Piyo piyaa to tumhen mai ka pyaalaa bhar bhar ke pilaaun
Posted on: March 6, 2024
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 an old film Paak Daman-1940.
Actually, I need not have written ” from an old film”, because my name is now firmly connected with old films only. This is in spite of my posts on a fair number of films and songs from 1970 to 2016 also. However branding and the label has stuck to me pucca.
We in India, love to brand everything. For example, Dilip Kumar was branded as’ Tragedy King’, as in his initial career, he had done tragedy roles and in 7 of his early films, he had ‘died’ at the end. However, he had also done a variety of roles including comedy roles in films like Aazad, Ram aur Shyam and many other social, comedy, historical, emotional, musical and other genres of films. But till he died, he carried the branding of ‘Tragedy king’. The same fate for Meena kumari as ‘Tragedy queen;, though she was a versatile actress and had done some comedy roles too.
Branding puts limits to performance. Those actors who are labelled as Comedians are never given serious roles and serious actors never get light comedy roles. For example, no one dared to give comedy roles to actors like Nazir Hussain, who was reportedly famous for refusing films if there were no weeping roles or dialogues like’ tumne apni khandan ki ijjat mitti mein mila dee’ etc.
Having expertise in doing something exceptionally well is one thing and forcing a label on the artiste is another story. The same thing happened in the case of Sohrab Modi. He started his career as an actor on the stage dramas and he excelled in doing Historical roles, needing long and forceful dialogues. He was an expert in that. However, when he started his own company,’ Minerva Movietone’, his first film was a social film ‘ Atma Tarang’-1937. This film dealt with the issue of Celibacy (Bramhacharya) in a lighter vein. The film flopped. In its first show, there were only 25 people to see the film, obviously people could not visualise him in any other role except historical roles with long and forceful dialogues as on the stage. Compelled, for the rest of his career he did what he was branded as.
Sohrab Modi’s elder brother Rustom Modi was an enthusiastic actor on stage dramas, He, along with friend Ittefaq, set up ” Subodh Natak Mandali” – a Theatre company in 1923. He helped Sohrab in stage acting and soon Sohrab became popular. He acted as Jehangir (Hamlet) opposite Naseem Bano (Ophelia) in the drama ” Khoon ka Khoon”, one of the biggest Urdu stage Hits of the 1920’s decade. Next drama was ” Saeed E Hawas’ in 1927. This too was a Hit.
Rustom Modi set up ” Stage film company” in 1935. The 2 Hit dramas ‘Khoon ka Khoon’ (based on Shakespeare’s Hamlet) and ‘ Saeed E Hawas (based on King John) were made into films, shot as the entire drama, in 1935 and 1936. However these were flops and the audience did not like the presentation format.
Sohrab modi understood that Talkie films were a different issue and started his own “Minerva Movietone’, making social and historical movies and prospered in that. His brother-Rustom Modi, however, continued with his Theatre group doing stage dramas. The third brother Keki Modi looked after distribution of films and arranging dramas. He controlled a chain of 27 Theatres in 10 cities in India. Rustom Modi had his own set of actors and actresses. With these, he produced the film Paak Daman-1940.
Paak Daman was first made in 1931, the very first year of the Talkie films. Then it was made in 1940 and finally it was made in 1957. Paak Daman was a popular stage drama of the early 1900’s. There were many versions of this story with minor variations,like names and places etc. The Parsi Urdu Theatre version was written by Agha Hashra Kashmiri, then famously known as ” Shakespeare of India”. The Parsi Gujarati plays were written by various authors. Syed Yawar Ali penned the script for the ” Moon Parsi Theatre”. The Alfred Drama Company had their own version of the story. In 1932, a film called ” Paak Daman Raqaasa aka Innocent Rakkasa or innocent Dancer or निर्दोष नर्तिका ” was made by Elephanta Movietone, Punjab. But I guess it was not one of these versions, just like the 1957 movie.
Paak Daman-1931 with Rampyari and Hyder Shah was based on a Gujarati play and Paak Daman-40 was written by Agha Hashra Kashmiri for the Urdu Parsi Theatre. This was a small budget movie, with a not so popular star cast. The film budget was limited and they could not do the advertising in regular newspapers or magazines. So what they did was to distribute handbills from a bullock cart, with local bands from those towns where the film was to be shown.
The film was produced by Stage Film Company and was directed by Rustom Modi. The film was censored on 20th October 1940 and released first in Lahore. Most of the film cast was drawn from Urdu Parsi Theatre to save money. Actors like Mohd. Ishaq (as Jaandaar, the King), Abu Baker(as drunkard), K.Pawar(as Bhangedi), Sonaba(as Afimi), Mehboob(as Baldy), Faqir Mohd(as Guardian) and Krishnabai as Dancer, were taken along with regular actors like Ghulam Mohammed(as Safadar Jung), Firoz Dastur(as Jameel). The female cast was Meera Devi(as Razia), Menaka Hyderabadi(as Sayeeda, the Heroine) and Leela Hyderabadi( as Nadira). These female actors were stage actresses from Urdu Parsi Theatre in the 1930’s. They had played these roles so often on stage that all the dialogues were by heart to them. They had done small roles in films but went unnoticed, perhaps due to being uncredited.
The story of the film was…..
The king Jahandaar was a Noble and honest ruler. He used to roam about in his kingdom in a Fakir’s disguise. In his absence, his close courtier Safdar jung used to look after the kingdom. Safdar was a cruel and immoral person. He had deserted his own wife Nadira, after fully enjoying her chastity.
A young man named Jameel had used a girl Razia and abandoned her. She complained to Safdar Jung. Jameel was caught and sentenced to death. Jameel’s sister was Saeeda. Beautiful Saeeda goes to Safdar and begs for cancellation of the death sentence. Safdar asks her to spend one night with him as a gift in return for this favour. He gives her time to think and come back.
While returning, Saeeda meets the Faqir( king in disguise), who enquires what is wrong. Saeeda tells him all. King is very angry. He discloses his identity to Saeeda and asks her to find and bring Nadira. The three of them hatch a plot.
Next day, Saeeda informs Safdar that she is ready to do as he wants, provided there is total darkness and no talk in that period. He gladly agrees. In the darkness of night Nadira replaces Saeeda and Safdar spends time with her, thinking that she is Saeeda.
Next day Nadira appears in Darbar and asks Safdar to take her back. The Faqir also reveals himself and Saeeda tells the truth of the night. Safdar is stunned. The king orders Safdar to take back Nadira and leave the court-if not he will be executed. Jameel is released but has to marry Razia.
The cast of the film was Firoze Dastoor, Mohd. Ishaq, K.M.Pawar (he was the Music Director also), Menaka Hyderabadi, Leela Hyderabadi, Meera and others.
Today’s song is sung by Menaka Hyderabadi. The songs sound boring and non melodious, but they have historical value. Manaka Hyderabadi makes a Debut on this Blog as a singer and the song is atleast 84 year old. Obviously, the style would be unfamiliar and hence seem boring.
Song- Piyo piyaa to tumhen (Paak Daaman)(1940) Singer- Menaka Hyderabadi, Lyricist- Not known, MD- K.M.Pawar
Lyrics
Piyo piyaa to tumhen
haa aa aa
Piyo piyaa to tumhen
mai ka pyaala bhar bhar ke pilaaun
bali jaaun
bali jaaun
piyo piyaa to tumhen
aa aa aa
Piyo piyaa to tumhen
mai ka pyaala bhar bhar ke pilaaun
bali jaaun
bali jaaun
ye mai ka pyaala
jee haan
isi pyaale ko mere chaahne waale
raaj dulaare
chaah ke pyaare ae ae
hahahahaha
hahahahaha
isi pyaale ko mere chaahne waale
raaj dulaare
chaah ke pyaare
ae ae ae
rangwaale
rangwaale
piyo piyaa to tumhen
aa aa aa
piyo piyaa to tumhen
mai ka pyaala bhar bhar ke pilaaun
bali jaaun
bali jaaun
rangeen(?)
aab e hayaat
is ka ek ek qatra
dil par sabke gul bane
haa aa haa aa
aan aan aan aan
ae kaanta ?? bal ho
chaar(?) piye
koyal bane ae ae
ae ae
ae ae
gaayan waako ??
haa aa aa aa aa
gaa sakti ho
tum
gawa sakta hai
ye
ye pyaale ko mere
chaahne waale
raaj dulaare
chaah ke pyaare
ae ae ae
rangwaale
rangwaale(hahahahaha)
piyo piyaa to tumhen
aa aa aa aa
piyo piyaa to tumhen
mai ka pyaala bhar bhar ke pilaaun
bali jaaun
bali jaaun
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 6, 2024 at 5:05 pm
Arun Sir,
Your exploration of how actors are labelled and the impact it has on their careers is very interesting. The story of Sohrab Modi shows how actors can get stuck in certain roles because of what people expect from them. Learning about the background of ‘Paak Daman‘ gives us a peek into what movies were like back then.
Thanks for sharing this fascinating piece on a topic not often talked about in such detail.
Gandhi Vadlapatla
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March 6, 2024 at 9:26 pm
Thanks for your appreciation .
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