Tum door jaaoge kaise daaman bachaaoge kaise
Posted on: January 18, 2024
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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Shakespeare’s plays have been one of the important sources for adapting them in Hindi films since the beginning of the Indian film industry in 1913. However, since very few films produced and released during the silent film era survived, it is difficult to say how many silent films were based on Shakespeare’s plays. A research paper on Shakespeare on Screen by Dr. Joseph Koyippally has identified 8 silent films based on Shakespeare’s plays that were released between 1923-30.
In respect of Hindi talkie films, only a small number of films have survived which were released during the period 1931-1950. Only 12 Hindi films have been identified as based on Shakespeare’s plays during this period. According to this list, the first Hindi talkie film based on Shakespeare’s play was ‘Hathili Dulhan’ (1932) by Madan Theatres which was based on ‘The Taming of the Shrew’. From 1951 to 2014, 25 Hindi films have been identified as based on or inspired from Shakespeare’s plays. Almost all of the Hindi talkie films based on Shakespeare’s plays have not been the faithful adaptations but adapted to suit to the Indian culture, perceptions, the timeframe and most importantly, the Indian audience.
The first Hindi film based on or inspired from Shakespeare’s play, ‘The Comedy of Errors’ is said to be Bimal Roy’s ‘Do Dooni Chaar’ (1968) directed by Debu Sen. Gulzar was his Chief Assistant Director, the dialogue writer and the lyricist. When Gulzar turned director, he directed ‘Angoor’ (1982) based on the same play. Both these films have accredited Shakespeare for the story. There was one more film, ‘Heeralal Pannalal’ (1999) directed by Kanwal Sharma but there was no acknowledgement to Shakespeare. The latest film based on this play was Rohit Shetty’s ‘Cirkus’ (2022). The main feature of Shakespeare’s play, ‘The Comedy of Errors’ was that it had two twin male characters with ‘master and servant’ relationship. Their mistaken identities create comical situations. Of these four films, only ‘Angoor’ (1982) was a box office hit.
I feel that all films with double roles owe to Shakespeare’s play, ‘The Comedy of Errors’ at least for the comedy arising from mistaken identities. ‘Gustaakhi Maaf’ (1969) can be said to have been partially inspired from the same Shakespeare’s play. In this film also, the twins get separated while traveling on the boat (instead of ship) and after some years, the separated twins meet in the same town. The difference is that in this film, there is only one twin instead of two, and that too the female. The film was produced by Gopal Saigal and was written and directed by Raj Kumar Bedi. The star cast included Sanjeev Kumar, Tanuja (in double role), Sujit Kumar, Ulhas, Ravi Kant, Padma Khanna, Rafiya Sultana, Dilip Dutt, Johnny Whisky, Narbada Shankar, Vithaldas Panchotia, Gopal Saigal, V Gopal etc.
I had not watched ‘Gustaakhi Maaf’ (1969) mainly because around the same time, I had seen ‘Do Dooni Chaar’ (1968) in a theater. At that time, it was said that both these films had some similarities in their stories. Recently, I watched the film on one of the video sharing platforms in the context of one of its songs which I liked.
The story of the film is as under:
Ravikant’s wife has given birth to twin girls, Asha and Seema. After a year or so, Ravikant and his family go for a trip to a hill station. Their boat gets capsized in a storm and the family is separated. Ravikant’s wife and Seema are missing while Ravikant and Asha survives. The missing Seema is taken care by Gupta ji (Ulhas) who lives a lonely life. Ravikant’s wife continues to remain missing.
About 2 decades later, Asha has grown up in her city with her father, Ravikant while Seema grows up in a hill station where she was picked up by Gupta ji who has given her new name, Asha (I will continue to refer her as Seema to avoid confusion). Ravikant and Asha with her maid servant (Padma Khanna) go for a trip to the same hill station which they had visited about 2 decades back. From this point onward, due to the mistaken identities of Asha and Seema, there are hilarious situations.
Seema is in love with Shankar (Sujit Kumar), a painter and photographer who runs the business along with his younger brother, Jai (Sanjeev Kumar). Shankar has a date with Seema at a market place but as usual, he is going to be late because he has to place his beloved’s painting at top of a light pole to impress her. So he sends a note through his servant to handover to Seema. Disgusted with Shankar not yet come, Seema leaves the place in a huff. Just at that time, Asha comes out of a stall and the servant sees her. Thinking her to be Seema, he hands over the note to Asha who gets furious when she reads the love message. She slaps him and goes on her bicycle.
Thinking that Seema is angry with him, Shankar goes to meet Seema. Again Asha finds that another strange man has approached her to be his fiancé. He tries to hug her but gets a slap from Asha. With the presence of twins, many weird things happen, like for a necklace bought by Asha, the bill goes to Seema who refuses to pay for the necklace she had not bought. Munim goes back to her with a proof but Asha’s father takes out his gun and threatens him. Munim goes to the police station to lodge the complain. As soon as he returns from the police station to his jewelry shop, Munim finds Asha coming to pay the cost of the necklace since no one visited her place to collect the money. A surprised Munim feels that because he had lodged a police complaint, Asha is now ready to pay the amount.
In order to cajole Seema, Shankar visits her house and briefs her father, Gupta ji about the unusual behavior of Seema, He suggests that Seema should accompany him to a counselor. Gupta ji reveals to him that some members of his family have been lunatic. It is quite possible that Seema may have the hereditary traits. This is not a good news for Shankar. Anyway, he tries his best to convince her that he loves her a lot. At last, Seema gets convinced and Shankar also feels that she is not a nut as he earlier thought.
A happy Shankar returns to his shop to see the commotion. Asha who was walking along the road, sees her painting being displayed on a light pole. She gets annoyed and throws anything that comes to her hand towards the painting as well as their shop. Shankar, thinking her to be Seema, is now sure that she is indeed lunatic. Otherwise why she should damage the painting which he has made at her insistence. A shocked Shankar decides to run away from the place.
After few days, Asha revisits the shop and meets Jai to compensate the losses he may have incurred with her fury against the painting. She likes his behavior and slowly falls in love with her. She requests Jai to paint her to get compensated. Jai on the other hand, thinking her to be Seema, is in no mood to oblige her. He is confused as to why she is behaving to be nice to him when he considers her as his sister-in-law. He avoids Asha as long as possible. But Asha is not ready to give up. She tries to seduce Jai in connivance with Mirchi and with a long medley of parody songs, she is successful in wooing Jai who feels guilty, thinking Asha to be the beloved of his elder brother.
Seema goes to a picnic with her friends where she finds a gloomy looking Shankar sitting at a distance. She meets him and he is happy with her behavior. She says that he should return to his shop where she would bring her father to complete her engagement ceremony with him. Seema turns up with her father to see Shankar who has not yet reached there in the house. Jai, thinking her to be Asha, tries to be nice to her. Seema gets annoyed and leaves the house hastily to complain to Shankar. When Shankar is confronting with Jai about his ‘mistreatment’ of Seema, Asha turns up and starts becoming nice to Jai. Both Shankar and Jai are confused as to why there is often unpredictable changes in the behavior of Seema. They think that Seema needs to be referred to a psychiatric doctor.
The confusion about the mistaken identities gets over, when Asha along with her father Gupta ji visit at a mental hospital where Jai and Shankar have forcibly taken Seema to a psychiatric doctor. Both the separated sisters meet for the first time and their father, Ravikant recognizes them. Shankar-Seema and Jai-Asha are united.
‘Gustaakhi Maaf’ (1969) had 4 songs written by Naqsh Lyallpuri and set to music by Sapan-Jagmohan. In addition, there is a medley of the parody song. Two songs have been covered in the Blog. I am presenting the 3rd song from the film, “Tum Door Jaaoge Kaise” which is poignantly rendered by Asha Bhosle. The background to the song is that Jai (Sanjeev Kumar) has started loving Asha (Tanuja) but he is hesitant because he thinks her to be the beloved of his elder brother, Shankar (Sujit Kumar). So, he decides to avoid her. The song, picturised on Tanuja as Asha is the reflections of her thought on their relationship.
Sapan-Jagmohan reused the tune of this song for “Jhilmil Sitaaron Se Nainaa” which was rendered by Kishore Kumar in the film, ‘Amber’ (1985).
Video Clip:
Audio Clip:
Song-Tum door jaaoge kaise daaman bachaaoge kaise (Gustaakhi Maaf)(1969) Singer-Asha Bhonsle, Lyrics-Naqsh Layallpuri, MD-Sapan Jagmohan
Lyrics: (Based on Video Clip)
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula naa sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise
jitna bhulaaoge tum
utna hi yaad aayenge..ae ae
neenden churaa lenge hum
khwaabon mein ghul jaayenge..ae ae
khwaabon mein ghul jaayenge
tadpenge tadpaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise
dil ki lagi ban ke hum
dil mein sulag jaayenge.. ae ae
palkon pe aa kar kabhi
ashkon mein lahraayenge..ae ae
ashkon mein lahraayenge
daaman mein so jaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
khud pe na dhhaao sitam
tumhen zindagi ki kasam m m
ham door tak aa gaye
tum bhi chalo do kadam m m
tum bhi chalo do kadam
mere sanam kam se kam
ho o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
जितना भुलाओगे तुम
उतना ही याद आएंगे॰॰ए
नींदें चुरा लेंगे हम
ख्वाबों में घुल जाएँगे॰॰ए
ख्वाबों में घुल जाएँगे
तड़पेंगे तड़पाएंगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दिल की लगी बन के हम
दिल में सुलग जाएँगे॰॰ए
पलकों पे आ कर कभी
अशकों में लहराएंगे॰॰ए
अशकों में लहराएंगे
दामन में सो जाएँगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
खुद पे ना ढाओ सितम
तुम्हें ज़िंदगी की क़सम॰॰म्म
हम दूर तक आ गए
तुम भी चलो दो कदम॰॰म्म
मेरे सनम कम से कम
हो ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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