Chalo dene ko badhhaayi guru aangan mein
Posted on: September 13, 2023
- In: "Aangan" song | "Badhhaayee" song | Asha Bhonsle songs | Birthday song | Celebration Song | Childbirth Celebration Song | Duet | Guest posts | Hemant Kumar - Asha Bhonsle duet | Hemant Kumar songs | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1955 | Yearwise breakup of songs
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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 a religious film Prabhu ki Maya (1955).
This film was made by the well known Filmistan studios. It was directed by Vithaldas Panchotiya and the Music Director was Ravi Shankar, for whom it was his only second movie as an independent composer. He went on to do 112 Hindi films composing 796 songs. He also sang 21 songs in 18 films and in addition wrote66 songs in 21 films as a Lyricist. So, what remained was Acting and Directing a film, which he never tried ! He also had a stint as an MD in Malayalam Films with the name ” Bombay Ravi “.
Mythology and Religion are two things which are very popular throughout the world. Not only in India, but all over the world, except probably the Communist countries, where Religion is considered as a Tablet of Opium ! There was a time when many Mythological and Religious films were made in India, but these days this Genre Seems to have shifted to television and almost all Indian language TV stations air the Mythological and Religious serials. The kind of TRP Ramayan and Mahabharat got on TV indicates that the medium has changed but the response of Indians has not changed towards religion. It is not just we Indians who like this Genre, even in older times Hollywood used to make such films. During my World Tour in the early 2000, I had noticed that even in Japan and the Far East they made their Mythological and Religious films.
Fundamentally, Indian people are simple people who are God fearing and God loving. Indian public never gets tired of the routine.Films on Love Triangle are being made since 1931 till today though by repackaging them differently in keeping with the changing times. Though the final outcome is predictable and very well known to the viewers, these films still celebrate jubilees in the Theatres !
Similarly, all Mythological films are based on the principle of ” Satyamev jayate” or “Victory of good over the Evil”. Each film presents it in different ‘dressing’ and different routes. The fights of the Gods and the Rakshasas are very interesting, because of lot of firework (literally and figuratively), Trick scenes and unimaginable get-ups of the Rakshasas ( like only one eye on the forehead, or half animal body or simply an ugly looking Giant etc ). In olden days, I remember that there used to be loud rants of “Jai Shri Ram ” or ” Har Har Mahadev” within the theatre at the end of the movie- depending on who the main God of the film was.
But then, who are these Asurs, daitya or the Rakshasas ?
Their literary origins can be traced to Vedic sources through Hymn 87 of the tenth mandala of the Rig Veda. Here they are classified amongst the Yatudhanas, demonic creatures who consume the flesh of humans. It is said that Rakshasas were created from the breath of Brahma when he was asleep at the end of the Satya Yuga. As soon as they were created, they were so filled with bloodlust that they started eating Brahma himself. Brahma shouted “Rakshama!” (Sanskrit for “protect me!”) and Vishnu came to his aid, banishing to Earth all Rakshasas (thus named after Brahma’s cry for help).
The tracing back to Kashyapa is not necessarily a later edit, but is not mentioned in the dense Hymns of the Vedas because of poetic choice. The knowledge of the Rakshasa lineage traceable to Kashyapa may have been known at the time of the compilation of the Vedas, but lineages are altogether foreign from the style of the Vedas and thus would have appeared out of place. That is why the Puranas and Epics elaborate on lineages, but Vedas do not.
Kashyapa was married to the thirteen daughters of Daksha, among them were Aditi, Diti and Danu.
His sons with Danu are the Danavas
His sons with Diti are the Daityas
His sons with Aditi are the Adityas, who are considered Devas and are also called Suras.
Rakshasa were most often depicted as ugly, fierce-looking and enormous creatures with two fangs protruding down from the top of the mouth as well as sharp, claw-like fingernails. They are shown as being mean, growling like beasts and as insatiable cannibals who could smell the scent of flesh. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood with their palms or from a human skull (similar to vampires in later Western mythology). Generally they could fly, vanish, and had Mayaawi shakti (magical powers of illusion), which enabled them to change size at will and assume the form of any creature.
Aside from its treatment of unnamed rank-and-file Rakshasas, the epic tells the stories of certain members of the race who rose to prominence, some of them as heroes, most of them as villains. In the world of the Ramayana and Mahabharata, Rakshasas were a populous race of supernatural humanoids. There were both good and evil rakshasas, and as warriors they fought alongside the armies of both good and evil. They were powerful warriors, expert magicians and illusionists. As shape-changers, they could assume various physical forms, and it was not always clear whether they had a true or natural form. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the rakshasas were said to be man-eaters, and made their gleeful appearance when the slaughter on the battlefield was at its worst. Occasionally they served as rank-and-file soldiers in the service of one or the other warlord.
As far as Religious films are concerned, there is no dearth of stories. During the Bhakti Movement in India, right from the 6th century it originated in Tamilnadu and spread all over. Its peak period was between the 15th and 17th Century. Though it was primarily to invoke the feelings among the natives to fight aggressors to save our culture and religion, it also provided abundant material for books, dramas, Kirtans and finally films, getting inspiration from the lives of the saints of this period. Today’s film is a Religious film mixing a little of Mythology. The story of the film ” Prabhu Ki Maya” (1955) was…..
A landlord is weeping as his son has died of Snake Bite. By coincidence, Swami Atmanand is passing by. Seeing the plight of the father, he revives his son and advises the landlord not to get involved in worldly affairs and lead a detached life like Shukdev. Upon asking about the story, Swami tells the story.
Instigated and coaxed by Narada, Parvati goes to Shiv ji and requests to learn the secret of Amaratva (immortality),so that she can become Amar too. Shivji,in a good mood then, narrates the Tatva to her, but in the long discourse Parvati falls asleep and the rest of the tatva is heard by a small bird-Shukdev. When Shiv ji learns about this, he wants to destroy Shukdev. Terrified, Shukdev enters the open mouth of Vyas Muni’s wife, when she is yawning. Once inside ,he remains safe for 12 years.It takes a birth and immediately flies away in search of Bramhagyan. Narada takes him to Vyas Muni,who teaches him and then takes him to King Janaka. While in transit Shukdev sees a Lion, killed by king Parikshit get salvation by listening to Shrimad Bhagwat. A thirsty King Parikshit goes to Shyamak muni’s ashram and asks for water. Since the Muni is in samadhi, he does not respond,so irritated, king Parikshit puts a dead snake in his neck. This is seen by Muni’s son and he curses Parikshit. To get rid of the curse he goes to Ganga maiya who sends him to Shuk Dev. After listening to Shrimad Bhagwat from Shukdev, King Parikshit goes to heaven freed from the curse.
The film emphasises the need for everyone to read Shrimad Bhagwat daily for total salvation.
The director of this film was Vithaldas Panchotiya ( Born 15 October 1906-Died 2 October 1987 ). Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.
Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in the silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.
Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.
I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )
Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-
11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.
From 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on Mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.
His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.
Today’s song is sung by Hemant Kumar, Asha Bhosle and Chorus. Enjoy the song….
Audio
Video
Song-Chalo dene ko badhaai guru aangan mein (Prabhu Ki Maaya)(1955) Singers- Hemant Kumar, Asha Bhosle, Lyricist-Saraswati Kumar Deepak, MD- Ravi
All chorus
Female chorus
Lyrics
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
dekho din albela aaya re
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein man harshaaya re
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
man ka moti jag ki jyoti
teen lok se nyaaraa
bhaag jaaane sukh barsaane
aaya sabka pyaara
dwaar dwaar par baji badhaayi
chau dishaaon ne gaaya re
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
angna mein jhan jhan chhanke paayaliya
baadal bajaaye mridang re
ae ae ae
san san pawan ki baaji ??
aa aa aa
?? gagan ke rang re
ae ae ae ae
solah baras mein aasha ne aakar
ye shubh din dikhlaaya re ae ae
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
shubh din aaya
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
o o o o
aao hil mil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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