Naa poochho ye mose ke kyaa chaahta hoon
Posted on: October 5, 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 stunt film Hunterwali ki Beti-1943.
The film was made by Basant Pictures of Homi Wadia. It was directed by Batuk Bhatt aka Nanabhai Bhatt. The cast included Fearless Nadia, John Cavas, Sayani, Sardar Mansoor, Rajkumari, Gulab, Dalpat, Shyamsunder and many other regulars from the Wadia stable. The lyricist was A. Kareem and the Music Director was ‘an old timer’ Chhannalal Naik.
I am calling him ‘an old timer’ because this was probably his last film as a Music Director. He came from the early era and was unable to cope up with the changing pattern of film music. The music of the 1940’s decade was breaking away from the shackles of the boring stage drama type songs which were neither fully classical nor had the charm of the changing taste of the audience. Let’s take a look at how the musical trend changed from the 30’s to the 40’s- which gave market oriented music and songs.
The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs.
Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.
For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940, there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.
Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking, new type of Music was received by the audience with great joy and love, all over India. This was ushered in by the vibrant changes HFM was to undergo in the 5th decade, i.e. from 1941 to 1950.
This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai, Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, Master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila, Chhannalal Naik etc were disappearing one by one.
A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah, Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.
These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.
In the 40s, the HFM became absolutely vibrant. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words, we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’ The coming of Rafi and Lata liberated us composers from the painful task of making the ‘musically illiterate’ actors and actresses’. Thus Ashok Kumar, Leela Chitnis and the likes of them were left alone to concentrate on their acting, while the trained singers sang for them.
After the phenomenal success of “Hunterwali”-1935, which was the Debut film of Fearless Nadia as the ‘Stunt Queen’ of Hindi films, she was on a Gallop. The Indian audience of the action films simply adored her and films after films she went on rampage. Our filmmakers are very fond of making the successful stunt Hero / Heroines family oriented. Due to this, characters like Tarzan got a Beta, a Beti, a Mehbooba, a Jadui Chirag, went to Paristan etc. In the later years even Zimbo got a son. The fictional characters of the Arabian Nights too were in this trap. Aladdin, Alibaba and Sindbad had sons and daughters. The trend probably was inspired by “Hunterwali ki Beti”-1943.
The stories of Nadia films-barring the film Muqabala-1942- had almost a fixed pattern of stories, only the names and few other changes were effected in her newer films. For proof, see the story of today’s film. The story of the film “Hunterwali ki Beti-1943 was….
In the kingdom of queen Madhuri everything was peaceful.She was very strict with evil doers and used a Hunter to punish them. So she was known as Hunterwali Rani. This peace was broken when her cousin Pratap not only invaded the kingdom,but also imprisoned Madhuri. Her small daughter Kishori was saved by the loyal sardar Ishwar Singh who escapes with the child, eluding the forces of Pratap. After 15 years,it is Kishori who dons Hunterwali’s uniform and supports the poor and punishes the cruel. She is trained by Ishwarsingh, whose son Vijay falls in love with her. Pratap sends forces to capture her. They catch Vijay and tie him to the Railway track, from where a riding Hunterwali ki beti alias Kishori rescues him.
Th get Kishori, Pratap announces the hanging of Queen Madhuri in his Black Fort. Kishori, Vijay and their accomplices enter the fort,rescue the queen and capture Pratap and his aide Ajit. The Queen is reinstated on the throne, Kishori and Vijay get united and Pratap and Ajit get Life imprisonment sentences.
This film’s lyricist was A.Kareem aka Abdul Kareem. There were few artistes in the Film Industry who were ‘all- rounders’. These artistes achieved excellence in many departments of film making. A. Kareem was one such artiste. He was brother of Music Director Ghulam Mohammed. He was an Actor, Producer, Director, Composer, Lyricist, writer, s/play and dialogue writer and a Costume designer ! In my opinion, he can be compared with only Badri Prashad, who was Actor, Producer, Director, Composer, Singer, Character artiste and a Choreographer too !
In the early era, there were many such artistes who did many things-sometimes out of necessity or compulsion or to sustain jobs. But they were known for ONE main activity. Similarly A. Kareem was known as a Lyricist. He started his career with Aaj ki Duniya-40 as an actor and a Lyricist. He also acted in Jagat mohini-40, Meri Khwaish-041, and Circus ki Sundari-41. He wrote s/p and dialogues, with P L Santoshi for films Circus ki sundari-41 and Bombay Calling-42. He composed music for 5 stunt films like Kashmir ki kali-46, Toofani Teerandaz-47, Atom Bomb-47, Dhoomketu-49 and Maya Mahal-49. He had composed 35 songs.
He directed 13 films like Kalakar-42, Talash-43, Badmash-44, Jeewan swapna-46, Parbat ki Rani-48, Rangeele Musaafir-50, Josh-50, Gazab-51, Char chand-53, Maharani-57, Mehfil-57 ,Tilasmi Duniya-62 and Mehbooba-65.
As a Costume designer he worked for Naya Daur-57, Dil apna aur Preet Parayee-60, Mere Mehboob-63,Kaajal-65, Main vohi hoon-66 and Dastak-70. As a Lyricist his most famous song was Talat’s “Hai ye vohi aasman, aur vohi zameen, par meri Taqdeer ka ab vo zamana nahin ” in film Chaar Chaand-1953. He wrote 146 songs in 20 films.
Today’s song is sung by Sardar Mansoor, who was not a regular singer at all. Listen to him in this video and enjoy….
Song- Na poochho yeh mose ke kyaa chaahtaa hoon (Hunterwaali Ki Beti)(1943) Singer- Sardar Mansoor, Lyricist- A.Kareem, MD- Chhannalal Naik
Lyrics
aa aa aa
aa aa aa
na poochho ye mose ke kya chaahta hoon
na poochho ye mose ke kya chaahta hoon
main tumse mohabbat
haan
main tumse mohabbat kiya chaahta hoon
main tumse mohabbat kiya chaahta hoon
kiya tumne jo kuchh bhi ehsaan mujh par
kiya tumne jo kuchh bhi ehsaan mujh par
kabhi uska badla
haan haan
kabhi uska badla diya chaahta hoon
kabhi uska badla diya chaahta hoon
bahot hai mere haal par meharbaani
bahot hai mere haal par meharbaani
magar aur iske
haan haan
magar aur iske siwa chaahta hai
magar aur iske siwa chaahta hai
tumhi ne diya hai
ye dard e mohabba a a a at
tumhi se ab iski
haan haan
tumhi se ab iski dawa chaahta hoon
tumhi se ab iski dawa chahta hoon
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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