O lenewaale us denewaale daata ke geet kyun gaata naheen
Posted on: October 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 film Kareegar-1958.
The film made under the banner of Panchdeep Films, Bombay, was directed and produced by Vasant Joglekar. Music Director was C.Ramchandra and the cast of the film was Ashok Kumar, Nirupa Roy, Om Prakash, Lalita Pawar, Jagirdar, Sumati gupte, Nana palshikar, Helen, Madhu Apte and others. The Guest Artiste was Agha, for one song.
Ashok Kumar ( 13-10-1911 to 10-12-2001) was one of my favourite actors. His personality was such that he could do any type of roles- except Historical, Mythological and that of a very poor man. He would suit in the roles of a Detective, Police Officer, Judge, Advocate, Patriarch etc. he was one of the most Natural actors of the Hindi films who had a very long career of 68 years. His first film was in 1936 and the last film released after his death was in 2004 (Rudraksh).
He was one of the reluctant heroes of Hindi films, but once he tasted success , he excelled in his job. His peak period was in 1971-1980. In this period he did his highest films. His film break-up yearwise is this….
| Decade | Number of movies |
|---|---|
| 1936-1940 | 11 |
| 1941-1950 | 23 |
| 1951-1960 | 53 |
| 1961-1970 | 56 |
| 1971-1980 | 81 |
| 1981-1990 | 57 |
| 1991-2004 | 11 |
Ashok Kumar was a very clever actor. He was also a fine survivor. Every time there was a change in the external circumstances, he shifted to a different Role type to survive. That is the reason he could remain on the Silver screen from 1936 to 2004-a cool period of 68 years !
As we all know, Ashok Kumar started his career with Bombay Talkies. Luck changed a Lab Technician into a reluctant Hero, but once he stayed on he made the most of it. Ashok became straightaway a Hero, without much struggle. That too, despite a rejection in the screen test, but only because of the owner of Bombay Talkies Himanshu Rai and the need of the company. Starting with JEEVAN NAIYA-1936, he did almost 20 films of Bombay Talkies, like Janmabhoomi, Izzat, Nirmala, Vachan, Achhut Kanya, Bandhan, Kangan, Jhoola, Savitri, Anjaan etc.
Ashok Kumar’s career can be divided into 4 parts. In part 1, the beginning part, Ashok Kumar was a typical chocolate Hero of the late 30s, a lanky figure, flat parted oily hair, big black eyes and a real ‘Bholu’ type of actor. But then people accepted him as a Hero and soon he became very popular also. Initial pairing with Devika Rani and later with Leela Chitnis made him a darling with the audience. He continued this phase even in Filmistan from Chal chal re naujawan onwards.(When he was a paid employee of Bombay Talkies, another equally good actor Motilal was serving in Ranjit studios. A funny thing was that Ashok Kumar never ever acted with Motilal’s heroines- Khursheed or Shobhana Samarth and Motilal never ever acted with Ashok Kumar’s heroines Devika Rani or Leela Chitnis ! ).
His second phase started with films like Mahal-1949 and in the 50s he did roles of criminal or Police officer, detective and a mature Hero. Some of the films of this phase were Sangram, Samadhi, Deedar, Afsana, Tamasha, Kaafila, Mr.X, Howrah Bridge, Chalti ka naam Gaadi, Night club etc. He also did some stunt films with Nishi as his Heroine.
In the 3rd Phase , in the 60s,he turned to serious elderly roles from Kanoon onwards. Some of his films were Kalpana, Dharmaputra, Aarti, Bandini, Yeh raaste hain pyar ke, Grihasthi etc.
In the phase of 70s, he did light comedy roles in films like Victoria No.203, Chhoti si Baat, Khoobsurat etc. from Sambandh-82, he fully shifted to senior citizen roles like in Shakti, Farishta, Duniya, Shatru etc.
In all, he acted in more than 300 films and produced 4 films. He was very fond of good food, Homeopathy, Astrology and poultry farming ( He owned a few poultry farms on Bombay-Poona road in those days).
Somewhere in 1982, I had the opportunity to meet Ashok Kumar personally, along with his close friend writer/lyricist Madhup Sharma. I too was an Astrology enthusiast, having completed the ‘Jyotish Praveen’ Diploma from Poona, so we had a lot of discussions on Astrology, cinema and poultry. He hosted lunch for us that day. My photographs with him are my valued treasures.
Ashok Kumar’s last film came in 1997 and he died peacefully on 10-12-2001.
Saadat Hasan Manto, in his book, describes Ashok Kumar as a very simple person. Some extracts from the book-
“When Ashok Kumar became a hero, he got a salary of Rs.75 pm. Then it was made 100, then 150, 200 and when he got 250 as his salary he was more worried than happy. Those days Ashok Kumar lived in the Bombay Talkies premises, located in a far off suburb, very near to a forest and sea. He had 2 rooms to himself. He did not know where to keep the money. He was scared of thieves. That night he hid the money under his pillow and the next day we went to the Post office and deposited the amount.
” Ashok Kumar was afraid of crowds. He did not like fans mobbing him. He used to get irritated. Once we were shooting in Kolhapur. Ashok Kumar wanted some medicine(he suffered chronically from Asthma), so we went to a chemist shop. He put a muffler around neck and black goggles. In spite of all that the chemist recognised him and shouted ” Ashok kumar ! “.In no time a crowd gathered there. Ashok kumar dropped the medicines and ran straight to the studio.
” Though he used to receive hundreds of fan letters from loving girls, he rarely read them. His secretary read each letter with relish ! Many Heroines, including Devika Rani, tried to flirt with him, but he spurned them. His wife Shobha was extremely happy with his timidity towards women.”
During the period of 33 years, from 1956 to 1989, he co-starred with Nirupa Roy in 21 films. 1958 was the year when his famous films like Chalti ka naam Gaadi, Howrah Bridge, Light House, Night Club, Raagini and Sitaron se aage were released.
Our film industry is full of ungrateful people. There is nothing like true friendship here. So called friends do not hesitate to cut the throat of others for selfish purposes. There are hundreds of such instances here. However for every rule there is an exception and there was ONE friendship which was used as an example here. That is the friendship of Vasant Joglekar and Ashok Kumar. They were true friends and their friendship ended only when Joglekar died.
Vasant Joglekar, actor-by compulsion and producer/Director-by choice was born on the Christmas day, 25th September 1914 at Nagpur. He started his filmi career as asstt. to Master Vinayak in 1942. In the struggling days he met Ashok Kumar and they became friends forever.
Starting with Aap ki seva mein-47,in which Lata Mangeshkar sang her first Hindi film playback solo, Joglekar produced 10 films and directed 20 films ( 11 Hindi and 9 Marathi). In one of the Marathi films directed by this young man-Vasant Joglekar, actress Sumati Gupte was acting in it. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.
In almost all his films Ashok Kumar was a fixture. There was a time when Ashok kumar was involved in 30 films at one time,still the 31st film was that of Joglekar. The only condition Dadamuni used to put was that Joglekar’s wife, actress/housewife Sumati Gupte Joglekar should provide him food Tiffin cooked by her own hands, at the shooting place ! He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and this Bangali babu liked Fish dishes very much !
Joglekar’s Filmography as a Director in Hindi films – Aap ki sewa mein-47, Adalat-48, Nand Kishore-51, Jeet Kiski-52, Firdaus-53, Samaj-54, Karigar-58, Aanchal-60, Aaj aur kal-63, Ek Kali Muskayee-68 and last film Prarthana-69. Vasant Joglekar tried to promote his daughter Meera as a Heroine in Hindi films, with the film Ek Kali Muskayee-68. However, she was not successful and the film was a flop. Vasant Joglekar died on 13-1-1993.
The story of the film Kaarigar was….
KAREEGAR-1958 was a Panchdeep film. The story and screenplay was by G.D.Madgulkar-a noted Marathi writer/poet/actor known as GADIMA (his initials) in the cine circle and general public.His first film as a writer was Matwala Shayar Ramjoshi-1947 and he did write about 20 films including some landmark films like Do aankhen Baara haath,Toofan aur Diya,mausi,Vardan,Apna Hath jagannath,Chacha Chaudhary etc.The dialogue were by Sarshar Sailani(real name Bhimsain).
KAREEGAR was a melodrama depicting the troubles of Shankar (Ashok kumar),a skilled Carpenter who has no job.One by one he sells everything in the house.His wife Parvati(Nirupa Roy) does Maid work at a Seth’s house and son does Boot Polish.He has to sell off all his tools too.When finally he does get a job,he is asked to bring his tools.He sells his wife’s ‘Mangalsutra” to get his tools.
After the first day ,he gets 7 rupees and happily spends time with his son,but the Tool bag is lost. Both try to find it day and night.Shankar gets the bag,but the Police arrest him as the Bag he found contains,not his Tools,but stolen jewellery and cash.Shankar goes to prison but his son,with the help of other street urchins, traces the real thief and Shankar is released-Ba ijjat.
Today’s song video is sung by Lata Mangeshkar. Enjoy….
Song- O lenewaale us denewale daata ke geet kyun gaata nahin (Kaareegar)(1958) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
o lenewaale
us denewaale daata ke geet kyun gaata nahin
bhookha hamen wo jagaata magar
kabhee bhookha hamen wo sulaata nahin
us daata ke geet kyun gaata nahin
o lenewaale
us denewaale daata ke geet kyun gaata nahin
bhookha hamen wo jagaata magar
kabhee bhookha hamen wo sulaata nahin
us daata ke geet kyun gaata nahin
chinta karega wo hee jagat kee
jo is jagat ka naath hai
chinta karega wo hee jagat kee
jo is jagat ka naath hai
ham apne apne kartab karen par
phal to usee ke haath hai
ham apne apne kartab karen par
phal to usee ke haath hai
kan kan mein apnee jyoti jagaata
phir bhee nazar jo aata nahin
bhookha hamen wo jagaata magar
kabhee bhookha hamen wo sulaata nahin
us maalik ke geet kyun gaata nahin
jo kuchh bhee paaye mehnat kee khaaye
aaraam karna haraam hai
jo kuchh bhee paaye mehnat kee khaaye
aaram karna haraam hai
mehnat mein chaaron dhaam hamaare
mehnat mein sita raam hai
mehnat mein chaaron dhaam hamaare
mehnat mein sita raam hai
o man ke panchhee
teri samajh mein
geeta ka gyaan kyun aata nahin
bhookha hamen wo jagaata magar
kabhee bhookha hamen wo sulata nahin
us daata ke geet kyun gaata nahin
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
October 30, 2024 at 2:25 pm
Arun ji,
On a lighter side, isn’t it strange? It’s almost like Ashok Kumar and Motilal had a silent pact—never to swap heroines! Neither did Ashok ever work with Khursheed or Shobhana Samarth, nor did Motilal act with Devika Rani or Leela Chitnis.
Such gentlemanly loyalty to their leading ladies, almost like they were part of an exclusive club with a strict “no sharing” policy!
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October 30, 2024 at 4:27 pm
Gandhi Vadlapatala ji,
We must also remember that these were the times when Studio System was very strong. Selection of artistes used to be the prerogative of the studio owners and not the artistes, who were tied to the studios with a contract and were virtually studio employees.
So, more than ‘gentlemanly Loyalty’, it was possibly the will of the studio owners that these pairs did not take place. They must have managed with whichever Heroine was available to them in their studios.
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