Muhabbat mein dilon ke khel ye har baar hote hain
Posted on: May 12, 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 an obscure film called Sapna-1952. I had not heard its name till I purchased the HFGK in 2011 !
The film was made by the Producer Kishor Sahu, under the banner of Hindustan Chitra, Bombay. The film’s director was Kidar Sharma, who was in the second half of his career. Out of his 36 Directorial ventures Sapna-52 was his 20th film. The famous , creative and hard working Kidar Nath Sharma was slowly losing his sheen in direction. Maybe he found difficulty in dealing with the changing scenario of the Hindi films in the 50’s decade. I have his autobiographical book ” The one and the Lonely Kidar Sharma” which is indeed an informative and interesting book. It gives a peep into the film scene of the 30’s and the 40’s as well as the famous Studio system.
Kidar Nath Sharma (12 April 1910 – 29 April 1999), was a director, producer, screenwriter, and Lyricist of Hindi films. While he had great success as a director of such movies as Neel Kamal (1947), Bawre Nain (1950) and Jogan (1950), he is often most remembered for starting the acting careers of actors like Ramola, Madhubala, Geeta Bali, Raj Kapoor, Mala Sinha, Bharat Bhushan and Tanuja, who are considered to be one of the greatest entertainers of Indian cinema.
Kidar Sharma has often been given the title of ‘one-man film industry’. He was producer, director, actor, story/screen-play/dialogue writer, lyricist, editor, still photographer etc. He was also known to have working knowledge of Hindustani classical music. He also sang a song for himself in the film ‘Inquilaab’ (1935). With a vast knowledge gained from working in New Theatres, Kolkata during 1933-41 and in Ranjit Movietone during 1942-47, Kidar Sharma had already directed 11 films and written lyrics for 23 films before he turned producer with ‘Neel Kamal’ (1947).
Kidar Sharma had a passion for film making. Otherwise why would a young man of 22 years after completing M.A. in English literature join the New Theatres (NT) as a painter? He would have very well got the job of a lecturer in any college in his native Punjab. His progress in filmy career was rapid. Within 2 years of joining NT, he was a still photographer and the lyricist for ‘Devdas’ (1935). He became dialogue writer for the Hindi version of ‘Vidyapati’ (1937) in addition to songwriting. By 1939, Kidar Sharma had become a free-lance director with ‘Aulaad’ (1939’), his debut film as a director followed by ‘Chitralekha’ (1941) which became a much talked about film. Incidentally, after about 23 years, Nadiadwala of Pushpa Films engaged Kidar Sharma to direct ‘Chitralekha’ (1964), a remake of its 1941 version.
After directing 9 films for Ranjit Movietone, Kidar Sharma decided to produce and direct ‘Neel Kamal’ (1947) under his own banner, Oriental Pictures. In fact, nobody was prepared to produce this film, not even his employer, Ranjit Movietone. So, he was forced to become the producer. He arranged finances by selling the distribution rights of the film in advance. For his maiden venture, he introduced two new comers – Raj Kapoor and Madhubala. Both the actors had done some bit roles in films before they were given the lead roles for the first time in the film. The film was an average success in terms of box office collections. Since then, Kidar Sharma produced and directed 14 films between 1947 and 1980.
As a producer-director, Kidar Sharma was not a showman like Raj Kapoor for whom the production value in terms of star cast, techniques and costly sets for film shooting were as important as the theme of the film. On the other hand, Kidar Sharma was an antithesis of a showman. He believed in low budget films which ruled out taking star actors for the lead roles. Hence, for almost all his films which he produced and directed, he preferred newcomers and his protégées to whom he had earlier introduced in his films. In this process, he gave to the Hindi film industry, popular actors like Raj Kapoor, Madhubala, Geeta Bali, Bharat Bhushan, Mala Sinha, Tanuja etc to whom he introduced in his films as lead actors for the first time. Similarly, he mostly relied on Snehal Bhatkar and Roshan as music directors for his films who were introduced by him in his films ‘Neel Kamal’ (1947) and ‘Sohag Raat’ (1948), respectively for the first time.
Kidar Sharma’s last box office successful film as a producer-director was ‘Baawre Nain’ (1950) with Raj Kapoor and Geeta Bali in the lead roles. All his subsequent films like ‘Shokhiyaan’ (1951), ‘Gunaah’ (1953), ‘Chhora Chhori’ (1954) and ‘Rangeen Raaten’ (1956), did not fare well at the box office. All his films in the 1960s and thereafter numbering 6 either failed miserably at the box office or did not get released. ‘Sehme Hue Sitaare’ (1994) was his last film which remained unreleased in the theatres.
In most of his films, the story is based on a village or a small town and he tries to depict the intricate human relationships. All his films gives an impression that he had not come out of the Bengali mode of film making which were losing stream in Hindi film industry in the later 1960s where films were seen more as a medium of entertainment to fill the coppers of producers and distributors in terms of profits than covering the social issues concerning the society at large. Kidar Sharma did not fit in this milieu. So, the last 5-6 films produced and directed by him became obscure to such an extent that most of us do not even remember the title of the films.
An outstanding poet, Sharma wrote some of the most memorable songs including Balam aayo baso more man mein, Dukh kay ab din beetat nahi, Khayalon Mein Kisike (Bawre Nain), Kabhi Tanhaiyon Mein Bhi (Hamari Yaad Aayegi) and Teri duniya mein dil lagta nahi. Kidar would continue to contribute as a lyricist and to write and direct films through the 1990s. Ironically, many Indian film critics and historians argued that he deserved the highest cinema award from the government of India but he died a day before he was to receive the Raj Kapoor Award, named in honour of the actor he helped make a success. Allrounder Kidar Sharma acted in 8 films, directed 36 films, sang 2 songs in 2 films and wrote 312 songs in 44 films, in his illustrious career.
His autobiography, The One and Lonely Kidar Sharma was published posthumously in 2002, edited by his son Vikram Sharma. ( This is an article by Sadanand Kamath ji,. I have added some information from wikipedia, muVyz and my notes. I thank Sadanand ji.)
The film’s Music Director was Shyam Babu Pathak, ably assisted by Shankar Lal. This MD’s name is hardly known to the younger generation because he operated from 1940 to 1952 except for two odd films in 1960 and 1965. He died in 1980, almost 43 years ago. Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he sang only 1 song in a film.
While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was on an average of 12 to 15 songs each film.
V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedic. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double Face was Indivar’s first film.
Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much help. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.
After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. In all he composed 224 songs in 29 films. He even sang a song in the film Krishna Sudama-47.
Shyam Babu Pathak died of a heart attack in Bombay on 23-11-1980.
All the 7 songs were by Bharat Vyas. The dialogues were by Ramesh Gupta. Ramesh Nanimal Gupta was born in Delhi on 26-10-1915. He debuted as a Lyricist with films Churiyan and Awaz, both in 1942. In 1943, his song ” Bharat ki ek sannari ki katha” from the film Ramrajya-43 is famous even today. He wrote 225 songs in 34 films. He acted in 2 films. He wrote stories and dialogues in 16 films. He was a poet, lyricist, story and dialogue writer, producer, director and even a singer and actor ! He produced and directed films like Ram darshan-1948, Bhakta Gopal Bhaiyya-1948, Rimjhim-1949 and Matalabi Duniya-1961. He sang a song in the film Raja-1943. His patriotic songs were famous in Gujarati films. He died in Ahmedabad on 19-1-1992.
The cast of the film was Kishor Sahu, Bina Rai,Shakuntala, Heeralal, Cuckoo, Narmada Shankar and many others. The story of this film was……
Kamal, s/o Jung Bahadur varma meets Achala d/o P.K.Bose and they fall in love. Kamal is the owner of a Saw mill. They get married. Achala’s father falls ill and dies. Kamal goes to Banaras to immerse the ashes. Achala goes to the local river kund for pooja.
Bandit Bhairav Nath (Safed Ghodewala) sees her. He has been on her trail, unknown to her, for many months. Seeing her now, he kidnaps her and rides away, injuring her servant on the way. When she does not return her father and others presume that she is drowned in the river.
When Kamal comes back, he learns about her drowning, but does not believe it. He goes to the Kund for investigations. He finds her Earring embedded in horse’s hair. He suspects kidnapping, which is confirmed by the servant who has returned from the Hospital.
Enraged, Kamal carries a Pistol and runs to the hiding place of the dacoit Bhairav. The father of Achala and her cousin sister Madhavi also follow him. Bhairav starts firing. Finally when they come face to face, Bhairav first shoots at Kamal, but the cousin sister of Achala, Madhavi comes in front and saves him. Kamal kills Bhairav but Madhavi dies. Achala is regained in one piece.
End of the story, end of the film and end of the audience’s tolerance. With great relief, the audience returns home happily !
Today’s song is a triad, sung by Shamshad Begum, Asha Bhosle and Indira. This is the 5th song of the film on this blog. Enjoy….
Song-Muhabbat mein dilon ke khel ye harbaar hote hain (Sapna)(1952) Singers- Asha Bhonsle, Shamshad Begum, Lyrics-Bharat Vyas, MD-Shyam Babu Pathak
Asha Bhosle + Shamshad Begam + Indira Mirchandani
Lyrics
Aa aa aa aa
karishme mohabbat ke ae ae
dikhla rahe hain
har ik shai mein
ham hee ee
nazar aa rahe hain
ae ae ae ae
ae ae ae ae
ae ae
muhabbat mein dilon ke khel ye
harbaar hote hain
ae jee harbaar hote hain
ae jee harbaar hote hain
haan aan aan aan
muhabbat mein dilon ke khel
har baar hote hain
aen aen aen aen aen aen
nazar ke teer chalte hain
jigar ke
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
aa aa aa aa
aa aa aa aa aa
maza aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai jeete mein
mazaa aataa hai jeene mein
uthhaa karta hai aksar meethha meethha dard seene mein
o meethha dard seene mein
ae ae ae ae ae ee ae ae
dawa jitni karo utne din beemaar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
haseenon ke ae ae dilon se dil kaa aa aa
wo takraana nahin achcha
wo takraana nahin achcha
haseenon ke dilon se
dil ka takraana nahin achcha
ho takraana nahin achcha
kisi ke zulf ke phandon mein
phans jaana nahin achcha
o phans jaana nahin achcha
aa aa aa aa aa aa
bade hi bewafajallaad
ye sarkaar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
muhabbat mein dilon ke khel ye
harbaar hote hain
muhabbat mein
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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