Tere binaa kaun le hamree khabariyaa
Posted on: November 6, 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 Hari Har Bhakti-1956.
The film was made by Raghuveer Chitra Niketan, Bombay. It was produced and directed by C. Raghuveer. Music Director was K.Datta aka Datta Korgaonkar and the cast was Asha Mathur, Trilok Kapoor, Vivek, Maruti, Ulhas, Shahu Modak, Durga Khote, Indira and many others The lyricists were S.P.Kalla, Odak and Agarwal.
HARIHAR BHAKTI-1956 was a story of the age-old feud between the Vaishnavites (Vishnu Bhakt) and the Shaivites (Shiv Bhakts). It tells us that the GOD is one, in different forms.
BANASUR- the king of Rakshasas was a great Shiv bhakta and after a hard tapasya, he gets a boon from Lord Shiva that he will NOT die at the hands of any mortal. Powered with this boon, he starts torturing Vaishnavites and converting them forcibly to Shaivites.
Banasur(Ulhas) has a daughter Usha (Asha Mathur). He wants her to marry only a Shiv Bhakta. Usha,one day sees a young man Anirudha (Vivek) in her dreams and falls in his love. He is the grandson of Krishna. Chitralekha (Nayantara), her saheli, brings Anirudha-in his sleep-to Usha and they get married. Banasur learns this and fights with Anirudha, throwing Sarp-Astra over him. His grandfather Krishna comes to know this thru Naradmuni and he is ready to fight Banasur. Banasur calls for Shiva’s help.
Now Krishna and Shiva are against each other but knowing Krishna as an avatar of Lord Vishnu, Shiva allows him to kill Banasur.
It was a very interesting film with a lot of trick scenes and very melodious music by K.Datta.
This was a story from Vishnu Puran. It is also mentioned in Shiva Puran and Bhagwat Puran as a story on Banasur. Of course the story was adapted to suit the film requirements. When such stories are used for films, naturally there is plenty of room for adaptation and imagination, because every detail is not mentioned in the original story. As an example, here is the true story as given in Puran, about Banasur, Usha and Anirudha marriage, the war of Shiva and Krishna etc.
A mighty asura, Banasur once ruled over a large kingdom, Śoṇitapura. His influence was so strong and fierce that all the kings – and even some of the devas – shuddered in front of him. Banasura used to worship a rasalingam given to him by Vishvakarma, on instruction from Vishnu. As an ardent devotee of Shiva, he used his thousand arms to play the mridangam when Shiva was performing the tandava dance. When Shiva offered Banasura a boon, the latter requested Shiva to be his city’s guardian: therefore, Banasura became invincible. As time passed, he became even more cruel and arrogant. One day, Banasura’s daughter, Usha, saw a young man in her dream, made love to him, and fell in love with him. Chitralekha, a friend of Usha and a talented artist, helped Usha to identify the young man seen in her dream by sketching various portraits of the Vrishnis. Usha realised that she had dreamt of Aniruddha, the grandson of Krishna. Chitralekha, through her yogic powers, abducted Aniruddha from the palace of Krishna and brought him to Śoṇitapura.
Usha worshipped her lover and furnished him with priceless garments, garlands, fragrances, lamps, and with beverages, dishes, and works. Breaking her vow of chastity with him, she kept him hidden in her maiden quarters, and the lovers lost track of the days. Catching wind of his daughter’s activities, Banasura rushed to her chambers to find her playing dice with Aniruddha. Even as the prince fended off the guards, Banasura subdued him with the mystical ropes of Varuna. Usha was overwhelmed with sorrow due to this incident. Aniruddha was held captive by Banasura for a month, until Narada informed the Yadavs in Dwaraka, who were searching for Aniruddha.
The Yadus’ army attacked Banasura in a great battle. The Yadu princes and their army besieged his kingdom with 12 akshauhinis, surrounding it completely. Banasura staged a fierce counterattack. During the war, Shiva appeared on the battlefield, riding on Nandi, to protect his devotee, Banasura. Balarama fought against Banasura’s commander, while Samba fought against Banasura’s son. To bear witness, the leaders of the godly souls headed by Brahma came in their celestial vehicles, as also did the sages, the perfected souls, and the venerable personalities, the singers and apsaras of heaven, and the yakshinis. Krishna and Shiva faced each other. Krishna used a brahmastra against Shiva’s brahmastra, a mountain weapon against a wind weapon, a rain weapon against a fire weapon, and his narayanastra against Shiva’s pashupatastra. Kartikeya, assaulted by Pradyumna’s arrows, fled the battlefield on his peacock. After duelling with Satyaki, Bana took up arms against Krishna. However, Krishna blew his conch and instantly, Banasura’s charioteer was killed and his chariot broken and shattered. When Shiva’s forces had been defeated, Jvara, the embodiment of Shiva’s fever, bearing three heads and three feet, attacked Krishna with scorching heat. Krishna produced his own Jvara of frigid coldness, and the two fought each other. Overwhelmed by Vishnu’s fever, Shiva’s Jvara offered its surrender and obeisance to Krishna and departed. Krishna then put Shiva to sleep using ‘Jambhunastra’.
Meanwhile, Balarama defeated Banasura’s commander. Bana rode forth upon his chariot to fight with Krishna, and the latter fought back with his Sudarshana Chakra. When Krishna started chopping Banasura’s arms, Shiva returned to his senses and extolled the glories of Krishna, requesting him not to kill Banasura, whom he had bestowed with fearlessness. Obliging, Krishna replied that he had never intended to kill Banasura, since he was the son of Bali and the great-grandson of the devout Prahlada. Vishnu had promised Bali not to kill any member of his family, and therefore would not slay him. However, Krishna severed Banasura’s extra arms to destroy the latter’s pride, leaving Banasura with only four arms.
Banasura realised his mistake and bowed his head before Krishna, arranging for a chariot to seat Aniruddha and Usha for their wedding in Dwaraka. (as recited in Bhagwat Puran. Ref http://www.purans.com)
The 50’s decade for Hindi films was a Golden period for religious and Mythological films. Ever since the Talkie films started, the maximum and consistently religious films were made in this decade. In the 10 year period 124 religious films were made, which works out to an average of one such film per month for 10 continuous years. I have been watching films since the late 40s, but I too have seen maximum films in this decade only.
I loved seeing religious films. As such ours was a religious minded family. We had constructed a big Shiv temple within the compound of our house. It was open to all people, with a separate entry point. This was possible as it was about 30 feet away from our bungalow on an adjacent plot. Every festival was celebrated and Mahashivratri was a big event. Due to all this ,I became interested in reading Vedas, Purans and other religious books. I am not a religious person. I hardly visit temples or do regular daily pooja at home. But I am a strong believer in my religion and I am convinced that the Hindu religion is the greatest in the world. However, I don’t go out and show off my religious opinions. I believe that Religion is a Personal matter and one should limit it to his doorstep only.
Nevertheless, I am pained to see the apathy and ignorance of our religion in the younger generation. The other day, I saw one video in which questions on religion, Ramayan and Mahabharat were asked to college students and to my dismay 99 % of students gave wrong answers or no answers. It is not their fault. Today the lifestyles have become such that the parents themselves do not set any example for their children in this matter. In addition, school or college curriculum does not teach anything that is Hindu, but details of other religions are taught. Anyway, this is a different issue…..
Initially, I used to like religious films for their trick scenes and miracles. Later on I started observing how the original stories have been twisted, adapted or even changed to suit the cinematic needs. The efforts are to exaggerate in order to impress the audience, no matter if the story gets distorted.
I am sure that very few people today know there are two major sects in Hindu religion. They are ” SHAIV ” s – those who worship Lord Shiva and the other is “VAISHNAV ” s – those who worship Lord Vishnu. Few generations ago, there were no marriages between these two sects. During my childhood, I remember there used to be separate lines for God Darshan in temples, for Shaiv and Vaishnav Bhakts. Today, of course people do not even know which sect they themselves belong to.
Film Harihar Bhakti-56 is about this division of sects and how in one case, Shiv ji and Vishnu ji came face to face in case of a Shiva devotee whom Shiv ji had given a Boon and Vishnu ji wanted to kill him for Mankind. HARIHAR BHAKTI-1956 is a story of the age-old feud between the Vaishnaites (Vishnu Bhakt) and the Shaivites (Shiv Bhakts).it tells us that the GOD is one,in different forms.
Film Industry is also a very strange place. People with average talents and a solid good luck prosper here and people with less talent and no luck quit the films soon. Two such cases are seen in the cast / credits of this film.
The first one is the film’s Heroine – Asha Mathur…..Asha Mathur was born on 21-11-1934 in an affluent family of Delhi .
One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances, and wooden expressions.
Her most memorable role was in Poonam (1952), as the suffering wife of Ashok Kumar. She acted only in 18 films. Her last film was Taqdeer-58. Some of her well known films were Kali Ghata-51, Poonam-52, Dhuan-53, Alif Laila-53, Mayur Pankh-54, Naqaab-55, Lakhon mein ek-55, Amaanat-55 and Harihar Bhakti-56. She married famous director of her times Mohan Sehgal and left films.
Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humse na poocho koi pyar kya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na (Amanat, 1955). She died on 13-2-2001.
The second case is that of the Lyricist – S.P.Kalla….Sooraj Prakash Kalla or S P Kalla was a resident of Jodhpur, Rajasthan.
In the early 50s he was having a nice job in the state Secretariat in Jaipur. He was a good writer of songs. During his service tenure, once he visited Bombay casually and then stayed back here only, leaving the lucrative steady job, to enter the film industry as a lyricist. His first film was ‘Lanka Dahan’-52, in which he wrote all 8 songs. Due to his easy and meaningful Lyrics he started getting film after film. After about 20-25 films, he turned to Film direction and succeeded in this too. Some of the films he directed were, Aastik, Naya kadam, Shyam ki Jogan etc.
Having won laurels here he became a Producer and that proved to be his nemesis. He lost everything he had earned. Family life became miserable and all friends deserted him. Finally he separated from his family and went back to Jaipur. There he got two Rajasthani films for direction. Then he got some serials and video films. Some of his serials on TV were ‘ Samay ki Dhara’ and ‘Teesmar khan’,which were popular.
He became an alcohol addict and closeted himself in a small room, where he ended his own life on 20-5-2007.
Today’s song is sung by Mohd. Rafi. Enjoy….
Song-Tere binaa kaun le hamree khabariyaa (Harihar Bhakti)(1956) Singer-Rafi, Lyrics-S P Kalla, MD-K Datta
Chorus
Rafi + chorus
Lyrics
Humein na bisaaro o o o o
hamen taaro saanwre ae ae
hum to jiyenge bas teree ee chhaanv rey ae ae
tere bina kaun le hamree khabariyaa
hamree khabariyaa
tere bina kaun le hamree khabariyaa
hamree khabariyaa
hamre to saathhe ho
tum hee sanwariya
tum hee sanwariya
tere bina kaun le hamree khabariyaa
hamree khabariyaa
bhakt ke tum to kaam sadaa aaye
kaam sadaa aaye
dekh lo hamko
tere hee gun gaayen
tere hee gun gaayen
murleedhar aaj bajaa phir se bansuriyaa aa
phir se bansuriyaa aa
aa tere bina kaun le hamree khabariyaa
hamree khabariyaa
hamre to saathhe ho
tum hee sanwariya
tum hee sanwariya
tere bina kaun le hamree khabariyaa
hamree khabariyaa
hote tere kyun humko ye tadpaaye
hote tere kyun humko ye tadpaaye
aao kahaan ho
ab na sahaa jaaye
aao kahaan ho
ab na sahaa jaaye
tumhre binaa soonee hai hamree nagariyaa aa
hamree nagariyaa
tere bina kaun le hamree khabariyaa
hamree khabariyaa
hamre to saathhe ho
tum hi sanwariya aa
tum hi sanwariya
aa aa
tere bina kaun le hamree khabariyaa
hamree khabariyaa
hamree khabariyaa
hamree khabariyaa
hamree khabariyaa
hamree khabariyaaaaaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
November 6, 2024 at 8:21 am
Arun Ji,
Thanks for the post
I had totally forgotten about Asha Mathur. Your post took me back to Kalighata and Mayur Pankh. 🙂
I was not aware she married Mohan Sehgal
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November 6, 2024 at 10:49 am
Satish ji,
I am happy that today you got addition to your information bank, through my post.
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