar-1949 ” Sajan ki galiyan” is my favourite.”

Today’s song is also a typical Shyam Sunder song, sung by Shamshad Begum. This is the third song from this film here.

Song-Gaye wo mere dil ko veeraan kar ke (Nirdosh)(1950) Singer-Shamshad Begam, Lyrics-S H Bihari, MD-Shyam Sundar


na aaye thhe to zara itminaan thha dil ko
wo aa ke chal diye
phir bekraar karke mujhe ae

gaye wo mere dil ko veeraan kar ke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judai mein rone ka saamaan karke

jaate jaate saath apne ae
dil mera lete gaye
dard wo mujhko tadapne ke liye dete gaye ae ae
mila ye humen unse pehchaan karke
mila ye humen unse pehchaan karke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke

chaar din ki chaandni thhi ee
phir andheri raat hai ae
phir wahi tanhaaiyaan hain
aur gham ka saath hai
bada dukh hua unko mehmaan karke
bada dukh hua unko mehmaan karke
judaai mein rone ka saamaan karke
gaye wo mere dil ko veeraan kar ke
judaai mein rone ka saamaan karke

2 Responses to "Gaye wo mere dil ko veeraan kar ke"

Dear Guru ji,

You are also a Magician! The magic that you weave with your words transports us into the Past and the mere mention of the words of the songs seem to play the Music in our head.

It cannot be a coincidence that your favourites are also ours – it is because you are our common Guru, a Dronacharya to the elders and a Bhishma Pitamaha to the younger generation. You mould our taste in Music.

I could not resist the temptation of placing the links below to two of the songs mentioned by you. I hope you will forgive me.

First, the rendition by GM DURRANI of that song “Neend Hamarey Khwab Tumhare”, at that Function “Mortal Men Immortal Melodies” conducted by Siddharth Kak at Shanmukhanand Hall in 1982 :

Second, Lata ji’s last song for Shyam Sunder, a haunting melody in “ALIF LAILA”, picturised on Asha Mathur (Mrs. Mohan Sehgal) :

With warm regards



Partha Chanda ji,
Sorry for delay in responding to your comment.
Thanks for your very kind words and appreciation.
Encouragement like this helps keep me motivated to continue writing posts.


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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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