Dil na haathhon se nikal jaaye
Posted on: November 10, 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 Lajawab-1950.
The film was made by Variety Pictures. The producer was Ashalata Biswas – wife of the music Director Anil Biswas. The banner was owned by this couple. The film was directed by J.P.Advani, who was trained in film making from Germany. Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.
He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.
The film’s cast included Rehana, Soham, Kuldeep kaur, Pran, David, Iftekhar, Prem Dhavan and many others. The music director of the film was Anil Biswas naturally, the film being from his stable. He is one MD whom I liked very much, though he was not my favourite. I liked him and also respected him for his dedication and contribution to HFM during its early phase. His life story is chequered with lots of ups and downs in both life and career.
Anil Biswas, the Bhishma Pitamaha of HFM,was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay,the Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960,he was almost gone from the industry. Initially he did 10-11 films with Sagar,then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now,his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
Like many filmi couples,Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep,Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.
Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.
After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata, had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
Here is an anecdote about C.Ramchandra and Anil Biswas…
On the day of recording the first ever Hindi film song (a chorus song) of C.Ramchandra, all arrangements were done. Chorus singers were ready, musicians were ready and technicians were ready. Suddenly, a set of visitors arrived at the studio. The visitors were all top composers of the day like Anil Biswas, K.Datta, Naval Chatterjee and some others.They all had heard about C Ramchandra, his tunes and his work. They wanted to see how he operated. C Ramchandra had tremendous respect for Anil Biswas. He knew that the contributions of Anil Biswas to Hindi Film Music was praiseworthy. Anil Biswas was a master of harmonization technique in western and Indian music instruments.
C Ramchandra described this event thus-
” It was my great fortune that a senior composer whom I considered as my Guru was present at my first recording. To my greatest surprise all the visitors joined the Chorus group for singing. I just wanted to check if the final take can be taken. I said one ..two..three and the song and music started, but I felt something was wrong. One singer sounded different. I stopped and ran outside to the singers. To my shock it was Anilda who put a Teevr Nishad which was not in my composition. He smilingly asked, is it Ok ? I said respectfully, No Dada, this is not right. He very magnanimously and without further questions agreed and they all sang on my tune only !. ”
Here is one more anecdote about Anil Biswas and Dilip kumar…
A few interesting lines about the duet –‘Aa mohabbat ki basti basayeinge hum’. One afternoon Anil Da at his residence was in the company of celebrated actors –Dilip Kumar and Ashok Kumar. He played on his harmonium and hummed the serious tune of his forthcoming melody -‘Aa mohabbat ki basti basayeinge hum’. As to who will be the female singer, there was absolutely no doubt about Lata; but who will give the male voice? “Dada it should be Talat”-said Ashok Kumar. Whereas Dilip Kumar suggested –“Anil Da, in any case looking at the serious lyrical notes, male singer should be your favorite Mukesh.” Anil Da had something else in his mind. “How if Kishore sings with Lata”- said the maestro. “Kishore!’ –Dilip was taken aback; “if Kishore will sing such a serious song, then ‘Aapka joota aur mera sar (if Kishore will sing such a serious song, my head is ready for your shoe-beating)’” –added Dilip Kumar. “Mein joota le kar aataa hoon, sar tayyar rakho (Be ready with your head, I am bringing my shoe).”
Kishore Kumar was called, who at the first instance, bluntly refused to sing the said duet with Lata. But, the maestro’s conviction prevailed and eventually a heart-throbbing duet was created!
Film Girls school-49 has a very interesting History. As we know the film had 2 MDs-Anil Biswas and C Ramchandra (4 and 5 songs each).
This film was produced by Kavi Pradeep under the banner of Lokmanya Productions,Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, AB wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.
Finally when AB joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. AB was invited by Devika Rani and that too at 2500 pm,when Pradeep was getting 1500 pm. This irritated Pradeep to no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.
With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. AB was fed up. He had already recorded 3 songs and a solo by Lata , ” tum hi kaho,mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though CR was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.
Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.) Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is” highly Principled” !
One of the controversial chapters in his life was splitting of his friendship with Mehboob Khan, with whom he had tasted his initial success in Sagar Movietone. There are versions on this split from both sides, but since both never patched up, it is difficult to take sides.
Anil Biswas joined Sagar Movietone in 1936 and Jagirdar-37 was his first film as an MD there. He became a very good friend of Mehboob. Together with Cinematographer Faredoon Irani, they made a close group of friends.In every film that Mehboob directed from 1937 to 1942 ( 8 films ),Anil Biswas was his Music Director. In 1940 Sagar staff shifted to National and in 1942, National Studios was to be closed. All employees, including Mehboob, Faredoon and Ail Biswas were worried about their future. In that period, Anil Biswas got an offer first from Ranjit Studios, but he rejected it as his friends did not get offers. Then he got an invitation from Bombay Talkies for Rs. 2500 rupees pm as salary. This was too lucrative to reject. Though his friends were jobless, Anil Biswas joined Bombay Talkies.
Mehboob Khan was upset that being a friend also, in their bad days, Anil Biswas deserted them for personal gain.Mehboob and Faredoon felt let down. Their relations soured and thereafter Mehboob khan never ever took Anil Biswas as an MD for films of his company. After establishing his own Mehboob Productions, he did not invite Anil Biswas. Mehboob Khan prospered and teamed up with Naushad as his MD from film Anokhi Ada-48 onwards, in place of Anil Biswas.
By 1954, Anil Biswas broke up with his first wife Ashalata. He divorced her, but lost everything he had, to her in settlement for freedom. He was not getting any films. For survival he unsuccessfully tried doing Truck business. Seeing his condition, Mehboob offered him the contract for his Canteen,on request from Anil Biswas. That too failed miserably. Mehboob Khan was so bitter about him that even in that condition Mehboob did not offer him any film.
When Mehboob Productions planned the film ‘Paisa hi paisa ‘-56, Mehrish was made the Director. Being a great fan of Anil Biswas, he asked Mehboob’s permission to call Anil Biswas as its Music Director. As one who believed in work ethics, Mehboob very reluctantly permitted Mehrish, but went on a Foreign trip to avoid meeting Anil Biswas. Film ‘Paisa hi Paisa ‘was a comedy film, with Kishore kumar, Mala Sinha,Shakeela, Shyam kumar, Murad,Mukeri,Kumud tripathi etc etc. Basically Anil Biswas specialised in Tragedy or Serious films. Comedy film was not in his comfort zone, but his financial condition forced him to bow to the circumstances. Being a talented composer, he did well in this too, though the film bombed at the Box office. ( (Info used in this article is from books Sagar Movietone,Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi books ‘Anil Biswas’ and ‘Mehboob Khan’ by Shashikant kinikar, with thanks)
As far as music of the film Lajawab-1950 was concerned, being from Eastern Bengal (like S.D.Burman), he had used the folk song tunes of that region in this film. Some of the songs were outstanding. Today’s song is sung by Lata and Binapani Mukherjee with a chorus. Enjoy….
Song- Dil na haathon se nikal jaaye (Laajawaab)(1950) Singers-Binapani Mukherjee, Lata, Lyricist-Shekhar, MD-Anil Biswas
Both
Lyrics (Provided by Prakashchandra)
ho dil na haathon se nikal jaaye
o bhai dekho dekho
are bhai dekho
dil na haathon se nikal jaaye
o bhai dekho dekho
are bhai dekho
husn ki lau mein na jaal jaaye
na jal jaaye
na jal jaaye
o bhai dekho dekho
are bhai dekho
dil na haathon se nikal jaaye
o bhai dekho dekho
are bhai dekho
kasoor mera naheen
gar ho koi deewaana
aa aa
aa aa
aa aa
garoor kyu na ho
jab husn paaya mastaana
mastaana aa aa
suno jee karti hoon hoshiyaar
sabko pehle hee ee ee ee ee ee
meree nazar ka koi ban na jaaye nazraana
meree nazar ka koi ban na jaaye nazraana aa aa aa aa
nazraana aa aa aa
phir koi teer na chal jaye
o bhai dekho dekho are bhai dekho
phir koi teer na chal jaye
o bhayi dekho dekho are bhayi dekho
husn ki lau mein na jal jaaye
na jal jaaye
na jal jaaye
o bhai dekho dekho
are bhai dekho
dil na haathon se nikal jaaye
o bhai dekho dekho
are bhai dekho
dekhne waale kasam khaa ke yahi kahte hain
aen aen aen aen
ke tez bhaale meri palkon mein chhupe rehte hain
phir bhee kahte hain mujhe
kya
ek nazar aur sahee
ek nazar aur sahee
are maze le le ke wo bhaalon ki maar sahte hain aen aen aen
aen aen
kaheen soorat na badal jaaye
o bhai dekho dekho
are bhayi dekho
kahin soorat na badal jaaye
o bhai dekho dekho
are bhai dekho
husn ki lau mein na jal jaaye
na jal jaaye
na jal jaaye
o bhai dekho dekho
are bhai dekho
dil na haathon se nikal jaaye
o bhai dekho dekho
are bhai dekho
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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