Sun pyaare sajnaa re
Posted on: January 1, 2024
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Sadanand Kamath | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
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This article is written by Sadanand Kamath, 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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‘Insaaf Kaa Mandir’ (1969) was produced by Sherbahadur Singh and Jagdish Singh and was written and directed by BR Ishara. The cast includes Sanjeev Kumar, Snehlata, Nadira, Asit Sen, Prithvi Raj Kapoor, Tarun Bose, Manmohan Krishna, Sapru, Laxmi Chhaya, Aruna Irani, Bela Bose, Mohan Sherry, Kanu Roy etc. This was BR Ishara’s debut film as a full-fledged director. After coming to Mumbai, it took him almost 2 decades to direct his first film. But it was not that he had run away from his village to Mumbai to make a career in films. It was, what he called the ‘torturous nature’ of his uncle which drove him to Mumbai where he was prepared to grab any work including domestic servant and waiter for sustenance.
Babu Ram Ishara, whose real name was Roshan Lal Sharma (07/09/1934 – 12/07/2012), was born in Bharwain village of Una district in Himachal Pradesh in a Brahmin family. He lost his mother at the age of 3 and after 2 years, he lost his father. The parent-less child was brought up by his grandmother. He completed his primary schooling in Bharwain village. His uncle who was based on Amritsar, had taken his admission in High school in Amritsar where his thread ceremony was also planned.
Being afraid of his uncle, Roshan Lal ran away from home by stealing his uncle’s money and came to Delhi where he met another boy. Both decided to visit Bombay (now Mumbai). While watching a film in a theater in Mumbai, the boy accompanying him quietly slipped away from the theater taking his money with him, never to be seen again. With no means for livelihood, Roshan Lal worked as a ‘baaharwala’ (waiter serving tea and food outside) in a hotel opposite Ranjit Studio. His main work was to serve tea to the workers and junior artists of Ranjit Studio and the nearby Shri Sound Studio. The studio workers used to call him ‘Babu’.
After few months, Roshan Lal joined Central Studios as office boy on a monthly salary of Rs. 60. One day, while serving tea to Qamar Jalalabadi in the studio, he gave Roshan Lal a new name, ‘Babu Ram’ as he did not want to call him by his real name Roshan Lal because his spiritual guru’s name was Roshan Nath. After the studio duties, Roshan Lal was also working as a cook to serve breakfast to Kaif Irfani in his house. Noting that Roshan Lal had flavour for writing, he told him to add a pen name ‘Ishara’ to his name Babu Ram. Thus, Roshan Lal Sharma became Babu Ram Ishara, better known as BR Ishara.
In between, BR Ishara was working as a household worker in Qamar Jalalabadi’s house who was producing ‘Aansoo’ (1953) at that time. He had assured BR Ishara that he would take him in his production office once the function of muhurat shot of the film got over. But the function got postponed a number of times. Fed up with cleaning utensils, BR Ishara left for Delhi to seek employment opportunity. However, his uncle got a wind of his arrival in Delhi. He took him to Amritsar and admitted in the 10th class. But the torture of his uncle was too much for him. After about 3 months, he again ran away and returned to Bombay.
Mukesh was planning ‘Anuraag’ (1956) and a preparatory work was going on to start the film. One of the acquaintances from the production team took BR Ishara to Mukesh who gave him a job of apprentice with no salary. After some time, pleased with his work as an apprentice, Mukesh made him Third Assistant at a monthly salary of Rs. 60. This was a turning point in the life of BR Ishara as for the first time, he got opportunity to get exposure to film making. With this work, he developed his aptitude for the film direction. After the completion of the ‘Anuraag’ (1956). he joined director, Tara Harish as his assistant in ‘Laalten’ (1956) and ‘Jalti Nishaani’ (1957).
‘Jaal Saaz’ (1959) is the first film in which he is officially accredited as dialogue director. It was during the making of this film that he learnt to speak Bengali since almost all the crew members were Bengali. In ‘Aawara Baadal’ (1964) also he was accredited as ‘dialogues written and directed by BR Ishara’. The film’s director Kedar Kapoor had differences with his original dialogue writer. So, he entrusted dialogue writing to BR Ishara under his guidance. Dulal Guha, who was to direct ‘Chaand Aur Suraj’ (1965), selected BR Ishara to write dialogue for the film which was his first formal work as a dialogue writer. With the words of mouth from some Bengali crew members, Basu Bhattacharya made him his second assistant for the film ‘Teesri Kasam’ (1966).
By this time, BR Ishara was virtually addicted to film making and he had developed a keen interest in film direction. Johny Whiskey, a close friend, was producing ‘Gunaah Aur Kanoon’ (1970). He entrusted to BR Ishara to write screenplay and dialogues and also to direct the film. At the same time, BR Ishara had also written story, screenplay and dialogues for the film ‘Insaaf Ka Mandir’ which he wanted to direct. He got producer for this film as well. Both the black and white films started more or less on the same time. Sanjeev Kumar, Prithviraj Kapoor, Tarun Bose, Asit Sen were the common actors for both the films. Both the films did not fare well on the box office. (Note: The life sketch of BR Ishara is mainly based on his interview at Vividh Bharati. The video clip of the interview is available here.)
It was his third film, ‘Chetna’ (1970) that BR Ishara got the recognition as a director. Made with a shoe-string budget and completed in 25 days, the film became a box office hit. It was the debut film of Anil Dhawan and Rehana Sultan who was a gold medallist from FTTI, Pune. BR Ishara’s other notable films were ‘Ek Nazar (1972) with Amitabh Bachchan and Jaya Bahaduri, ‘Milaap’ (1972) with Shatrughan Sinha and Reena Roy, ‘Dil Ki Raahen’ (1973) with Rahana Sultan and Rakesh Pandey, ‘Prem Shastra’ (1974) with Dev Anand and Zeenat Aman, ‘Ghar Ki Laaj’ (1979) with Sanjeev Kumar and Mausami Chatterjee and ‘Wo Phir Aayegi (1988) with Rajesh Khanna and Farah. ‘Main Bikaaoo’ (2004) was his last directed film which remained unreleased.
During his filmy career, BR Ishara directed 42 films of which 3 films remained unreleased. Most of his films raised socially relevant issues with his hard-hitting dialogues. But a majority of such films were box office failures. In 1984, he married Rehana Sultan.
BR Ishaara passed away on July 12, 2012. A few months before his death, he was not keeping good health. Later, he was diagnosed with tuberculosis.
The story of the film under discussion is as under:
Sunil (Sanjeev Kumar) has completed his law graduation and looking for the job opportunity. But before that, he receives a telegram that his father is seriously ill, and he should visit home to see him as soon as possible. By the time Sunil reaches home, his father has already passed away. The servant, Sunder (Asit Sen) hands over a letter to Sunil, written by his father which reveals that he is not his real father but has adopted him. His mother is somewhere in Mumbai which he is not aware of but one Durgadevi Jain (Nadira) can help him to locate his mother. The very next day, Sunil accompanied by Sunder, depart for Mumbai in search of his mother.
Sunil and Sunder reach Mumbai and meets Durgadevi. She puts a condition that she would reveal the whereabouts of his mother provided he agrees to become her adopted son so that she could bequeath him all her property and wealth. Sunil rejects her proposal and walks out of her house. He decides that he would himself search for her mother. But before that, he needs to have a steady job and a house in Mumbai. Sunder has one of his close friends, Shambhu (Manmohan Krishna) who works for Mumbai’s famous lawyer, Badri Prasad (Tarun Bose). He takes Sunil to Badri Prasad’s house. Sunil is pleasantly surprised to see Sunita (Snehlata) in the house who is the daughter of Badri Prasad and is in love with Sunil since college days. Badri Prasad not only appoints him in his office but also provide one of his vacant flats to Sunil.
During their discussions, Sunil comes to know that Durgadevi’s stepdaughter, Sadhana (Aruna Irani) had committed suicide about a couple of years back. Shambhu and Sunita, however, suspect that Sadhana was murdered by Durgadevi. Shambhu was earlier employed by Durgadevi while Sunita was Sadhana’s friend. In order to clear the doubts in the minds of Shambhu and Sunita, Badri Prasad entrusts the job of investigating Sadhana’s suicide case to Sunil who starts investigation with the assistance from Sunita and collect important evidence over a period of time to prove that Sadhana has not committed suicide, but she was murdered.
Sunil meets public prosecutor and joins him as his assistant with the recommendation of Badri Prasad. With his evidence, the court agrees to reopen the Sadhana’s suicide case in which Sunil represents as public prosecutor and Badri Prasad representing Durga Devi’s lawyer as he had done earlier. The last one hour of the film is mainly the court room drama with Prithvi Raj Kapoor as a Judge. With arguments and counterarguments between the prosecutor and the defendant’s lawyer, Durgadevi’s past life is exposed. The photographs of her abandoned child born out of wedlock are placed before the Judge and her motivation for killing her stepdaughter is revealed as relating to the property dispute. She concedes her involvement. The Judge announces that the judgement in the case would be delivered the next day. After the court proceedings ends, Judge asks Sunil to meet him in his chamber where he is shown the photographs of Durgadevi’s child from childhood to his adulthood. Sunil is shocked to see his own photograph. Judge requests him to meet Durgadevi who is sitting in an adjoining room. Sunil meets his biological mother and hugs her. Durgadevi is so much elated with meeting her son that she collapses on the floor and dies of heart attack.
I found the film’s plot quite interesting and gripping as a suspense thriller. But most of the audience would get the clue from a couple of dialogues between Sunil and Durgadevi as to who is his mother, and the suspense is revealed. I think, rather then keeping the suspense, BR Ishara may have thought that it would be more interesting for the audience to know as to how the prosecutor will prove the identity of Sunil’s biological mother and her involvement in Sadhana’s killing. And he has successfully done so through the intense court’s proceedings which takes about one hour of the film’s duration.
Of the main actors in the film, I feel that Nadira in the role of Durgadevi has given the top performance in the film. She has a challenging role to balance her performance of a grayish character with an emotional personality which she has successfully executed. Sanjeev Kumar in the role of a lawyer and later the prosecutor has given an excellent performance as expected, so also Tarun Bose as a defendant lawyer. Prithviraj Kapoor in the role of a judge has few dialogues. But his presence itself is sufficient to create an aura of dignity to his role. There is not much of the boredom in watching this film except a couple of songs which, to my mind, are not the situational songs. Nonetheless, all the songs are melodious.
The film has six songs written by Naqsh Lyallpuri (5) and Anwar Sasarami (1) which are set to music by Sapan-Jagmohan. One song has been covered on the Blog. I am presenting the second song from the film, “Sun Pyaare Sajna Re”, which is written by Naqsh Lyallpuri and rendered by Asha Bhosle and Mukesh. It is interesting to note that in all the films with the exception of a couple of films which BR Ishara directed during 1969-1977, there was at least one song rendered by Mukesh.
The background to the song under discussion is that Sunil (Sanjeev Kumar) shifts himself to Mumbai in search of his biological mother. He gets a job in the office of lawyer, Badri Prasad (Tarun Bose). Earlier, he has met the lawyer’s daughter, Sunita (Snehlata) who was his classmate in the law college and is in secretly in love with him. She works as his assistant in investigating the alleged suicide of Sadhana (Aruna Irani) and they are on their way to collecting evidences. At the same time, Durgadevi (Nadira) has placed one of her men to keep an eye on Sunil’s movements and his activities. The person, taking a diary note during the song is the one who works as such for Durgadevi.
Video Clip:
Audio Clip:
Song-Sun pyaare sajnaa re (Insaaf Ka Mandir)(1969) Singers-Asha Bhonsle, Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics (based on video clip)
o o o
o o o
aa aa aa
aa aa aa
aa aa aa
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai tera
tu maane yaa naa maane
daali daali
matwaali
rut aayi
phool sajaane
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare
sajna re..
tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
o o o tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
geet milan ke gaaun
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(o o o o o)
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare sajna re
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
o o
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
mehke phool dagar ke
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai teraa
tu maane yaa naa maane
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(ho o o o o)
phoolon mein roop hai teraa
geeton mein pyaar hai teraa
tu maane yaa naa maane
sun pyaare sajna re
o o o
o o o
aa aa aa
aa aa aa
aaa aaa aaa
aa aaa aaa
aa aa aa aa aaa
aa aa aa aaa
o o o o o
aa aa aa aa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आ आ आ
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
मतवाली
रुत आई
फूल सजाने
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तू कह दे झील सी गहरी
आँखों में खो जाऊँ
आज मेरा जी चाहे
तेरी बाहों में लहराऊँ
गीत मिलन के गाउँ
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(ओ ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
ओ ओ
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
महके फूल डगर के
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(हो ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे सजना रे
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आs आs आs
आ आs आs
आ आ आ आ आss
आ आ आ आ आss
ओ ओ ओ
आ आ आ आ
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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