Mil mil ankhiyaan balam jiyaa dhhadke
Posted on: September 12, 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 film Paak Daman-1957.
This was a Muslim social film.
I have already written at length about Muslim Social films made in India since 1931 in my last post on a song from film Ismat-1944. But that was all for such films before Independence.
After partition, Indian films lost a major market like Lahore, Karachi, Rawalpindi and Dhaka etc and the Muslim socials suffered the most. It did not, however, stop such films from being made after 1947. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen-52, Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke Aansoo-59, Pehli raat-59 etc. were made but none were successful.
Funnily, while Muslim socials failed, the historical and costume Muslim films were successful like Anarkali, Mirza Ghalib, Hatimtai, Alibaba and 40 thieves etc. What’s more, even Mirza ghalib-54 became the First winner of president’s Gold Medal for a Hindi film. After Chaudhavi ka chaand became a hit, some more Muslim social films like Barsat ki raat, Chhote Nawab, Bahu Begum, Mere Huzoor, Paakiza etc. became successful, but overall there was a noticeable decline is such films in India after the 70’s decade. One interesting thing was that about 80% Muslim socials had Lucknow as the backdrop !
I remember an interesting anecdote in connection with the making of a Muslim social film, just before Independence. This anecdote which is not very well known is that after the hit films of singer Noorjehan, her husband Shaukat Hussain wanted to make a film with Noorjehan and Saigal. A story ” Chaudhavi ka chaand” was selected for this film. It was to be a Muslim social film, which was sure to be a Hit. The film was planned after the film Zeenat-1945, somewhere in 1947-48, when Saigal completed his commitments. However, Saigal died in early 1947 and due to Partition, Noorjehan and Shaukat Hussain migrated to Pakistan. Thus this story remained unused till 1960, when Guru Dutt made the film with Waheeda Rehman.
Film Paak Daman- was made in 1957, when there was a severe competition among several Hit and Musical films. Let us take a look at what the film scene was in 1957…..
1957 – what a year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil ‘, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke ‘, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daman, Pawanputra Hanuman, Ustad, Zamana, Garma Garam had equally melodious songs like other films mentioned, albeit may not be so famous Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.
Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).
With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb ( and inspiring Manmohan Desai in later times !). This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.
A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the National Award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.
The story of this film seems to be very popular and well known, because I find that several films were made on this one story and with the same title. The first film came in 1931 as Paak Daman. Then came Paak Daman Raqasa-1932, Paak Daman-1940 and Paak Daman-1957. Meanwhile a Pakistani film Paak Daman was also made in 1969. You must be wondering what is so special in this story ? Let us know this film’s story. I have seen this film, when I was in Hyderabad in the mid 50’s and I had really liked the film then.
Handsome and well-educated Yusuf(Sudesh Kumar) inherits his father’s estate in Lucknow. To him gambling becomes just a pastime in the company of Asad (Kumar), a man without principles, and his associates Abboo and Nabboo. – Both Yusuf and Asad are in love with the beautiful Suraiya ( Chitra). Her cousin Mahmud (Moti Sagar) is also secretly in love with her; but she is unaware of it. She believes that Mahmud loves Sabiya (Krishna kumari), her best friend.
One day Asad sends his mother to Suraiya’s aunt with a view to bring about his marriage with her. The aunt rejects the proposal saying that Asad is a wastrel and not a fit husband for Suraiya. But Mahmud, knowing that Suraiya loves Yusuf, suggests that she be married to Yusuf. He decides to marry Sobiya who loves him deeply. – Infuriated Asad begins to destroy the perfectly happy matrimonial union of Yusuf and Suraiya. He lures Yusuf into the gulf of vice through gambling and drink. He even forges a letter from Mahmud to Suraiya and involves Yusuf into the murder of Mahmud.
As the police arrive on the scene, Asad deliberately helps Yusuf to abscond. Hearing of Mahmud’s death, poor Sabiya goes mad. With Yusuf in hiding and out of his way, Asad now proceeds to make Syraiya his own. He sends his henchman Nabbo to steal the letter from her house. He obtains the letter, but is caught by the police. Far away from Lucknow, Yusuf finds a job at the quarry of Haji Saheb who is none other than Sabiya’s father.
Yusuf comes back to Lucknow in disguise and his heart bleeds to find Suraiya and child undergoing untold hardships with only the faithful old servant Tehsin(W.M.Khan) by her side. Asad kidnaps Suraiya’s child and lures her into his secret den. Since she refuses to marry him, he places the child before the cage of a tiger and opens the door. Yusuf comes up in the nick of time, in the disguise of Gunga, and saves the child. Just then the police arrive with Tehsin and others and Asad is arrested. Thus all’s well that ends well.
The cast of the film was Chitra, Sudesh Kumar, M.Kumar, krishna kumari, Moti Sagar, Mirza musharraf, Shaikh, Balam and many more artistes. The Hero was Sudesh Kumar. Sudesh kumar (17 March 1931 – DoD NA) was an actor and producer in Indian Cinema, known for Chhoti Bahen (1959), Saranga (1961), Rocket Girl (1962), Khandan (1965), Waris (1969), Dharti (1970), Man Mandir (1971), Badaltey Rishtey (1978), Jaan Hatheli Pe (1987) & many more.
Sudesh Kumar often-times billed simply as Sudesh, he booked lead roles in low-budget fare like Dayar-E-Habib (1956), Pak Daman (1957), Madame X Y Z (1959), Police Detective (1960), Saranga (1960), Pyar Ki Dastan (1961), Rocket Girl (1962) and Mummy Daddy (1963), and had lesser roles in big films including the ghostly thriller Woh Kaun Thi? (1964). He had a modestly successful film career but disappeared from the screen in the mid-1970s after trying his hand as a film producer.
Sudesh Kumar was born Sudesh Prakash Dhawan in Peshawar, undivided India, (now in Pakistan) on March 17, 1931. A member of the prestigious Prithvi Theatre group, he made his film debut in Raj Kapoor’s Sargam (1950). He returned to the screen a few years later when Prithviraj Kapoor cast him in his film “Paisa”, which was released in 1957.
Sudesh Kumar has sung a song in the film “Uljhan” (1975) Bhola Bhala Chehra Hai Dil Beimaan Hai… with Asha Bhosle and Mohammed Rafi. Music of the song was Composed by Kalyanji Anandji and lyrics written by M G Hashmat.
Today’s song is sung by Shamshad Begum. Enjoy….
Song- Mil mil ankhiyaan balam jiyaa dhhadke (Paak Daaman)(1957) Singer- Shamshad Begum, Lyricist- Shakeel Badayuni, MD- Ghulam Mohammad
Lyrics
Mil mil ankhiyaan balam jiyaa dhhadke
yoon naa dekho najar bhar bhar ke
yoon naa dekho najar bhar bhar ke
Mil mil ankhiyaan
Mil mil ankhiyaan balam jiyaa dhhadke
yoon naa dekho najar bhar bhar ke
o o o
pee kar baalam ulfat ki madiraa
pee kar baalam ulfat ki madiraa
humree oar na aao o
humree oar na aao o
pyaar ke sapne baalee umar ko
pyaar ke sapne baalee umar ko
abhee se na dikhlaao
abhee se na dikhlaao
aayenge jab din apne to hum bhee
jiyenge mar mar ke
Mil mil ankhiyaan
Mil mil ankhiyaan balam jiyaa dhhadke
yoon naa dekho najar bhar bhar ke
ho o o
chhalkee jaaye laajon kee gagree
chhalkee jaaye laajon kee gagree
har dam pade sambhalnaa
har dam pade sambhalnaa aa aa
jab se chhootee bachpan kee dagree
jab se chhootee bachpan kee dagree
mushqil ho gayaa chalnaa
mushqil ho gayaa chalnaa
preet ke raste oonche neeche
chaltee hoon darr darr ke
Mil mil ankhiyaan
Mil mil ankhiyaan balam jiyaa dhhadke
yoon naa dekho najar bhar bhar ke
yoon naa dekho najar bhar bhar ke
Mil mil ankhiyaan balam jiyaa dhhadke
yoon naa dekho najar bhar bhar ke
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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