Pyaar kar le milaa le nazar
Posted on: May 27, 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 a Costume film Roop Sundari-1964.
This routine ” King-Queen-Vazir” type C grade film was directed by Chandrakant (Gaur). His name is not very famous, but he was one of those artistes of the first generation of Hindi films, who was a multi-faceted person. He was an actor, producer, director, Lyricist and a music director. In the early phase of the Hindi films, being “a jack of all trades’ was a guarantee of a permanent job in a film studio and a sure way of survival with respect. I remember another such artiste – Badri prasad. He was an actor- first as a Hero and then as a character artiste, Producer, Director, lyricist, Singer, Music Director and also a Choreographer. (He was a Sanskrit scholar too and an author, according to his daughter). I remember his roles in films like ” Albela”-1951 and ” Hum sab chor Hai”-1956.
Perhaps it was a necessity in the days of ” Studio Culture’ in the early times. Every studio wanted to run most economically, and hence such multi-talented people were their assets. As such, in a studio system, no one was employed as an actor, director, singer or with any other label. The rule was one had to do work as per the studio’s needs. Thus a Canteen manager-Ameya Chakrawarti- became a film director when Devika Rani needed it and a Choreographer- Guru Dutt -became a director when Prabhat needed it. An extra- Omkar Devaskar sang a song to test Indi’s first sound machine in Imperial studios and another extra-mehboob Khan- became a film director. There are many such examples.
Roop Sundari-1964 was actually a remake of a film of 1949, having the same title. Although remakes of old films were nothing new in Hindi films, the remade film’s title also being the same was unusual. You will be surprised to know that the remake with the same title was first started by the Pioneer of films in India – Dadasheb Phalke. He made India’s first full length silent film ” Raja Harishchandra”- in 1913 and after 4 years he made its remake, with the same title in 1917 as a silent film again. In fact, in all 14 Hindi films and 1 marathi film were made on the same story from the beginning of film history in India.
The very first silent feature film made in 1913 by Dadasaheb Phalke was based on this story. From 1913 onwards there were 6 silent films made on this story, in the years 1913, 1917 (2 films-one from Bombay and the other from Calcutta),1924, 1928 and 1929. After the Talkie films started, in the first year itself, i.e. in 1931, there were 2 films made on this story. The first was Harishchandra-1931 made in Bombay by Krishnatone film co. and the other was Satyawadi Raja Harishchandra-1931 made in Calcutta by Madan Theatres. Following is the list of films based on this story….
1931- Harishchandra
1931- Satyawadi Raja Harishchandra
1932- Ayodhya ka Raja ( Hindi version of the First Marathi Talkie ” Ayodhyecha Raja”, by Prabhat Films )
1952- Raja Harishchandra
1958- Harishchandra
1963- Harishchandra-Taramati
1970- Harishchandra Taramati
1979- Raja Harishchandra.
Then in the 1950’s there were many films remade on older films, but all had different titles. The list would be a long one, but here are a few such film remakes, for example…..
1. Film Aurat-1940 was remade as Mother India-1957. Actor Kanhaiyalal did the same role of ‘Sukhilala’ in both films.
2. Film Mala-1941 remade as Amar-1954. Naushad was MD for both films. Jayant did the same role in both films.
3. Film Grihasthi-1948 remade as Ghar BasaKe Dekho-1963
4. Film Pugdi-1948 was remade as Dil Duniya Daulat-1972
5. Film Badal-1951 and film Shamsheer-1953 had the same story
6. Film Malkin-1953 remade as Biradari-1966
7. Film kathputli-1957 and the film Sitaron se aage-1958 had the same story and same Heroine- Vaijayantimala. etc. etc.
Film Roop Sundari-1964 was directed by Chandrakant (Gaur)………
Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 7 films.Midnight Mail-39, Maataa-42, ‘Maharathi Karna’ (1944) (he had a small role), Swarn Bhoomi-44, Seedha Rasta-47, Mere laal-48 and Chhatrapati Shivaji-52. His name clashes with another Marathi actor Chandrakant Gokhale, who acted during the same period. Chandrakant Gaur was born in UP on 7-11-1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.
During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 26 Hindi films, mostly B grade, stunt/action and Mythological films only.
He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived the Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973). His name also appears as MD for film Do Dost-60, as a Lyricist for film Neelam Pari-52 and even as a singer in a trio song of film Neera aur Nanda-46. It is presumed that he was also a producer for some films . He died on 23-7-2012 at Bombay. (Ack: Marathi Cinema in retrospect-Sanjit Narvekar , Asli Nakli chehere by Vithal Pandya, HFGK,muVyz and my notes).
The cast of the film was Anita Guha, Mahipal, B.M.Vyas, Ratnamala, Sundar, Bela Bose and many more. In Hindi films, 3 actresses had earned a name for depicting roles of Goddesses, in Mythological films. They were Shobhana Samarth (speciality Seeta), Nirupa Roy (speciality Parvati) and Anita Guha (speciality Santoshi Mata).
Anita was born on 17-1-1939 on the Indo-Burma border, where her father was a Forest Officer. Her childhood was spent in the North-East, but after Partition her family shifted to Calcutta. She did her schooling here. In the early 50s, she became “Miss Calcutta”. In 1952, she also won in the Kolynos Talent competition in Bombay, along with Chand Usmani and Peace Kanwal.
A R Kardar signed a contract with her for 2 years and she returned to Calcutta. However, she started getting many film offers in Bangla, so she cancelled her contract with Kardar and did many films in Bangla Language. Meanwhile she also picked up Hindi fluently.
Actor producer Omprakash met her in one of his visits to Calcutta and he offered her the Heroine’s role in film Duniya Gol Hai-1955, opposite Karan Dewan. She accepted the film and shifted to Bombay. Not having proper guidance, she started accepting any film that came to her. As a result in A grade films, she did side roles and in B grade films she became a Heroine. After Duniya Gol hai and Tangewali, she did many Hindi films. Her first Mythological film was Pawanputra Hanuman in 1957 and then she was branded a Religious film heroine. She however did some social and comedy films like Gateway of India, Dekh kabira Roya, Goonj uthi shehnai etc etc.
In 1961, she appeared as Sita, in Babubhai Mistry’s Sampoorna Ramayana, which made her a household name. But it was her title role in Jai Santoshi Maa (1975) that brought her the most fame. She had never even heard of goddess Santoshi until she was offered the role, as this was a little- known goddess. It was only a guest appearance, and her scenes were shot in 10–12 days. She fasted during the shooting. The low-budget movie was a surprise hit and broke box office records while becoming a cultural phenomenon. The goddess Santoshi now became a famous goddess, and women all over India worshipped her. People treated the movie theatres showing Jai Santoshi Maa as a temple, bringing offerings of food, leaving slippers at the door. Guha claimed that people came to her asking her to bless them, as they perceived her to be a real goddess.
Other mythological films she acted in include Kavi Kalidas (1959), Jai Dwarkadesh (1977) and Krishna Krishna (1986). She wasn’t happy that she became typecast as a mythological actress, because acting offers eventually stopped coming her way. Her earlier credits include period films such as Sangeet Samrat Tansen (1962), Kan Kan Mein Bhagwan (1963) and Veer Bhimsen (1964). She played Rajesh Khanna’s adoptive mother in the huge hit Aradhana (1969).
Anita Guha was married to actor Manik Dutt, they had no children. After her husband’s death, she lived alone in Mumbai where she died of cardiac failure on 20 June 2007. Anita Guha is the maternal aunt of actor Prema Narayan and Prema is the daughter of her sister Anuradha Guha. She is also the aunt of another film actress Mithu Mukherjee.
She acted in more than 100 films and did acting in Hindi,Bangla, Rajasthani and Bhojpuri films. (The post is based on information culled from beetehuedin.com, S. Sarvaiya’s article, muVys, HFGK, Ateet ke sitare,wiki and my notes.)
The short story of this film is…..
Sundari was as beautiful as her name. Her step mother and step sister tortured her after the demise of her father. Sad Sundari meets the Prince of Kundanpur. They fall in love and get married. She becomes the queen. This is not tolerated by the kingdom’s tantrik, who wishes to usurp the throne. He contacts Sundari’s step mother and promises her daughter Sundari’s place as queen. They together create misunderstanding with the Prince and Sundari is thrown out with her newborn baby. However the prince with the help of his friends finds out the truth and arrests the tantrik and gets him killed. Sundari returns as queen with honor and all is well in the end.
With today’s song, the film Roop Sundari-1964 gets YIPPEED, with all its songs covered.
Song- Pyaar kar le mila le nazar (Roop Sundari)(1964) Singer- Asha Bhosle, Lyricist- Bharat Vyas, MD- Sardar Malik
Lyrics
Pyaar kar le mila le nazar r r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
pyaar kar le mila le nazar r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
raat rangeelee rut nasheelee
aur ghataayen chhaa raheen
raat rangeelee rut nasheelee
aur ghataayen chhaa raheen
apnee ulfat ke taraane
ye hawaayen gaa raheen
o o
ye hawaayen gaa raheen
gaa raheen
gaa raheen een
aay haay
ye ishaare samajh de khabar(?)
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
pyaar kar le mila le nazar
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
ang phhadke
dil kyun dhhadke
aaj qasmein tod do
ang phhadke
dil kyun dhhadke
aaj qasmein tod do
jaadoogar ho tum agar to
tootaa sheeshha jod do
o o
tootaa sheeshha jod do
jod do
jod do o o
haaye haay
aa muhabbat ka dekhen asar
phir ye duniya rahe na rahe
phir ye duniya rahe na rahe
pyaar kar le mila le nazar r
phir ye duniya rahe na rahe ae
phir ye duniya rahe na rahe
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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