Mera naam saanwri main aayi tere gaanv ri
Posted on: January 19, 2024
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | Introduction song | joie de vivre | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | 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 costume film ‘Raj Pratigya’ (1958).
This is yet another film, with a story of King and Queen. I have seen this film and have its story with me. Otherwise also, the film’s title and the cast are a clear giveaway enough to declare this film as a Raja-Rani film. The only difference is, this film’s story is based on the background of 2 warring kingdoms, Magadh and Malawa, which existed in olden times in India. After seeing such films, one gets the answer why and how the Mughals or the Europeans could win in India and managed to rule it despite the population being majority Hindus and the rulers in a disciplined minority. The majority was busy fighting among themselves rather than with the invaders jointly !
This costume dominated film was produced by Gauri Shankar Goyal for Dinesh Films, Bombay. It was directed by Jaswant Zaveri, who had directed 14 films in the span of 18 years – from 1946 (‘Hoor e Jungle’) to 1964 (‘Hameer Hath’). The decade of the 1950’s was an unique one. A total of 1125 films were censored from 1951 to 1960 and these included almost every possible film genre. This was probably the only decade which had offered a variety of entertainment to every type of audience. The decade had films from genres like mythology and religion (124 films), costume dramas (93 films), adventure, patriotic, murder and mystery, detective, horror, comedy, tragedy, musicals, family drama, social, crime, folk story, stunt, action, historicals, imaginary, romantic etc.
Directors like Jaswant Zavery and banners specialized in making costume or stunt films falling under B or C grades, slowly disappeared after the 50’s, once these types of films being made diminished due to changing public taste. The music director of this film was a name which is not very famous or well known – Sanmukh Babu Upadhyaya. The story of Sanmukh Babu Upadhya, is not uncommon in the Hindi film industry.
I am sure not many will know about this composer. He was one of those artistes in the film industry who had immense talent but luck did not favor him.
Sanmukh Babu Upadhyaya was born on 13-9-1920 in Surat, Gujarat. His father Manibhai and brother Dinanath were music experts, thus Sanmukh had music as a traditional asset. Soon he acquired expertise in playing jal tarang and violin. Later in his life he became a well known violin player of Gujarat. In 1940, he met Gujarat’s famous singer Master Vasant (also from Surat) and he had a chance to play his instruments in the courts of Porbandar, Jamnagar, Baroda, Udaipur, Bikaner, Bhopal etc.
In 1942 Sanmukh Babu came to Bombay. He happened to meet Dinkar Rao Amembal, an official in All India Radio, by chance. Sanmukh Babu was taken in AIR services and he served for the next 5 years. He also went to Africa for one year to do stage shows.
After coming back, he joined Avinash Vyas as an assistant in the work of a Gujarati film and later in the famous Hindi film ‘Har Har Mahadev’ (1950). He was an expert in jal tarang and violin. His service at AIR had given him exposure to many famous musicians and this helped him a lot. Next few years he participated in many ballets and dance dramas in Gujarati and Hindi, along with Avinash Vyas.
He got his first break as an independent music director of Hindi film ‘Lalkar’ (1956), with the help of Kavi Pradeep. He gave music to 7 Hindi films – ‘Lalkar’ (1956), ‘Amar Singh Rathod’ (1957), ‘Sati Pariksha’ (1957), ‘Naag Padmini’ (1957), ‘Raaj Pratigya’ (1958), ‘Amar Prem’ (1960) and ‘Hamir Hath’ (1964).
When it became clear that he was getting only C grade films – action or historical and that no big banner ever offered him a film, he left the film industry. Next few years he devoted his time in directing ballets and dance dramas in Hindi and Gujarati. He cut several private records of his music. He also gave solo performances of violin all over the country.
It is unfortunate that his melodious music did not get enough opportunities or recognition, in the changing environment of film music of the 60s and the 70s, but he had no regrets. Sanmukh Babu Upadhyaya died on 24-2-1984, simply adding yet another name to the list of talented but less known composers.
The cast of the film was Nirupa Roy, Jairaj, Arun Ahuja (father of actor Govinda), BM Vyas (younger brother of Bharat Vyas, the lyricist of this film), Arvind Pandya (hero and singer of Gujarati stage and films), Sunder (one time hero and singer), Ramesh Sinha, Sabita Chatterjee, Sadiq Ali (once called ‘The Prince of Minerva’), Praveen Pal, Dar Kashmiri (elder brother of actor Jeevan) and many others. The lead pair of Nirupa Roy and Jairaj were famous for acting in historical and costume films like today’s film. They acted in 20 such films together. I have special feelings for Jairaj as he not only hailed from Nizam state, from where I too come, but also we studied in the same college – Nizam College, not together of course.
Born on 28-9-1909 in Karimnagar (Hyderabad state, now Telangana State) in a cultured family, young Jairaj was schooled in Rishi Valley school. Thereafter he joined the Nizam’s college where he participated in Shakespearean plays. He hailed from a very cultured family with lofty connections – his mama was married to Sarojini Naidu. His father, a government official, passed away and his mother followed suit when he was barely 19 and the youngest among three brothers, Jairaj was totally heartbroken and shifted to Mumbai.
“He wanted to join the Navy but he was delayed for the recruitment. He befriended his filmi neighbors, who urged him to join films because of his strapping physique. He was nearly six feet tall,” relates Deepa, his daughter in her interview.
His film career took off as a body-double stuntman in the Sharda Film company. He would be interested in all aspects of film making – from camera work, edit to lab processing. Not before long, he got his first acting break as the hero’s friend and his body-double during stunt scenes in ‘Jagmagati Jawani’ (1929) and graduated to playing the hero. His distinguished looks and physique landed him the lead role. However, his second venture ‘Raseeli Rani’, was his first release. He acted in as many as 11 silent films between 1929-1931. Jairaj in an earlier interview had elaborated on how silent films were made – “All shooting took place in natural sunlight. Our day began and ended early. We reached the sets by 7.30 in the morning and packed up by 5 in the evening… We all learnt the craft by trial and error. We discussed the story together, developed it and then started shooting… It was a challenge, you had to make people laugh, cry or get angry through facial expressions and gestures only. Charles Chaplin is the best example of this art. But then, cinema, unlike the stage, is a visual medium. That was why silent movies had universal appeal.”
After the first talkie film, ‘Alam Ara’, in 1931, Jairaj also switched over to talkies. Being a Hyderabadi, he was fluent in Urdu and that proved to be a big asset for him. ‘Shikari’ (1932), replete with tigers, lions and snakes, was his first talkie.
With sound came songs and Jairaj was handicapped by the fact that he was no singer. Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The music director of the film ‘Patit Paawan’ (1933) was Prof BR Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed – “Prem Magan Sakhi”. Jairaj had sung it so badly, that the song was removed from the film from the second show itself. Jairaj is probably the only hero of those days who never sang in films. Even after playback singing became the norm, Jairaj has ip-synced only 28 songs on screen despite acting in nearly 215 movies! But he managed to stay in the reckoning by starring in action films. With the introduction of playback singing, he forged forth with films like ‘Rifle Girl’, ‘Bhabhi’, ‘Panna’ and ‘Mahasagar No Moti’ – which were all hits.
The 1950s and early ’60s was Jairaj’s golden era as an actor as he essayed a variety of roles of hero, villain and even comedian. He was, however, celebrated for his wide range of historical roles, playing Chandrashekhar Azad, Amar Singh Rathore, Prithviraj Chauhan, Rana Pratap, Shaheed Bhagat Singh and Tipu Sultan. “Papa was a natural rider and that helped,” opines Deepa.
Jairaj featured in over 200 films during which he romanced all the top heroines of his times – Devika Rani, Khursheed, Nigar Sultana, Nadira, Shakila, Durga Khote, Nirupa Roy, Nimmi, Suraiya, Madhubala and Meena Kumari. “He was the first kissing star of his times, he was lip-locked with his heroine Madhuri in ‘Jagmagati Jawani’. “He was also the first superman of the Indian screen,” informs Rajan Shahi about the on-screen shenanigans of his nana ji.
“Although Papa was famous for his parties, he was never involved in any scandal. All his heroines regarded him as their close friend. I remember, Nargis had knitted him a sweater monogrammed with his initials!”, Deepa reminisces fondly.
Jairaj started accepting character roles from the mid 60s. His roles in ‘Insaniyat’, ‘Baharon Ke Sapne’, ‘Neel Kamal’, ‘Raaste Aur Manzil’ are memorable. Also his most cameos in ‘Don’, ‘Masoom’ and ‘Khoon Bhari Maang’ are known to viewers today. Jairaj had also acted in three international films, the Russian co-production with KA Abbas ‘Pardesi’, MGM’s ‘Maya’ and 20th Century Fox’s ‘Nine Hours To Rama’. The last film was based on Mahatma Gandhi’s assassination and was banned in India!.
Jairaj produced and directed ‘Saagar’ starring Nargis, Dilip Kumar and Bharat Bhushan in 1951. “It was based on Lord Tennyson’s poem ‘Enoch Arden’. It was a story about two brothers living in a seaside town and the younger brother sacrifices his love as the elder brother is in love with his sweetheart. But papa lost all his money in his maiden production,” Deepa recalls sadly. Jairaj had confessed in an earlier interview, “I did not have the business acumen to produce and promote a film. Unlike others producers, I had invested my own money,” he had admitted regretfully. Jairaj was forced to sell his office and it was the most frustrating period of his career. He went back to acting and recovered.
He also directed films like ‘Mala’ (1941, jointly with Mahendra Thakur), ‘Pratima’ (1945), ‘Saagar’ (1951) and ‘Mohar’ (1959). He also directed two television serials – ‘Taana-Baana’ and ‘Katha Sagar’. In all Jairaj acted in 215 Hindi films and directed 4 films in his career.
Jairaj was hailed as the industry’s friend. He was a keen sportsman and an artiste. He would organize all the charity cricket matches that stars played. He also designed musical shows and award ceremonies. He also took keen interest in the propagation of classical dance and music. “While he managed the entire show by drawing sketches of the stage to star performances, veteran character artiste David would compere the shows,” Deepa recalls.
He was close friends with the Kapoors. “So much so that both our families would go on vacations together,” Deepa recalls happily how Prithviraj and his sons were like their extended family.
Prithviraj Kapoor and Jairaj were the founder members of the Cine Artistes’ Association in 1939. In 1981 Jairaj was honored with the prestigious Dada Saheb Phalke award for his outstanding contribution to Indian cinema, a most deserving honor. Interestingly, Jairaj starred in Gujarati and Marathi films but never in Telugu, which was his mother tongue.
Prithviraj’s father had arranged his marriage to a Punjabi girl from Delhi and the two were blessed with six children. Of his two sons Dileep Raj even starred in KA Abbas’ ‘Sheher Aur Sapna’ (1963) and ‘Aasmaan Mahal (1965) and was then hailed as the ‘next Raj Kapoor’. “But he couldn’t sustain his success. He now writes films and serials, while Jai Tilak, our second brother, became an engineer and he settled in Chicago. All of us four sisters were married out of Mumbai and out of the film industry,” updates Deepa.
Rajan, his grandson, is the sole torchbearer of Jairaj’s showbiz legacy. “Nana ji advised me to build goodwill in the industry. Name and fame will come and go, only your good will see you through, he said. That’s the most valued mantra for me,” admits his grandson gratefully.
Jairaj passed away on August 11, 2000 at the ripe age of 91, leaving behind a rich legacy. (Based on the interview of Deepa Shahi, with thanks, and my notes).
Today’s song is sung by Asha Bhosle. Enjoy….
Song- Mera naam Saanwri main aayee tere gaanv ree (Raaj Pratigyaa)(1958) Singer- Asha Bhosle, Lyricist-Bharat Vyas, MD- Sanmukh Babu
Lyrics
dil ko chain miley
jab miley preet ki chhaanv
sawaa haathh ka ghoonghat kheenchey ae ae
aayee tere dwaar
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadu daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
kaari kaari koyaliya ki
kuhu chura kar laayi
phool kee khushboo udaa kar laayi
pawan ka pankh lagaa kar aayi
ke naina khol de re
umad ghumad saawan ke jaisi
ghata main ban ke aayi
poonam ki chhata main ban kar aayi
roop atpata main ban kar aayi
ke waah waah bol de re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
jab main nikloon ban thhan ke to
jab main nikloon ban thhan ke to
log dekh chakraayen
phool bagiya ke khil khil jaayen
chandrma badlee mein chhup jaaye
main chamkoon chaandni re
jab main naachoon gher ghaaghre
ka mera lehraaye
ke jisko dekh mor sharmaaye
hiraniyon ki kataar ruk jaaye
main aisi kaamini re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadoo daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayee tere gaanv ri
mera naam saanwri
main aayee tere gaanv ri
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दिल को चैन मिले
जब मिले प्रीत की छांव
सवा हाथ का घूँघट खींचे॰॰ए
आई तेरे द्वार
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
कारी कारी कोयलिया की कुहु चुरा कर लाई
फूल की खुशबू उड़ा कर लाई
पावन के पंख लगा कर आई
के नैना खोल दे रे
उमड़ घुमड़ सावन के जैसी घटा मैं बन कर आई
पूनम की छटा मैं बन कर आई
रूप अटपटा मैं बन कर आई
के वाह वाह बोल दे रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
जब मैं निकलूँ बन ठन के तो
जब मैं निकलूँ बन ठन के तो
लोग देख चकराएँ
फूल बगिया के खिल खिल जाएँ
चंद्रमा बदली में छुप जाये
मैं चमकूँ चाँदनी रे
जब मैं नाचूँ घेर घाघरे का मेरा लहराए
के जिसको देख मोर शरमाये
हिरणीयों की कतार रुक जाये
मैं ऐसी कामिनी रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 19, 2024 at 10:38 am
Arun Ji
Thanks for the post. Nice to read in detail, about lives of (less known) Sanmukh Babu Upadyaya
& (well Known) Jai raj. I was not aware Jai Raj was recipient of Dada Saheb Palke award .It is well deserved.
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January 19, 2024 at 1:30 pm
Thanks.
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