Ye kaisa dard hai jo idhar hai udhar naheen
Posted on: March 9, 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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After the introduction of playback singing system in Hindi films around 1935, many accredited singers from All India Radio (AIR), especially from Bombay (Mumbai), Lahore, Calcutta (Kolkata), Delhi, Lucknow/Kanpur etc got opportunities as playback singers in Hindi films. Apart from the popularity they got from the songs they sang for the films, the remuneration they received from playback singing was much higher than the fees they got from AIR.
I browsed through ‘The Indian Listeners’, a fortnightly publication of AIR (now Aakaashwaani) for the period 1935 to 1947 and found that Zohrabai Ambalewaali, G M Durrani, Shamshad Begum, Zeenat Begum, Mohammed Rafi, Umrao Zia Begum, Munawwar Sultana, Dilshad Begum, Naseem Akhtar, Sudha Malhotra, Surinder Kaur etc had performed at Lahore/Peshawar stations of AIR during this period. Almost, all of them were staying in the vicinity of Lahore at the time of their accreditation in AIR. With the growth of Hindi films productions in Mumbai, many of them shifted from Lahore to Mumbai or started shuffling between Lahore and Mumbai on the playback singing assignments.
There was one female radio singer who did not leave Lahore for furthering her playback singing career. She was Dilshad Begum about whom not much information of her early days is available except that she was based in Lahore. She started her singing career from AIR, Lahore in early 1940s. She mostly sang Punjabi songs and Urdu ghazals. Her first playback singing assignment was either in the film, ‘Rehana’ (1946) or ‘Kahaan Gaye’ (1946) under the music directions of Qadeer Fareedi and Lachchiram Tamar, respectively. Dilshad Begum got a big break as a playback singer in ‘Ek Roz’ (1947) in which she sang 5 songs out of 11 under the music direction of Shyam Sundar. I have heard all the songs she sang for ‘Ek Roz’ and they are really outstanding. Her next film, ‘Brihan’ (1947) got her 9 songs under the baton of Lachchiram Tamar. Again, the available songs from the film are excellent sounding for the ears.
Dilshad Begum’s playback singing career in Hindi films lasted less than 2 years (1946-48) during which she sang 27 songs in 7 films – ‘Rehana’ (1946), ‘Kahaan Gaye’ (1946), ‘Farz’ (1947), ‘Ek Roz’ (1947), ’Intazaar Ke Baad’ (1947), ‘Nek Dil’ (1948) and ‘Birhan’ (1948). I have listened to all her available songs and they are really good. Unfortunately, she came on the playback singing in films when the country was in verge of partition. The delayed film productions with uncertainty meant that the films were going to be doomed at the box office. All of films for which Dilshad Begum sang, have been lost and so are the songs. Fortunately, in the recent years, some of her songs have surfaced in audio format.
My guess is that Dilshad Begum restricted her playback singing career in films that were produced in Lahore. It is quite possible that her family did not want her to shift or travel to Mumbai. Most of her contemporaries in AIR, Lahore shifted their base to Bombay (Mumbai) and had a good playback singing career. With film industry in Lahore paralysed post-partition for a couple of years probably, Dilshad Begum confined her career as a radio singer in Lahore.
‘Ek Roz’ (1947) was one of the important films for Dilshad Begum in which she rendered 5 songs. The film was produced under the banner of Gupta Art Productions and was directed by Dawood Chand. The cast included Al Nasir, Nasreen, Asha Posley, Ajmal, Saleem Raza, Nafees Begum, Shamlal etc. The film was certified by the Censor Board on March 18, 1947. It appears that ‘Ek Roz’ (1947) was one among many films which became the victim of partition in 1947. From the advertisement of the film which appeared in the November 1948 issue of ‘Filmindia’ magazine, the film may have released in India around September 1948.
The gist of the story of the film as given in Mike Barnum’s Blog (probably taken from the song book of the film) is reproduced below with my few minor edits:
Shaukat and his family with his two twin infant daughters, Nasreen and Parveen, take a holiday in Kashmir. A tragedy strikes when their maid servant, carrying Parveen, accidentally lets the girl slip and fall into a water spring. A search is carried out, but the child is declared lost and presumed drowned. However, Parveen is indeed alive, having been found by a local carpenter who brings her up as his own child.
Years pass and Nasreen is of an age to be married. Shaukat’s best friend, Akbar, has a son named Nasir who is studying in England. It is decided between the two fathers that Nasreen and Nasir would get married. Meanwhile, Murad seeks Nasreen’s hand, but when Nasir comes home from overseas, Murad makes an attempt on his life injuring himself in the process. Nasir is sent to Kashmir to recuperate. Nasir meets Parveen, falls in love and ends up marrying her, not knowing that he has already been promised to be married to Nasreen.
Nasir and Parveen live a happy life in Kashmir until Nasir receives a telegram that his father, Akbar is in poor health. He rushes to Delhi to meet him. Nasir’s father reveals to Nasir that he has to marry Nasreen as per the decision taken by him and Shaukat. But Nasir tells his father that he has already married to Parveen. When Akbar finds out that his daughter-in-law is the child of a poor carpenter, the shock proves fatal.
Due to his father’s death, Nasir is unable to make it back to Kashmir where Parveen, who is pregnant with their child, gives birth. The locals, not believing that she is married, oust Parveen and her father from the village. Nasir, still not able to leave Delhi, sends his best friend, Mahmood to Kashmir to bring Parveen to him, but she is nowhere to be found, and a wicked villager falsely tells Mahmood that Parveen eloped with a rich man from Bombay.
Hearing this news, Nasir is shocked and eventually agrees to marry Nasreen as his late father had wished. By then, Parveen and her foster father arrive in Delhi in search of Nasir.
Of course, the film’s synopsis booklet did not reveal the end of the film as was the practice. But from the story of the film that is known, I can visualise that the foster father of Parveen would have revealed that she was not his biological daughter, but he found her in a stream in Kashmir. The father of Nasreen now remembers that Parveen is one of his twin daughters who was lost in Kashmir. Nasreen’s father is happy that Nasir had married his own daughter. So, the married couple lives happily.
The film had 9 songs all written by Sarshar Sailaani which were set to music by Shyam Sunder. 7 songs have been covered on the Blog. I am presenting the 8th song from the film, ‘ham jisko chaahten hain ……ye kaisaa dard hai’ which is rendered by Dilshad Begum.
Audio Clip:
Song-Ye kaisa dard hai jo idhar hai udhar nahin (Ek Roz)(1947) Singer-Dilshad Begam, Lyrics-Sarshar Sailaani, MD-Shyam Sundar
Lyrics:
ham jisko chaahte hain usey
kuchh khabar nahin een
ye kaisaa dard hai
ye kaisaa dard hai
jo idhar hai udhar nahin ee ee
ye kaisaa dard hai
masti bhari nazar kaa asar
kuchh naa poochhiye…ae
masti bhari nazar kaa asar
kuchh naa poochhiye….ae ae
itnaa saroor hai
itnaa saroor hai
ki hamein kuchh khabar nahin ee ee
ye kaisaa dard hai
jo idhar hai udhar nahin
ye kaisaa dard hai
ye ae khud kahegaa
unse mohabbat kaa maajraa
dil ke siwaa hamaara
koi naamawar nahin ee ee
ye kaisaa dard hai
jo idhar hai udhar nahin ee ee
ye kaisaa dard hai
poori kabhi to hogi mere
dil ki aarzoo oo
poori kabhi to hogi mere
dil ki aarzoo oo
wo shaam kaun si
wo shaam kaun si hai ke
jiski sahar hai ee ee
ye kaisa dard hai
jo idhar hai udhar nahin
ye kaisaa dard hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 9, 2024 at 11:09 pm
after reading the synopsis of this film I feel that the Reena Roy- Rekha- Rajesh Khanna film “Asha Jyoti” had a similar story only difference being that the ladies were not twins and they both commit suicide in the end so that the other lives-happily- everafter
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March 10, 2024 at 8:50 am
Yes. Even the reference to Kashmir is also in both the films. There is another exception in the story that Rekha and Reena Roy were not the usual ‘lost’ in childhood and found in adulthood’ girls.
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March 10, 2024 at 7:48 pm
Yes, Rekha & Reena Roy were not lost-and-found they were Guru-Shishya
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