Hum dar pe tere jab aa hi gaye
Posted on: March 13, 2023
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.
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Today’s song is from the film Aplam Chaplam-1961.
This film was directed by Roop K. Shorey, under the banner of Mukul Pictures, Bombay.
Whenever the name of Roop Shorey comes across, I always remember the title of an Asrani film “Hum nahi Sudhrenge”-1980. It’s the title of the film , not its story, which applied 100 % to Roop Shorey- the director of today’s film. He lived perhaps, like a patient of OCD (Obsessive Compulsive Disorder).
In his career he directed 18 Talkie films + 1 Silent film. From 1935 to 1946 he made 6 films on different stories, but when his film Ek Thi Ladki-01949 became a huge Hit, his mind had only that story. He always felt that any film he made using the same story (with variations) would be successful. Unfortunately his audience did not think the same way and his films which used to be on the same story and the same comedy pair of Johar and Majnu (real name Harold Lewis) failed miserably. His wife Meena Shorey migrated to Pakistan leaving him in India and his life was a story of loneliness,misery and failure. Ironically, many years later 2 directors, Manmohan Desai and Nasir Hussain came up with just one story each and made several successful films on the same story, like nobody’s business !
Because of Roop K.Shorey, even I.S.Johar and Majnu started thinking that they are the best comedy pair like Laurel and Hardy ! They acted together in many films. In film Ek thi ladki-49, their names were Mohan-Sohan, in film Hum sab chor hain-56 their names were Dukhiram-Sukhiram and in film Aplam-Chaplam-61 their names were Aplam and Chaplam. Luckily Johar realized the reality and he paired with Mehmood in later films.
Roop K Shorey was known in industry circles as the wizard of comedy. Born on 28-1-1914 in Quetta, Balochistan, with a silver spoon in his mouth, and raised by an English governess, Roop K Shorey acquired an early interest in Western music and English literature. As a child, he was a prolific writer and composer, and followed in the footsteps of his father Roshanlal Shorey in making his first full-length comedy “Lucky Lovers” at the age of 17.
Roop’s next venture was Majnu (1935) — a musical comedy satirising the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. Playing the lead was Roop’s childhood friend Harold Lewis, who has since been known by his screen name Majnu. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu trapped on the railway tracks by the villain. The film confirmed his success as a film-maker, and audiences leaving the first show lifted him on their shoulders and danced joyously.
Roop’s next film, Tarzan ki Beti (1938) was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placedPunjab on the entertainment map of India and the world. Majnu made a marked return in Nishani (1942), a musical situational comedy with Majnu in a double role. With music scored by Pandit Amaranth, and Ragini as the heroine, Roop and his father personally trained the technical staff and musicians, who worked morning to night on a fixed salary.
With a solid reputation in Hindi and Punjabi cinema already established, Roop began to set new trends in comedy films with Ek Thi Ladki (1949, starring Motilal, Meena Shorey, Kuldeep Kaur, Majnu and introducing I S Johar. One of Roop’s biggest hits as a producer, it launched Meena Shorey’s acting career, known by her screen name as Lara Lappa girl, and I S Johar’s popularity as a comedian. With Partition, Roop and his family lost their film empire in Lahore, but they shifted to Bombay and tenaciously continued as before. In the meantime,Roop had married Meena. In the years following independence, he produced Dr Chaman (Punjabi), starring Meena Shorey, Karan Dewan, Om Prakash and Kuldeep Kaur, Dholak (1951), with Meena Shorey and Ajit in the lead-role, and Ek Do Teen (1953) starring the by-now-familiar Motilal-Meena team.
Roop specialised in the pure situational comedy in which the characters were ready to laugh at themselves rather than take pleasure at laughing at others. R K Karanjia, writing for Blitz in 1953, called Roop `The King of Comedy’, and litterateur Mulk Raj Anand paid him an eloquent tribute.
Roop could never duplicate the success of Ek thi Ladki, but he was obsessed with the story and went on trying that same formula in many of his films, without much success. He considered I S Johar and Majnu as his Lucky Mascot and repeated them in the same role in many films. Meena had migrated to Pakistan despite his protests. He too had gone with her, but returned alone. Meena kept coming to India to work in films here. She used to even stay with Roop Shorey. Then she went back to Pakistan never to come back. She died in absolute poverty and neglect in Pakistan.
Starting with Majnu in 1935 Roop directed a total of 18 films. His last directed film was Ek thi Reeta-71. In Pakistan,he had directed the film ‘Miss 56’, in which his then wife Meena Shorey was the Heroine. The film was a copy of ‘Mr. and Mrs 55’ made by Guru Dutt,in India.
Roop soon relinquished his directorial responsibilities, but continued to produce full-length comedies throughout the sixties, including Aplam Chaplam (1961), Main Shadi Karne Chala (1962), Akalmand (1966). In 1971, he produced Ek Thi Rita, a smash hit based on the English play A Girl Called Rita, which launched new talents Vinod Mehra, Yog Raj, Kumar, Madhvi and Pompi.
Despite the closing of Shorey Studios in Lahore, Roop’s popularity in Punjabi cinema continued throughout the Partition. Among the Punjabi pictures directed by Roop were Dulla Bhatti, Koel and Mangti. Mangti became very popular for its situational music scored by Govindram, its witty dialogues and healthy humor. This film broke all records of previous Hindi and Punjabi films, running for over 75 weeks in one cinema hall at Lahore. It gained a profit of over 15 lakh, an enormous sum in the forties. Roop Shorey, who passed away at the age of 56, on 3-6-1973, will always be remembered for his serious approach to a genre known for its lightheartedness. ( adapted with thanks from an Indian Express article.)
APLAM CHAPLAM-1961 was yet another attempt by Roop K Shorey to relive the magic of Ek thi Ladki-1949. Throughout his life he was obsessed with this one theme only. Additionally he would invariably take I.S.Johar and Majnu, whom he considered as his mascots. Johar considered this pair as “Bob Hope and Bing Crosby ” of India.
In this film again the story was written by Johar on the same lines with minor changes.
Aplam(Johar) and Chaplam(Majnu) are small-time crooks. One day they bring a beautiful girl Lajwanti(Kum kum) from an orphanage with a promise to make her a big film star. They set up a Theatre and arrange Lajo’s dances. They make a lot of money.
Ramesh(Ravinder Kapoor), a young man from a town, comes to the city to invest some money. This jodi catches him and invests (swallow) his money in the theatre. Lajo and Ramesh fall in love. Actually Lajo is an orphan with her aunt in a village, who sends her to an orphanage to save her from her own husband Biharilal(Tiwari). When Biharilal learns from the aunt where Lajo is, he comes to the city to get her, as she is an heiress to a great fortune. He contacts Aplam Chaplam to get to Lajo. Meanwhile Ramesh and Lajo are separated due to a misunderstanding.
When the crooks realise that Biharilal wants to kill Lajo, they decide to save her and in the process also repent and reform. In the end Lajo is saved, Biharilal goes to jail and Lajo and Ramesh get reunited and Aplam-Chaplam become Lajo’s Estate Managers.
The cast of the film was I.S.Johar, Majnu, Kumkum, Ravindra kapoor, Badriprasad, Tun Tun, mrudula, kathana and others. In this list you can see the name of an actress, Mrudula. Not many readers will remember who she was. For your information , Mrudula was the FIRST heroine of Dilip Kumar in his Debut film ” Jwar Bhata”-1944, We all know what height Dilip Kumar reached in Hindi films, but Mrudula was a victim of her contract with Bombay Talkies. Here is her story…….
Mrudula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.
She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films in all. Her last released film was Saboot-80, though she had married again and retired some time before that.
Mrudula was also a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies,having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter.
Till 30-9-2016 she was living in worli, Mumbai all alone. Her only daughter stayed nearby and looked after her. There is no news about her anymore.
All the 7 songs of this film were written by Prem Dhavan and the music was by the Melody King- Chitragupt. Today’s lovely song is sung by Lata Mangeshkar.
Song-Hum dar pe tere jab aa hi gaye (Aplam Chaplam)(1961) Singer- Lata Mangeshkar, Lyricist-Prem Dhavan, MD-Chitragupt
Lyrics
aa haa
aa haa
o ho o o o o
hum dar pe tere jab aa hi gaye
thhukraa naa hamen dilwaale
hum dar pe tere jab aa hi gaye
thhukraa naa hamen dilwaale
mehfil mein teri ik ham bhi sahi
ho khair teri matwaale
hum dar pe tere ae ae
dil humse miley na miley
nazren to milaa le sanam
kab tak ye teri berukhee
itna to karo na sitam
dil humse miley na miley
nazren to milaa le sanam
kab tak ye teri berukhee
itna to karo na sitam
ab tu hi bataa hum jaayen kahaan
jab jaan hai tere hawaale
hum dar pe tere jab aa hi gaye
thhukraa naa hamen dilwaale
hum dar pe tere ae ae
dil tujh pe luta hi chuke
par tujhko khabar hi nahin
hum tadpe hain tere liye
per koi asar hi nahin
jab mil hi gayi tujhse ye nazar
hai kaun jo dil ko sambhaale
hum dar pe tere jab aa hi gaye
thhukraa naa hamen dilwaale
hum dar pe tere ae ae
tujhse hi kiya hai gilaa
jab dil se raha na gaya
per humne jo chaaha wahi
humse hi kaha na gaya
tujhse hi kiya hai gilaa
jab dil se raha na gaya
per humne jo chaaha wahi
humse hi kaha na gaya
kuchh keh na sake
chup reh na sake
andaaz tere hain niraale
hum dar pe tere jab aa hi gaye
thhukraa naa hamen dilwaale
hum dar pe tere ae ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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