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

Naiyya kaun lagaaye paar

Posted on: July 10, 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 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 :

5105 Post No. : 17044 Movie Count :

4610

Today’s song is from the film ‘Roop Sundari’ (1949).

‘Roop’ is yet another favorite word of filmmakers. A total of 17 films carried the word ‘Roop’ in the beginning of titles. The first such film was ‘Roop Basant’, made in 1933 and the latest is ‘Roop Ki Rani Choron Ka Raja’ from 1993. As expected there were repetitions of the titles. The stats say ‘Roop Basant’ (3), ‘Roop Ki Rani Choron Ka Raja’ (2), ‘Roop Kumari’ (2), ‘Roop Lekha’ (3), and ‘Roop Sundari’ (2). Five titles were exclusively once only.

In the early era of the silent and talkie films, getting girls to do the female roles was extremely difficult, as it was considered below the dignity to work in films. Dadasaheb Phalke wrote that out of frustration and compulsion, he even visited the ‘Red Light’ area of Bombay, met some prostitutes and offered them to work in his cinema. The (dis)honorable women there told him that it was below their dignity to work in cinema !

In such a situation, many European and Anglo Indian girls joined silent films to make money. There was no need of knowing Hindi or singing, as there was no sound. Thus many of them joined films. They had no qualms about giving intimate scenes or wearing short or revealing dresses. Some names of such actresses were – Iris Gasper, Susan Solomon, Effie Hippolet, Bonnie Bird, Esther Abraham, Renee Smith, Beryl Classen, Winnie Stewert, Muriel Alexander etc.

The advent of talkie films brought difficulty to most of these actresses as they could not speak Hindi or sing. 99% of them left. Only few like Madhuri, Sabita Devi, Pramila etc survived as they took a break to improve their Hindi diction and rejoined films. This situation also gave opportunity to many tawaifs and singing girls on the Kothas to join films as they had the privilege of speaking in Hindi and also singing. Suddenly a whole lot of such girls joined the films.

However, all these girls did not have the noble aim of serving the Hindi film industry. These girls joined films with 2 hidden agendas.
1. To catch a good husband and lead a respectable life and
2. To attain fame and money to settle down to a cozy life.

Most of these girls achieved the first agenda, a few achieved the second agenda and those who could get anything either left films or continued working till old age and died without a trace. In the first category, the famous Hira Mandi street in Lahore, famous for Kothas, provided well known actresses to Hindi films – notably Sardar and Bahar Akhtar. They married Mehboob Khan and AR Kardar respectively. Then there was Zubeida Sr., Zubeida Jr., Mehtab, Jaddanbai and many more who married rich people and settled well in life. Their list is too big to give here.

In the second category, we have Jahan Ara Kajjan who not only became very rich but also very famous. She was a fashion icon in the rich class of Calcutta social field. Her every fashion was followed avidly by the elite women of Calcutta. Another name in the second category is that of singer/dancer Rampyari. A tawaif from the lower class of Hyderabad (Nizam), she shone brightly in Hindi films of New Theatres and other companies of Calcutta and Bombay. She was also invited in other countries like Ceylon and Burma to give performances of song and dance.
[Author’s Note: Based on information from the book – ‘Mother, Maiden, Mistress’ by Bhavna Somaiya, Jigna Kothari and Supriya Madangarli, with thanks.]

Today’s song is sung by Rampyari. Let us know more about her. Actress Rampyari’s life story is interesting. Though from a singing family (tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programs in other countries, in those days. Additionally, she became famous in Calcutta when there was a letter-war between her and the New Theatres. Local newspapers tastily published the correspondence.

Let’s take a look at her Life.

Rampyari was from low caste and profession, but was a highly polished and sophisticated actress in those days. She hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born on 27-8-1908. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film Company, Bombay, visiting Madras, saw her dancing and invited her to Bombay. It was the era of silent movies. Her first film was ‘Gunsundari’, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film ‘Vile Woman’ was also successful. She acted in more than 20 films as a heroine and dancer and established her name as a seasoned actress of the 30s.

With the advent of talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in ‘Paak Daman’, ‘Laila Majnu’ and ‘Ghar Ki Laxmi’. These were followed by ‘Gunsundari’ in 1934 and ‘Azad Abla’, ‘Meethi Nazar’ and ‘Hamlet’ in 1935.

Famous director Debaki Bose from New Theatres, Calcutta invited her and signed up for ‘Sunehra Sansar’ (1936) and ‘Vidyapati’ (1937), which was a mega hit.  After this, she did few films in Calcutta with other companies. Her film ‘Milap’ (1937) was famous for being the first to show the prototype of a ‘vamp’ in Indian Cinema. Rampyari was shown wearing ‘an off-shoulder dress’ and using a cigarette-holder, with the intent of seducing the hero Prithviraj Kapoor. The scene was later used by Raj Kapoor on Nadira in his film ‘Shree 420’ (1955) for the song “Mud Mud Ke Na Dekh“.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She also performed in Burma. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.

She acted in 30 films. Her last film was ‘Dak Bangla’ (1947). She sang 14 songs in 8 films.

She died on 28-8-1970 at Bombay. There was no news in any paper.
[Author’s Note – Thanks to P Kamlakar ji’s blog and his book ‘The Lost Treasure’ and my notes.]

The cast of the film ‘Roop Sundari’ (1949) was Jamu Patel, Umakant Desai, Babu Raje, Shyam, Sadiq, Pinakin Shah etc. Pinakin Shah was a name famous in Gujarati films. He operated in Hindi films but was not that famous. He was born on 27-1-1921 at Mehsana. His father Damodar Das was a musician and singer. After passing 10th std., he took lessons from his father and came to Bombay in 1944. He stayed with his sister in Bandra. His brother-in-law Pitambar Shah was employed in the film industry. Pinakin first started singing on AIR stations. Soon Avinash Vyas gave him training and an opportunity to sing in Gujarati films.
Pinakin acted in 3 Hindi films. ‘Gaurav’ (1947), ‘Roop Sundari’ (1949) and ‘Narad Muni’ (1949).

His first Hindi song was a solo with chorus, in ‘Gaurav’, under composer Shanti Kumar Desai. Then came ‘Ghar Ki Bahu’ (1947), ‘Nanad Bhowjai’ (1948), ‘Roop Sundari’ (1949), ‘Mahapooja’ (1954), ‘Jagadguru Shankaracharya’ (1955) and finally ‘Matlabi Duniya’ (1961). His last film song was in ‘Matlabi Duniya’, along with Purushotham. His most famous song was “Haariye Na Himmat”, a Kabir bhajan, sung along with Amirbai Karnataki, in the film ‘Mahapooja’. After this he shifted to Gujarat and continued with composing and singing successfully.

He however, returned to Bombay to give music to a Hindi film ‘Ek Aurat Do Joote’ (1978). To his misfortune, the film was not released at all, so he went back dejected.

He died on 9-5-2010.

The story of the film ‘Roop Sundari’ was. . .

Sundari was as beautiful as her name. Her step mother and step sister tortured her after the demise of her father. Sad Sundari meets the Prince of Kundanpur. They fall in love and get married. She becomes the queen. This is not tolerated by the kingdom’s tantrik, who wishes to usurp the throne. He contacts Sundari’s step mother and promises her daughter Sundari’s place as queen. They together create misunderstanding with the Prince and Sundari is thrown out with her newborn baby. However the prince with the help of his friends finds out the truth and arrests the tantrik and gets him killed. Sundari returns as queen with honor and all is well in the end.

Today’s song is very melodious. Let us now enjoy the song, sung by Rampyari. Incidentally, this was her last song in Hindi films, before retiring from films.

With this rare song, ‘Roop Sundari’ (1949) makes its debut in the blog.


Song- Naiyya kaun lagaaye paar (Roopsundari)(1949) Singer-Rampyaari, Lyrics-Neelkanth Tiwari, MD-Indrawadan Bhatt

Lyrics

naiyya kaun lagaaye paar
meri toot gayi patwaar
naiyya kaun lagaaye paar
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaye paar
naiyya kaun lagaye paar

ho kar bhi main nahin tumhari
mere jeewan swami
mere jeewan swami
ho kar bhi main nahin tumhari
mere jeewan swami
mere jeewan swami
mann se nirmal sada tumhari
jaane antaryaami
jaane antaryaami
mann se nirmal sada tumhari
jaane antaryaami
jaane antaryaami
ek ek aansoo hai mera
tumko raha pukaar
ek ek aansoo hai mera
tumko raha pukaar
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaye paar
naiyya kaun lagaye paar

aao swaami ee ee ee ee ee
aao swaami ee ee ee ee ee
aao swaami ek baar mein
door se darshan kar loon
aao swaami ek baar mein
door se darshan kar loon
tumse keh kar karun kahaani
paap ko halka kar loon
tumse keh kar karun kahaani
paap ko halka kar loon
phir chaaho to maroon khushi se
khaa kar zahar ??
bigad gaya ho jeewan jiska
kaun kare uddhaar
toot gayi patwaar
naiyya kaun lagaaye paar
naiyya kaun lagaaye paar

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

नइय्या कौन लगाए पार
मेरी टूट गई पतवार
नइय्या कौन लगाए पार
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार

हो कर भी मैं नहीं तुम्हारी
मेरे जीवन स्वामी
मेरे जीवन स्वामी
हो कर भी मैं नहीं तुम्हारी
मेरे जीवन स्वामी
मेरे जीवन स्वामी
मन से निरमल सदा तुम्हारी
जाने अंतर्यामी
जाने अंतर्यामी
मन से निरमल सदा तुम्हारी
जाने अंतर्यामी
जाने अंतर्यामी
एक एक आँसू है मेरा
तुमको रहा पुकार
एक एक आँसू है मेरा
तुमको रहा पुकार
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार

आओ स्वामी॰॰इ॰॰इ
आओ स्वामी॰॰इ॰॰इ
आओ स्वामी एक बार मैं
दूर से दर्शन कर लूँ
आओ स्वामी एक बार मैं
दूर से दर्शन कर लूँ
तुमसे कह कर करुण कहानी
पाप को हल्का कर लूँ
तुमसे कह कर करुण कहानी
पाप को हल्का कर लूँ
फिर चाहो तो मरूँ खुशी से
खा कर ज़हर ??
बिगड़ गया हो जीवन जिसका
कौन करे उद्धार
टूट गई पतवार
नइय्या कौन लगाए पार
नइय्या कौन लगाए पार

3 Responses to "Naiyya kaun lagaaye paar"

Arun ji Thanks for the interesting post and rare information about Rampyaari ji,
and please accept a big thanks “ZAIF BRO” for the rare upload and those vinyl images of the audio links,your are providing are price less, Simply ANMOL,
again a big thanks Zaif bhai for that, …….
and again a ANMOL post from Arun ji

Like

Dear Prakash ji,
I am glad you liked the post.
Jaffer Bhai is a record collector who likes to upload his rare records for the benefit of people like us. Thanks to him from our side too.
-AD

Like

sorry I have addressed Jaffer Bhai with wrong spellings, Please accept my apologies Jaffer Bhai, your uploads are great, and the vinyl images I love the most, giving all the information about the songs(year of release, lyricist name, mukhde ka lines…..etc…)
a BIG THANKS for all those favours your are providing to us
JAFFER BHAI , As rightly said by Arun ji, they are very much beneficial to hindi film songs lovers like us……

And thanks Arunji for providing us right information and rare uploads
Regards

Like

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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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