Bhatke huye raahee tujhe manzil ne pukaaraa
Posted on: September 23, 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 a lovely qawwali from the film Paak Daman-1957. The story of this film seems to be very popular and well known, because I find that several films were made on this one story and with the same title. The first film came in 1931 as Paak Daman. Then came Paak Daman Raqasa-1932, Paak Daman-1940 and Paak Daman-1957. Meanwhile a Pakistani film Paak Daman was also made in 1969.
You must be wondering what is so special in this story ? Let us first know this film’s story. I have seen this film, when I was in Hyderabad in the mid 50’s and I had really liked the film then.
” Handsome and well-educated Yusuf(Sudesh Kumar) inherits his father’s estate in Lucknow. To him gambling becomes just a pastime in the company of Asad (Kumar), a man without principles, and his associates Abboo and Nabboo. – Both Yusuf and Asad are in love with the beautiful Suraiya ( Chitra). Her cousin Mahmud (Moti Sagar) is also secretly in love with her; but she is unaware of it. She believes that Mahmud loves Sabiya (Krishna kumari), her best friend.
One day Asad sends his mother to Suraiya’s aunt with a view to bring about his marriage with her. The aunt rejects the proposal saying that Asad is a wastrel and not a fit husband for Suraiya. But Mahmud, knowing that Suraiya loves Yusuf, suggests that she be married to Yusuf. He decides to marry Sobiya who loves him deeply. – Infuriated Asad begins to destroy the perfectly happy matrimonial union of Yusuf and Suraiya. He lures Yusuf into the gulf of vice through gambling and drink. He even forges a letter from Mahmud to Suraiya and involves Yusuf into the murder of Mahmud.
As the police arrive on the scene, Asad deliberately helps Yusuf to abscond. Hearing of Mahmud’s death, poor Sabiya goes mad. With Yusuf in hiding and out of his way, Asad now proceeds to make Syraiya his own. He sends his henchman Nabbo to steal the letter from her house. He obtains the letter, but is caught by the police. Far away from Lucknow, Yusuf finds a job at the quarry of Haji Saheb who is none other than Sabiya’s father.
Yusuf comes back to Lucknow in disguise and his heart bleeds to find Suraiya and child undergoing untold hardships with only the faithful old servant Tehsin(W.M.Khan) by her side. Asad kidnaps Suraiya’s child and lures her into his secret den. Since she refuses to marry him, he places the child before the cage of a tiger and opens the door. Yusuf comes up in the nick of time, in the disguise of Gunga, and saves the child. Just then the police arrive with Tehsin and others and Asad is arrested. Thus all’s well that ends well.”
Paak Daman-1957 was a Muslim Social film. Muslim films fall under Two categories. One, films made on Historical Muslim characters like Akbar, Babar, Humayun, Shahjehan, Razia Sultan etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-of both types. To my surprise, I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying, since I do not know the story lines of every film, still the number will not go beyond 200 films, despite liberal stretching !
The point I want to make here is that not many Muslim social movies are made in India over the years. The earliest such film was Najma-43, I think. One very very explosive Muslim social film, made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story, it is a very very hot story. I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. Maybe you will be attacked or thrown out of society. But remember, I am doing this film, because I want our people to improve on par with others. If you want, you can reject the film even now. Think and tell me before we start shooting.” Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release, the film did evoke violent reactions from a section of the Muslim society but it subsided slowly.
Some other Muslim socials I remember are Zeenat, Dil hi to hai, Bahu begum, Dastak, Garm hawa, Bazar, Anjuman, Naseem, the Trilogy by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza, Junoon, Benazir, Ghazal,Chhote nawab. Then there were Barsaat ki raat, Nikah, Shatranj, Mehboob ki Mehndi, Umrao Jaan, Paakiza, Mere Mehboob, Chaudhavi ka chaand, Anwar, My name is Khan, Bombay etc. Surely, there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.
One anecdote which is not very well known is that after the hit films of singer Noorjehan, her husband Shaukat Hussain wanted to make a film with Noorjehan and Saigal. A story ” Chaudhavi ka chaand” was selected for this film. It was to be a Muslim social film, which was sure to be a Hit. The film was planned after the film Zeenat-1945, somewherein 1947-48, when Saigal completed his commitments. However, Saigal died in early 1947 and due to Partition, Noorjehan and Shaukat Hussain migrated to Pakistan. Thus this story remained unused till 1960, when Guru Dutt made the film with Waheeda Rehman.
After partition, Indian films lost a major market like Lahore, Karachi, Rawalpindi and Dhaka etc and the Muslim socials suffered the most. It did not, however, stop such films from being made after 1947. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen-52, Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke Aansoo-59, Pehli raat-59 etc. were made but none were successful.
Funnily, while Muslim socials failed, the historical and costume Muslim films were successful like Anarkali, Mirza Ghalib, Hatimtai, Alibaba and 40 thieves etc. What’s more, even Mirza ghalib-54 became the First winner of president’s Gold Medal for a Hindi film. After Chaudhavi ka chaand became a hit, some more Muslim social films like Barsat ki raat, Chhote Nawab, Bahu Begum, Mere Huzoor, Paakiza etc. became successful, but overall there was a noticeable decline is such films in India after the 70’s decade. One interesting thing was that about 80% Muslim socials had Lucknow as the backdrop !
Paak Daman-1957 was made by the Wadia brothers. It was directed by S.M.Yusuf with music from Ghulam Mohd. The cats was Chitra, Sudesh Kumar, M.Kumar, Moti Sagar, W.M.Khan, H.Prakash, Sardar Mansoor and many others.
In the Hindi film industry, there are four types of people.
The first type is those people,who join this industry,struggle very hard and succeed in fulfilling their dreams,for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now.
The second type of people are those who join the industry,struggle very hard ,do not succeed and leave dejected.
The third type is those people who have a filmi connection or a strong luck ,who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip Kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here.
The industry is full of people of the fourth type. People who come with dreams in their eyes, but end up doing something else. People who start as a Hero in 2-3 films, settle for side roles and finally character roles, like Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded. For Example, Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok Kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla Teacher and a Canteen Manager in Bombay Talkies, for which later he directed finest movies.
In olden days, when the Studio system was there, Artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time (The Government had to open a Ration shop inside the studio premises for them) from where actors were made out of script writers and the Director wrote songs !
So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
MOTI SAGAR was one such person who came to the industry to become a Hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades, Master of None’.
MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. Then he met Inayat Hussain and G.A.Chishti-the composers and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established,and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in MALHAR-1951.
He sang his first song under Bulo C.Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Jai Mahadev, Salgirah, Filmi duniya filmi, and Prerana When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose.
He acted in 13 films. He directed 2 films,namely Prerana-84 and Tanya-94. He wrote songs also for the film Prerana-84. He sang 13 songs in 9 films.
When this stopped he produced two films Hum Tere Ashiq hai and Badal. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer.
After 1994, he retired. He died on 14-3-1999.
Preeti Sagar is his daughter. She too was a struggling singer. ( Same Name Confusion – Moti Sagar was the youngest son of Ramanand Sagar, who was a different person. He assisted his father in 15 films and 70 TV enterprises.)
Today’s song is a qawwali sung by Rafi and Bande Hasan Qawwal. It is very melodious. Enjoy….
Song- Bhatke huye raahi tujhe manzil ne pukaara (Paak Daaman)(1957) Singers- Mohd. Rafi, Bande Hasan Qawwal, Lyricist- Shakeel Badayuni, MD- Ghulam Mohammad
Lyrics
bhatke huye raahi tujhe manzil ne pukaara aa aa aa aa aa
bhatke huye raahi tujhe manzil ne pukaara aa
aaja tu idhar leke duaaon ka sahaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa aa
milti hain muraaden isi darbaar mein aake ae
milti hain muraaden isi darbaar mein aake ae
aa aa aa aa aa
aa aa aa aa
milti hai muraaden isi darbaar mein aake ae
jo maangna ho maang le tu haath utha ke ae
jo mangana ho maang le tu haath utha ke
utha ke
chamkenga yahi pe teri kismat ka sitaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa
kar tauba gunaahon se jhuka sajde mein sar tu
ahe kar tauba gunahon se
aahe kar tauba tauba tauba tauba tauba
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aahe kar tauba gunaahon se jhuka sajde mein sar tu
kar tauba gunaahon se
jhuka sajde mein sar tu u u
alhaah ki rahmat hai tere saath
na dar tu
miyaan saath na dar tu
aa aa aa aa aa
Allah ki rahmat hai tere saath
na dar tu u u
kah de main karoonga na koi bhool dobaara aa aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
jab aayengi dil mein tere imaan ki lahren aen
kab aayengi dil mein aahewa jab aayengi dil mein
aahewaa
jab aayengi dil mein tere
imaan ki lahren
ruk jaayengi phir aap hi toofaan ki lahren
miyaan
toofaan ki lahren
aan aan aan aan
ruk jaayengi phir aap hi toofaan ki lahren aen aen
mil jaayenga saahil tujhe kat jaayenga dhaara aa
mil jaayenga saahil tujhe kat jaayenga dhaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa a aa
aa aa aa aa
aa aa aa aa aa aa
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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