Ek din dol uthhee dhartee
Posted by: Atul on: May 30, 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 the religious film ‘Kan Kan Mein Bhagwan’-1963.
This film was produced by Mahipatrai Shah, under the banner of “Roop kala pictures”. He is the same person who had also produced, along with his brother Anupchand Shah, the film “Begunah”-1957 under their banner Roop Kamal Chitra. These brothers were from Saurashtra in Gujarat. They had already produced three films, namely ‘Shri Vishnu Bhagwan’-1951, ‘Adhikar’-1954 and ‘Riyasat’-1955.
Film Begunah-1957 was a ditto copy of Danny Kaye and Mai Zatterling’s film “Knock on wood”-1954, made by Paramount Pictures, Hollywood. The Paramount company dragged the producers to court and within 45 days, the film Begunah-57 was totally banned immediately. All its negatives and prints were destroyed within the next 3 months. The Shah brothers closed their film business and started a chemical company ” Animex Chemicals” near Poona. After a few years, Mahipatrai floated his company Roop Kala Pictures and started making films again.
Film “Kan kan mein Bhagwan”-1963 was directed by Babubhai Mistry, who was known as the Pioneer of Trick Scenes in India. he had started his career as a Poster Painter (like Kidar Sharma) and then became an expert Editor. In 1937, he was an assistant to Vijay Bhatt of Prakash Pictures (makers of Baiju Bawra), Bombay.Film “Khwaab ki Duniya “-1937 was Vijay Bhatt’s first Directorial venture. The film was based on the famous novel “The Invisible Man”, by H.G.Wells, published in 1897. A film was already made on it in 1933 in Hollywood. For this film, Babubhai used his creative ideas with a Black screen and few Black threads to make the Hero and his acts invisible on screen. The film became a Hit and Babubhai was known as “Kala Dhaga”, in the film industry till his death.
He became a director with Wadia’s film ‘Muqabla’-1942, a story of identical Twin sisters. In this film also Babubhai excelled in his trick scenes. He directed 49 Hindi films, mostly B and C grade films, 1 Telugu film and 9 Gujarati films. He was born on 5-9-1918 and died on 20-12-2012 in Mumbai.
Today’s film is the story of Saint Jainath from Gujarat. The film depicts how he suffered because he was from a lower caste and how he finally became a famous saint. Jainath was not the first or the only low caste saint who initially suffered from the society elites, but all over India, during the period of 1300 to 1600 A.D. There were caste problems, religious anarchy and additionally foreign invaders kept on attacking India to destroy Hinduism and win over India.
The period of 1300 to 1600 A.D. gave rise to several saints in different parts of the country to awaken the pride for Hindu religion among the Hindus, irrespective of their different languages and cultures. Actually this had started from the 900 A.D. itself from the Madras Presidency in South India. This was called the ” Bhakti Movement”. The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.
Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.
India is a Multi racial, multilingual and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.
Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.
Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Out of the many saints and reformers of Maharashtra, few stand out for their additional contribution towards literary works. For example, Gyaneshwar wrote ‘Gyaneshwari'(translation of Geeta into Marathi), Tukaram wrote Abhangs, Namdeo contributed to Punjabi language, Sikh culture and Guru Granth Sahib, Ramdas wrote ‘Dasbodh’ to teach people how to balance between Bhakti and Bhog(family life), and Tulsidas translated Sanskrit Ramayana in Awadhi language which is called Ramcharitamanas. Then there were Kabir, Rahim and many others too.
Maharashtra led this movement and several saints came up to guide the people. In Maharashtra, saints came from almost all castes – higher to the lowest. There was no gender discrimination also. Many of the saints here were women. Take a look at these names…..Dnyaneshwar, Ramdas, (Brahmins),Namdev-Tailor, Chokha mela-Gardener, Narhari-Goldsmith, Gora kumbhar-Potter, Rohidas-Chamar, Savta mali-Gardener, Banka mahar-Shoodra, Tukaram-Baniya, Janabai,Muktabai, Goma Bai, Sakhubai, Bhagu bai, Bahinabai, Kanhopatra etc etc.
Sant Jainath of this film was also one saint risen from the lower caste. The short story of this film is….
Jainath is born in a lower-caste family, consisting of his father, Raghu, and house-wife mother. In his childhood itself he incurs the wrath of upper-caste Hindus, led by Badey Thakur, when he dares to venture in the Mandir of Bhagwan Shri Krishan. Sage Atmanand intervenes, makes him a disciple and teaches him about the Veda and Bhagwad Geeta. When he grows up he meets with Roopa, who is also a low-caste, and both fall in love much to the chagrin of her maternal uncle, Kallu, who dislikes Jainath. Then Badey Thakur sees Roopa and would like to make her his own despite her background, but she rejects him. The humiliated Thakur sets a trap with others in the community that will ensure that her uncle gets enough wealth to get her married to an elderly male – while Jainath will be arrested, brought before the Maharaja – and sentenced to death. The rest of the film shows several miracles and coincidences to emphasize how Jainath is freed and how the king announces all temples open for all castes thereafter.
The cast of the film was Mahipal, Anita Guha, Ramsingh, Mrudula Rani, Ratnamala, krishnakumari and many others. The music was by Pt. Shivram, a less known Music director. He was one of those composers who could not get very famous, though he composed very well. Pt. Shivram Krishna was born at Jodhpur on March 22, 1927. He started learning music at the age of 8 under the tutelage of his father Master Tulsidas, who worked with Marwar Record Company, Jodhpur from 1934 onwards. He was later employed in the court of the Maharaja of Jodhpur, Umed Singh as a singer/musician. It was the name and fame of Khemchand Prakash that inspired him to try his luck in films. At the age of 16, he went to Lahore where he worked under Pandit Amarnath and Master Ghulam Haider for around three years, only to return to Jodhpur at the time of partition. From the year 1948 till 1950 he worked as a music director with His Masters Voice in Lucknow, and then made his way to Mumbai in 1951.
At Mumbai, Pt. Shivram was given his first break by V. Shantaram, who signed him for two of his films – Teen Batti Char Raasta (1953) and Surang (1953). The music of both the films was appreciated and the films became silver jubilee hits. Besides these, V. Shantaram gave him two more films in 1960 – ‘Phool Aur Kaliyan’ and ‘Kaale Gore’, the first winning the National Award for Best Children film, while the second remained unreleased. He used the voices of V. Shantaram’s daughters Charusheela and Madhura in children’s films.
Following the success of his initial films, Pt. Shivram caught the attention of Dhirubhai Desai and Nakhshab Jarchavi, who signed him for their next films, Oonchi Haveli (1955) and Raftaar (1955) respectively. The songs of these two films were also quite successful. Then came Sati Ansuya (1956), another film by Dhirubhai Desai that started the trend and literally sealed his fate as a composer of mythological films. Barring Naya Kadam (1958), a social drama, and Rangeela Raja (1960), a stunt film, and the two children films by V. Shantaram, all the films he got after Sati Ansuya were religious/ mythological films. In all, out of the 24 films he composed for, as many as 14 were religious/ mythological films.
He composed 185 songs. He also sang 7 songs in 6 films.
Despite composing some good songs for these films, the success he got with his initial films could not be repeated given the limited popularity of such films and similarity in the genre of songs. Barring a few songs from Shravan Kuman (1960), Kan Kan Mein Bhagwan (1963) and Sati Naari (1965), most of the songs are all but forgotten. ‘Tum Naacho Ras Barse’ by Mahendra Kapoor in Sati Naari fetched Pt. Shivram the Swami Haridas Award in 1966.
The last two Hindi films of Pt. Shivram were Sampoorna Teerth Yatra (1970) and Mahapavan Teerth Yatra (1975), both of which have the unique distinction of featuring what could be the longest Hindi film songs, running 45 and 70 minutes respectively. Both these songs were about the various places of pilgrimage in India and were almost similar in tune and structure. Interestingly, he had also composed two more songs on similar lines in Durga Pooja (1962) and Kan Kan Mein Bhagwan (1963).
Pandit Shivram gave music for various regional languages such as Rajasthani, Bhojpuri, Punjabi, Haryanvi, etc. He was the default composer for Rajasthani films all through the 1960s, starting with the first Rajasthani film Babasa Ri Ladli (1961). He also composed for several Marwari and classical music non-film albums. As a proficient Harmonium player, he teamed with tabla-nawaz Ustaad Nizamuddin Khan to produce a classical album. Pandit Shivram was as good a vocal artist as he was a harmonium player. He sang in films like Oonchi Haveli, Rangeela Raja, Sati Ansuya, Badrinath Yatra, etc.
The lyricists Pt. Shivram worked with, were more or less decided by the films he worked in. While he worked with the likes of Asad Bhopali, Shevan Rizvi, Pyare Lal Santoshi, Nakhshab Jarchavi, etc. in his non-mythological films, predominantly ‘Hindi’ writers like Bharat Vyas, Kavi Pradeep, Neeraj, Madan Bharti and Pt. Indra wrote for his mythological films. Pt. Indra and Bharat Vyas were his prime contributors for Rajasthani films.
Pandit Shivram died on 2nd February 1980 leaving behind a family of musicians. His daughter Jayshree Shivram is a singer. Two of his sons, Jugal Kishore and Tilak Raj jointly composed for a few Hindi films, debuting with Bheegi Palkein (1983). His third son, Naveen Shivram had started his musical career with giving music for the serial Apnapan in 1999 and went to compose for a few small time Hindi films and some Rajasthani film and non-film albums as well. Another son, Mukesh, was also a composer and is no more. (Information on Shivram, based on urgetoflydotcom and my notes).
I thank our friend Shri Avinash ji for sending me this song and its Lyrics, suggesting that I should do a post on this final song. With this song all songs are covered and the film is YIPPEED.
Video
Song-Ek din dol uthhi dharti (Kan Kan Mein Bhagwan)(1963) Singer- Mahendra Kapoor, Lyricist- Bharat Vyas, MD- Pandit Shivram
Chorus
Unknown male voice 1
unknown male voice 2
Lyrics (Provided by Avinash Scrapwala)
Hey ae ae ae ae
ae ae ae
Hey ik din dol uthhi dharti
Chahun ore ke paap ke
Baadal chhaaye
Raakshas kans karey vidhwans
Sabhi nar naari pe
Zulm dhhahaaye ae
hey Dekh ke zulm ye
Doli dishaayen
Aur goonj uthhi Aakaash ki vaani
Pun aur paap mein yuddh huaa
Hamein tumko sunaani hai Krishna kahaani
Krishna kahaani
Hey jab tak khadaa
Himaalay hai
Jamuna mein paani hai
Bharat ke bhagwaan Krishna ki
Amar kahaani hai
Bharat ke bhagwaan Krishna ki
Amar kahaani hai
Hai badi puraani baat
Bhaadrapad raat
Ghani barsaat
So rahe thhe sab sansaari
Bandigruh janme avtaari
Krishna ki leelaa hai nyaari
Phir huaa Shor ghanghor
Jag mein Chahun oar
Lagaa ke zor
Ban bijlee ke jab chhute
Bandi ghar ke taale toote
Nanhaa saa lalnaa
Tokariyaa ka palnaa
Lo sar pe uthhaaye
Vasudev chaley
Aa aa aa
Chadhtaa hai pal pal
Jamuna jee ka jal
Toofaanon mein nanhaa
Laal paley
Aa aa aa aa aa aa aa
Badhhne lage jo aage
Badhhte hi dooban laage
Darshan ko nadiyaa
Ubhar gayi re
Aa aa aa
Laal ne nanhe nanhe
Paanv nikaale
So chhoote hi jamuna utar
Gayee re ae
Utar gayee re
Aa aa aa
Hey ae charnon ko chhoo kar
Jamuna ka paawan paani hai
Bharat ke bhagwaan Krishna ki
Amar kahaani hai
Hey laal ne dekho kamaal kyo
Ek din uske man mein kyaa aayee
maiyya se chupke
Maiyya se chhupke
Angnaa mein baithh ke
Maati khaaye
Maiyya yashoda laal bhai
Aur laal ko krodh ki baat sunaayee
Maiyya yashoda laal bhai
Aur laal ko krodh ki baat sunaayee
Mere agaadi tu dol nahin
Munh khol re kanhaa
Tu maati khaayee
Main nahin maati khaayee Ri maiyya
Main nahin maati khaayee
Arey tu hi to maati khaayee Kanhaiyya
tu hi to maati khaayee
Main nahin maati khaayee Ri maiyya
Main nahin maati khaayee
Arey khol re khol re Mukh apnaa
Jab maiyya kanhaiyya pe Zor jataayo
Krishna ne kholaa
Jo mukh apnaa aa aa aa
Aa aa aa aa
Krishna ne kholaa
Jo mukh apnaa
To yashoda ko brahmaand dikhaayo
yashoda ko brahmaand dikhaayo
hey bal krishna ki leelaa ye
kis se anjaani hai
Bharat ke bhagwaan Krishna ki
Amar kahaani hai
Arey chalo re chalo
Bhaai chalo
Hey gend hawaa mein
Lagi udney
Jab hod lagi donon ke
Dal mein
Soti pe soti
Aur choti pe choti
Langoti mein mansukh
Garjaa pal mein
Maar de soti
Oye ae
Arey maar de soti
Ye gend hai chhoti
Re aati nahin kya ye Baat akal mein
Sun ke kanhaiyya ne
Maar sapaataa so
Gend giree jamuna ke jal mein
Aa aa aa aa
Jaa re jaa baalak
Laut jaa ghar ko
Aa aa aa aa aa aa
Aa aa aa aa aa aa
Hey ae naag kaaliya dusht thha
Dukhiyaaraa thha gaanv
Naath ne phan ko naath kar
Sar par raakhe paanv
Bholo bhai kaalinaath ki
jai
Ghanan ghanan ghan garj uthhe
Dharati dagmag
Ambar doley
Bhookamp pralay ka Munh kholey
bhaunchaal kaal Baanhe vishaal
Vikraal vesh Mathura naresh
Yaadav kul kaa Main amar ansh hoon
Are kaun baal mera Bantaa kaal
Main mahaa kaal hoon
Kroor kans hoon
Kroor kans hoon
Saavdhaan
O kans saavdhaan
Goonjti dharaa
Garaj rahaa hai aasmaan
Arey mujhse kya muqaabla
Tu nanhaa baal hai
Arey mujhse kya muqaabla
Tu nanhaa baal hai
Chingaari mein chhupi huyi
Re mahaa jwaal hai
Dushton ka vinaash ho
Ye hai mera vidhaan
Saavdhaan
Saavdhaan
Saavdhaan
Hey kans ko maar giraaya
Pal mein
Kathaa puraani hai
Bharat ke bhagwaan
Krishna ki
Amar kahaani hai
Bharat ke bhagwaan
Krishna ki
Amar kahaani hai
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3 Responses to "Ek din dol uthhee dhartee"
September 2, 2024 at 7:38 pm
The Andhra Brahmin community, with its rich history, deep-rooted traditions, and strong cultural practices, has played a vital role in shaping the social and cultural landscape of Andhra Pradesh. Their commitment to preserving Vedic knowledge, education, and the arts has ensured that their heritage continues to thrive in contemporary India. As custodians of ancient traditions, the Andhra Brahmins remain a respected and influential community within Indian society.
https://www.indianetzone.com/27/andhra_brahmin_community_brahmin_caste.htm
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 2, 2024 at 9:47 am
Thanks for this interesting post Sir jee. I have always loved to read about the ‘Bhakti movement’ in India. All the Saints have greatly contributed in the ‘national integration’ through their movement of ‘awakening’ the people.
I had forgotten that this movie ‘Kan Kan Mein Bhagwaan’ was based on the life of Saint Jainath. Thanks for the details about the movie and its producer and director.
I would also like to thank you for sharing the valuable information about music director Pt Shivram. I like many of his compositions and while sharing lyrics for the blog I got to share some of his compositions.
‘Kan Kan Mein Bhagwaan-1963’ is one of the movies whose songs are always the part of my permanent memory. I got to watch this movie when I was a growing child i.e. may be sometime around 1976-1980. I am very happy to see this movie covering all its songs on the blog.
Thanks a lot and with best regards ,
avinash
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June 2, 2024 at 10:48 am
Avinash ji,
Thanks for your detailed comments. I only hope that this post fulfilled the expectations you had, when you sent me this song, for doing a post.
-AD
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