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

Piya in charanan bali jaaun

Posted on: March 27, 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 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 :

5365 Post No. : 17594

Today’s song is from a religious film ” Raami Dhoban”-1953. It is described and classified as a ” Bhakti Pradhan” (भक्ती प्रधान ) Genre film in HFGK.

Those who own copies of HFGK, know that every film that is featured herein is classified and described to which genre it belongs to – like Historical, Social, Comedy, Stunt, Folklore, Imaginary, Costume, Mythological, Mystery etc etc. To indicate ‘ Dharmik’ films, 2 Genres are used. One is Mythological (पौराणिक ) and the other is Religious (भक्ती प्रधान ). Now, what is the difference between these two ? The difference is about the source of the story. All stories from Ramayan, Mahabharat and all Puranas are classified as Mythological and all other stories about the Bhaktas, Saints, Folkstories and stories about The god and the religion carried through generations and storybooks are listed as Religious films. Thus, a film on Ramayan story or Waman Avtar is Mythological and a film on Dussehra or Yatrik is called Religious. I hope this point is clear now.

Today’s film Raami Dhoban-1953 is a Religious film or भक्ती प्रधान film. This is because this story is not from any Holy Scripture but it is a Folklore carried through generations and religious books. In Hindu religion there are 2 ‘DHOBANS’ (washerwomen), who were famous. One was who came in the Uttarakhand part of Ramayana , whose husband refused her entry into his house stating that he is not Shri Ram to forgive her night out somewhere else, like Seeta. This had led to the exile of Seeta etc. The second Dhoban was during the 15th Century, in Bengal, where her love story with a Vaishnav Priest-Chandidas was compared to love of Radha and krishna. In those times this love affair of a Vaishnava invited a lot of criticism also.

For a long time since the ” Bhakti Movement” in India, in the period from the 6th Century to the 17 th Century, the disputes between the ‘ Shaivas’ and the ‘Vaishnavas’ virtually divided the educated classes all over the country. They are clearly identified from their Tilak on the forehead. V Shaped perpendicular Tilak on the forehead (as on Balaji) means ‘ Vaishnav’ and the 3 lined horizontal Tilak on forehead (like Shiv ji) means ‘Shaiva’. These followers of Vishnu and Shiv, once upon a time were quite diehards, but in today’s modern era most people neither know the difference nor they care two hoots !

The story of Raami Dhoban is not new to Hindi films. Calcutta’s New Theatres had made a film in Banglea – Chandidas in 1932 on this story. A Hindi remake of this film was made as Chandidas in 1934, with Saigal and Uma Shashi. R.C.Boral had composed excellent songs in it ( famous song was ‘ Prem nagar mein basaungi ghar main’). The same story was made into today’s film Raami Dhoban-1953. The producer Ramesh vyas made this film under his own banner-Navkala Niketan, bombay. The film was directed by Hiren Bose and the music director was also Hiren Bose !

There are rare cases in Hindi films where the director and the composer are the same for a film. During the 1930’s it was Pt. Badri Prashad (2 films) and in the 1940s it was Pt. S.N.tripathi (18 films), who were directors as well as composers of their some films. After these 3 cases, I have not known any other such case in Hindi films. Perhaps there were no multifaceted artistes anymore in the film industry, like the oldies.

Hiren Bose was actually the Mentor of Anil Biswas. On his suggestion and help only he shifted to Bombay from Calcutta. While film music crossed several barriers, the films themselves proved to be a mix of experts from every corner of India. Hindi films have actors, Directors and composers from almost every state. In this, however, Bengal has taken a lead in providing the raw material.

Several well known actors came from Bengal. Many Directors like Bimal Roy ,Hrishikesh Mukherjee, Nabendu Ghosh, Basu Chaterjee, Basu Bhattacharya, Shakti Samant, Amiya Chakravarty, Gyan Mukherjee etc. enriched the Hindi cinema. Music directors who came from Bengal like, Hemant Kumar, Salil Chaudhari, S D Burman, Anil Biswas, K C Dey, Pankaj Mullik etc provided us wonderful everlasting music. Most of the directors and composers from Bengal are well known to most of us,but there was ONE name that appeared in many categories like Actor, Director, Story writer, S/Play writer, Lyricist, and Composer too, yet that name is as obscure today as it can be !

That name is HIREN BOSE ( Hirendra Kumar Bose).

Born in Calcutta on 26-9-1903,Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too. In the years 1928 to 1932, Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren Das. Both Kazi and Hiren wrote lyrics for songs in HMV .

Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose. In 1932,this team left HMV, on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934,Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.

Hiren’s eyes were now set on a bigger Horizon -BOMBAY. he knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another Struggler, ANIL BISWAS. Hiren advised him to go to Bombay for a brighter future and also promised him all his help. Although, by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advice. Hiren Bose was a highly respected name in the musical circles of Calcutta.

Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35, followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.

Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani, Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen. Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was, Anil Biswas repaid the debt of Hiren Bose, in helping him to get established in the Bombay Music field.
(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).

After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakta Jaydev-1938,which he did successfully.
Hiren Bose kept on shuttling between Bombay and Calcutta, doing some films here and some there. He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing, and composing. His complete Filmography is not available but some details are available.
As a Director 15 films are to his credit- Chup-31, Mahua-34, Dharm ki Devi-35, Piya ki Jogan-36, Mahageet-37, Bhakta jaidev-38, India in Afica-39, Amar Geeti-40, Kabi Joydeb-41, Daasi-44, Banjarey-48, Sree Tulsidas-50, Ghungroo-52, Raami Dhoban-53 and Ektara-57.

He acted in Rishir prem-31, Chup-31, Udayer pathe-44, Towards the Light-44, Sesh Raksha-44 and Mahageet-37. As a writer- Meerabai (s/Play and story)-32 and Rajrani Meera(story)-33. As a composer- India in Africa-39, Kabi Joydeb-41, Raami Dhoban-53.

After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova sarkar. Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artiste disappeared forever….

The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on, on the internet. Here it is….

Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.

Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.

Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.

Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.

Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’

Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.

Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.

Let us now enjoy the duet by two Bengali singers – Geeta Roy and Hemant kumar….

Song-Piya in charanan bali jaaun (Raami Dhoban)(1953) Singer-Geeta Dutt, Hemant Kumar, Lyrics-Rammurty Chaturvedi, MD-Hiren Bose


piya aa aa aa aa aa
in charanan bali jaaun
piya charanan bali jaaun
jeewan maran janam janam inko na bhulaaun
jeewan maran janam janam inko na bhulaaun
piya charanan bali jaaun
in charanan bali jaaun

hamri ee ee lagan
tumhre charan aa aa aa a aa
laagi prem phaansi
hamri lagan
tumhre charan
laagi prem phaansi
tan man inpe nisaar
aaj bani daasi
tan man inpe nisaar
aaj bani daasi

sakhi ree ee ee ee ee
sun sun dhoban raami
sun sun dhoban raami ee ee
kaise main samjhaaun
kaise main samjhaaun
tere in sheetal charanan ki
chhaaya mein sukh paaun
tere in shital charanan ki
chhaaya mein sukh paaun
sharanan mein main aau

sharanan mein main aaun
sharanan mein main aaun
jeewan maran janam janam tumhaari preet paaun
jeevan maran janam janam tumhaari preet paaun


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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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