Deewaana Gaya Daaman Se Lipat
Posted on: May 20, 2024
- In: "Naughty" song | "neend na aaye" song | Actor-Singer song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Paro Devi Solo | Paro Devi Song | playful song | Post by Sudhir | Songs of 1940s (1941 to 1950) | Songs of 1949 | Yearwise breakup of songs
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This article is written by Sudhir, 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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Saga Of Sleepless Nights – 10
– – – – – – – – – – – – – – – – –
raat bhar muaa sone naa de. . .
This snippet line is from a song that has not made it on the blog as yet. The film is ‘Vidhaata’ from 1982. This snippet line is from the naughty song “Saat Saheliaan Khadi Khadi, Fariyaad Sunaayen Ghadi Ghadi” (YT link). The song is kind of an item song that is performed on screen by a bearded and plump Shammi Kapoor lip syncing the voice of Kishore Kumar, with a harmonium in front of him, as he leads a local get together into a sort of celebration song. I am sure most readers will be familiar with this song. The lyrics are kind of raunchy, penned by Anand Bakshi. The song tells of the plight of seven friends whose husbands are in different professions. Each ‘saheli‘ tells of her woes as to how her husband does not let her sleep all night.
Rewind back 33 years earlier, to 1949. Another song that tells a similar story – the lady has the same complain, that her companion did not let her sleep all night. That the entire night was spent tossing and turning, and the night passed in this uljhan only.
Ah but, what a classical piece of understatement this song is. The words are very simple. Very little is said about the shenanigans that are purported to have happened. Just a few indicative words that are repeated over and over again. And the rest of the account of the happenings is left unstated, with the implications left to the imagination of the reader (listener). However, the naughtiness, the ambiance of exchange of passions, the unstated romance – all is so beautifully described, precisely by not saying even one word about it. And flow of words simply continues to emphasize and re-emphasize, the tossing and turning – make the most of it with just your imagination. What a wonderfully crafted song this one is – “kabhi is karwat, kabhi us karwat“. Practically everything is implicitly said, by actually not saying anything at all.
The song is from the 1949 film ‘Karwat’. The film comes from the banner of Shri Gopal Pictures, Bombay, and is directed by Prakash. The cast of actors includes Geeta Nizami, Satish, Jeevan, Paro Devi, Leela Mishra, Kesari, Kamlakant, Sarita Devi, Indu, Gharpure, Kanta Patel, and Pritama Malhotra etc. The film has 12 songs, all composed by Hansraj Behl. The songs are written by as many as five lyricists – Saraswati Kumar Deepak (1), Saifuddin Saif (6), VN Madhok (2), Charandas (1), Pardesi Balam (1) and BR Sharma (1). This song is from the pen of Saifuddin Saif. The singing voice is that of Paro Devi. Since her name also appears in the list of actors, it is safe to assume that the song is picturised on Paro Devi herself.
As I was searching for some info on Saifuddin Saif and Paro Devi, I came across the following brief bio-sketches that Sadanand ji has already prepared and presented in a couple of earlier posts.
Here is a brief about Saifuddin Saif, written by Sadanand ji, in his post for the song “Nigaahen Milaane Ko Jee Chaahta Hai“, for this film itself.
. . . Saifuddin Saif, a name I had rarely heard of. A search on the internet revealed that Saifuddin Saif (1922-1993) was one of the prominent Urdu poets in Pakistan. He was born in Amritsar and completed his graduation from Lahore. He started writing poetry from his college days. He fell in love with a girl in the college who deserted him. His failure in a love affair is reflected in some of his ghazals and nazms which I have gone through. In Lahore, he was drawn towards film industry.
After reading his short life sketch, I could see some similarities of events in the early life of Saifuddin Saif and Sahir Ludhianvi. Both had unsuccessful love affairs in their colleges and some of their poetry reflected the feelings of despair in that front. They even seem to think alike in one of their ghazals. For instance Sahir Ludhianvi’s “Kabhi Khud Pe Kabhi Haalat Pe Ronaa Aaya” with Saifuddin Saif’s “Hum Ko To Gardish e Haalat Pe Ronaa Aaya” express almost identical feelings in similar words with one she’r in both these ghazals having almost similar wordings. Both had leftist leaning in their idealogy. Sahir Ludhianvi probably knew him during his Lahore days through the Progressive Writers Association. After partition, while Saifuddin Saif migrated to Lahore, Pakistan, Sahir Ludhianvi returned to India.
Even though both were poets, they were more interested in associating themselves with the film industry. While Sahir Ludhinavi limited his association with film industry to writing songs, Saifuddin Saif not only wrote songs but also wrote scripts and dialogues and produced films in Pakistan. He also produced a Punjabi film ‘Kartar Singh’ (1959) jointly with Amrita Pritam in Pakistan and directed it.
And about Paro Devi, Sadanand ji has written the following in his post for the song “Chale Aana Morey Raja Waada Yaad Kar Ke” of the film ‘Heera’ of 1947.
I could retrieve some information on Paro Devi from Sadat Hasan Manto’s book ‘Stars from Another Sky’ which I have in my possession. Both these actresses had come from different backgrounds and the progression of their filmy career has differed. Paro Devi was a courtesan from Meerut and she entertained only the high grade clientele both in terms of affluence and eminence like Josh Malihabadi and Saghar Nizami. She was financially well off. All she wanted now was to become an actress. On the other hand, Begum Para came from a respectable family. Her father was the Chief Justice of the then Bikaner State. She was educated in Aligarh Muslim University and was financially well off. Like Paro Devi, Begum Para was also interested in becoming an actress. Since her elder brother Madsrurul Haq was already married to actress Protima Dasgupta, it was easy for Begam Para to get an entry into the film by becoming the heroine in ‘Chaand’ (1944).
How Paro Devi landed in Hindi film industry is not mentioned in Manto’s book. However, I guess that some of Paro Devi’s clientele may have been from the Hindi film industry and one of whom may have recommended her name to Shashdhar Mukherjee of Filmistan when he was finalizing the cast for the film “Shikaari’ (1946). It is interesting to note that both Josh Malihabadi and Saghar Nizami were involved with Hindi film industry at that time.
Paro Devi started her acting career with Filmistan’s ‘Shikaari’ (1946). In the film, Ashok Kumar and Veera were in lead roles. Paro Devi had a side role as a Burmese tribal girl who was head strong and aggressive. But in view of her background as an entertainer with pleasing manners, the film’s director had lots of difficulties in getting from her the required expression and delivering the dialogues in commensurate with her role in the film. Since as courtesan, singing came to her naturally, in this film, she sang her own songs. The film was a huge box office hit. With this, Paro Devi as an actor-singer signalled her arrival in Hindi film industry.
During 1946 to 1950, Paro Devi acted in 16 films, but barring a couple of films, she was mostly in the capacity of what is known as a side heroine/character. During this period, she sang around 40 songs on herself. However, because of her peculiar voice quality which, to my mind, was more suited for coquettish songs than the soft love songs, she had to lip sync in the voices of other playback singers. For instance, in ‘Shabnam’ (1949), Shamshad Begum sang four songs for her including “Tumhaare Liye Huye Badnaam. From about mid-50s onward, Paro Devi was mostly relegated to the character roles. From her filmography, I find that she was fairly active in her acting career which spanned for nearly 35 years during which she acted in 88 films.
One more artist that we must talk about today is music director Hansraj Behl. Today, 20th May, is his 40th remembrance day. He had completed his mortal journey this day in the year 1984. A brief bio about Hansraj Behl is taken from one of my earlier posts, for the song “Nainon Ki Nagri Mein Aa Ke” from the film ‘Pujaari’ of 1946.
Born on 19th November, 1916 in Ambala, not much is known about his early years. Except that he learnt music at a young age, and his Guru’s name is Pt. Chunnilal (of Ambala). After completing his education, he moved to Lahore, and established a music school in the respected ‘Anarkali’ shopping area. At this time he used to plan and present music programs on stage. HMV noticed this young talent and in the year 1942, he released a few non-filmi records. The film bug bit him, and he came over to Bombay in 1944, to build a career for himself, as a music director. The initial years were a struggle – unsuccessful trials at Bombay Talkies, assistant to Pt. Gobindram for one film under the banner of Prakash Pictures, a short 15 days job at Navyug Chitrapat in Pune. The turning point came in the year 1946, and he landed three assignments as an independent composer. The films – ‘Pujari’, ‘Gvaalan’, and ‘Phulwaari’. The music was good and appreciated, however the films were not commercial successes. And then a foothold finally, at Ranjit Movietones in 1947. Khemchand Prakash was the main music director at Ranjit, and in a trial for assistants, Hansraj Behl’s compositions were considered the best out of a lot of 45 aspirants. And Hansraj Behl got his first regular job. ‘Chheen Le Azaadi (1947) was his first independent assignment at Ranjit. A Mukesh – Shamshad Begum duet from this film “Moti Chugney Gayee Re Hansi. . .” was one the most successful songs for that year. This was followed by ‘Duniya Ek Sarai’ (also 1947) which was written and directed be Kidar Sharma. In this latter film, he recorded one song in the voice of Meena Kumari “Maa, Dekh Ri Maa, Badli Hui Jawaan”. There followed a string of successes that established him as a force in music direction – ‘Chunariyaa’ (1948), ‘Chakori’ (1949), ‘Karwat’ (1949), ‘Zevraat’ (1949), ‘Raat Ki Raani’ (1949), ‘Bahurani’ (1950), ‘Gulnar’ (1950), ‘Khamosh Sipaahi’ (1950), ‘Kisi Ki Yaad’ (1950) – the list is impressive. ‘Apni Izzat’, ‘Resham’ and ‘Moti Mahal’ in 1952, ‘Dost’, ‘Khaiber’ and ‘Lal Pari’ in 1954, ‘Darbaar’ and ‘Shah Behraam’ in 1955, and so on. The film ‘Chunariya’ (1948) is also the debut film for Asha Bhosle. Asha ji sang her first song (not a solo) “Saawan Aayaa Saawan Aayaa Saawan Aayaa Re” with Geeta Dutt and Zohrabai Ambala under the baton of Hansraj Behl.
Hansraj Behl’s music carries clear hallmarks of an innovator and experimenter. The song “Keh Rahi Hain Dhadkane Pukaar Ke” from ‘Lal Pari’ (1954) is a delightful melody based on guitar. The use of echo in the song “Haaye Jiaa Roye. . .” from Milan (1959), has made this so impressive. And further, he himself narrates the anecdote for the song from ‘Saawan’ (1959). For the song “Nain Dwaar Se Mann Mein Samaa Ke” he wanted to use the echo for Mukesh. The sound recordist seriously objected, saying that Mukesh’s voice is already heavy and carries a lot of bass. But Hansraj Behl insisted and had his way. The song eventually turned out to be so impressive – for it is being performed on screen by Bharat Bhushan, who is tending sheep in a valley, a perfect situation for an echo.
In parallel to his commanding presence in the Hindi cinema, he also composed for Punjabi cinema, and ruled the roost in that segment for the years 1949-66. His combined output for Hindi and Punjabi cinema is about 125 films over a period of 1946 to 1980. He passed away on 20th May, 1984, after a brief battle with cancer.
Coming back to the song being presented today. I would say that this is a masterful creation by the lyricist and the music director together. As one starts to listen to the song, with every line comes the expectation – that something more will be said in the next line. And that does not happen. Almost. The poet very craftily gives very slight nudges to the scenario, and very slowly. And then the song ends, leaving behind a bevy of assumed and imagined scenarios, as to what happenings could have been in progress, behind the simple words that are stated
I was introduced to this song many years back, by Praveen Somaiya, a dear music loving friend in Bombay. And I have been a fan of this song for all these years. Finally it gets to see the light of the computer screen.
And so continues the Saga of Sleepless nights. Of all the various experiences that this series of songs has taken us through, this episode now tells of yet another reason behind the sleepless state of affairs. That the protagonists cannot sleep – for now they are together. :D) :D)
Enjoy the song, and contemplate another flavor of the sleepless nights.
Song – Deewaana Gaya Daaman Se Lipat (Karwat) (1949) Singer – Paro Devi, Lyrics -Saifuddin Saif, MD – Hansraj Behl
Unidentified Male Voice
Lyrics
aaaaaaa aaa aaaa
aaa aaaaa aaaa aaa
aaaaaaa aaaaa aaaa aaaaa
aaaaa aaaaa
deewaana gaya daaman se lipat
kabhi is karwat kabhi us karwat
deewaana gaya daaman se lipat
kabhi is karwat kabhi us karwat
main kehti rahi chal hat chal hat
kabhi is karwat kabhi us karwat
deewaana gaya daaman se lipat
kabhi is karwat kabhi us karwat
ab hans ke jo badhne laga natkhat
ho kabhi is karwat kabhi us karwat
kabhi is karwat kabhi us karwat
main anchal mein gayi aap simat
kabhi is karwat kabhi us karwat
deewaana gaya daaman se lipat
kabhi is karwat kabhi us karwat
main kehti rahi chal hat chal hat
kabhi is karwat kabhi us karwat
zaalim ne utha hi diya ghunghat
haaye mera ghunghat
mmm mmmm
zaalim ne utha hi diya ghunghat
haaye mera ghunghat
ho kabhi is karwat kabhi us karwat
kabhi is karwat kabhi us karwat
is uljhan mein gayi raat nikal
kabhi is karwat kabhi us karwat
deewaana gaya daaman se lipat
kabhi is karwat kabhi us karwat
main kehti rahi chal hat chal hat
kabhi is karwat kabhi us karwat
o kabhi is karwat kabhi us karwat
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————
आssssss आss आsss
आss आssss आsss आss
आssssss आssss आsss आssss
आssss आssss
दीवाना गया दामन से लिपट
कभी इस करवट कभी उस करवट
दीवाना गया दामन से लिपट
कभी इस करवट कभी उस करवट
मैं कहती रही चल हट चल हट
कभी इस करवट कभी उस करवट
दीवाना गया दामन से लिपट
कभी इस करवट कभी उस करवट
अब हंस के जो बढ्ने लगा नटखट
हो कभी इस करवट कभी उस करवट
कभी इस करवट कभी उस करवट
मैं आँचल में गई आप सिमट
कभी इस करवट कभी उस करवट
दीवाना गया दामन से लिपट
कभी इस करवट कभी उस करवट
मैं कहती रही चल हट चल हट
कभी इस करवट कभी उस करवट
इस उलझन में गई रात निकल
कभी इस करवट कभी उस करवट
दीवाना गया दामन से लिपट
कभी इस करवट कभी उस करवट
मैं कहती रही चल हट चल हट
कभी इस करवट कभी उस करवट
हो कभी इस करवट कभी उस करवट
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 23, 2024 at 10:42 am
Sudhir Ji
Thanks for the post. Interesting song & great details about lyricist, singer and composer.
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