Ye jawaanee gulaab jaisee
Posted on: November 24, 2024
This article is written by Sadanand Kamath, 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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‘Haathhon Kee Lakeeren’ (1986) was produced and directed by Chetan Anand under his banner of Himalaya Films. The film’s star cast included Sanjeev Kumar, Zeenat Aman, Jackie Shroff, Priya Rajvansh, Sudhir Dalvi, Kamal Kapoor, Bharat Kapoor, Shubha Khote, Dina Pathak, P K Sharma, Anil Mathur etc. In this film, Chetan Anand introduced child artist, Yashodhan Pandit, music director, Pyare Mohan and playback singer, Bela Sulakhe. The film was certified by the Censor Board on November 4, 1985. Probably, the film had a limited theatrical release sometime in 1986. This was Chetan Anand’s last feature film as producer-director.
Chetan Anand belonged to the school of making realistic and the meaningful films with high artistic merit. ‘Neecha Nagar’ (1946), the first film he directed can be regarded as his attempt to make the first parallel film in Hindi. Two among his other films – ‘Aandhiyaan’ (1952) and ‘Anjali’ (1957) also had some streaks of parallel cinema. Probably, the box office realities forced him to make some amendments to his style of film making in the later years. But still his films were different from the mainstream films made by his younger brothers – Dev Anand and Vijay Anand.
Chetan Anand (03/01/1915 – 06/07/1997) was born in Gurdaspur, Punjab. His father, Pishorimal Anand was a successful criminal lawyer in the Gurdaspur District Court and a freedom fighter. Chetan Anand had five sisters and three brothers. Apart from Dev Anand and Vijay Anand who chose Hindi film career, Chetan Anand had one elder brother, Manmohan Anand who was an advocate in Gurdaspur District Court.
At the age of 5, Chetan Anand was put in Gurukul Kangri, Haridwar where he spent 5 years in the Vedic system of schooling. After completion of his regular schooling, Chetan Anand was sent to Government College, Lahore where he was exposed in the environment of the Western mannerism. The college gave him opportunity for developing his talent for the theatre. After completing B.A. in English in 1934, Chetan Anand was sent to City College, London for completing M.A. However, he did not complete his post-graduation. Instead, he appeared for the Indian Civil Service in London which he could not clear.
Chetan Anand returned to India in 1936 and joined All India Radio. In 1939, he was selected as the teacher in the prestigious Doon School, Dehradun where he taught Hindi and English. It is in this school, he produced and directed his first amateur play, based on one of the Shakespearean plays. During his 4 years in Doon School, he develops interest in writing. He used to write scripts which he would sent to film producers in Bombay (Mumbai). While in Doon School, Chetan Anand fell in love with Uma Chatterjee, a Bengali Christian and got married to her in 1943.
Chetan Anand shifted to Mumbai with his wife Uma Anand and his son, Ketan Anand sometime in 1944 to pursue a career in Hindi films. Initially, the family stayed with Dev Anand in a chawl at Lower Parel who at that time was working in Military Censor Office. Later, Chetan Anand stayed at Pali Hill, Bandra in a Bungalow which he took on rent. He got a major role in ‘Anban’ (1944) at a salary of Rs.800 per month. The film flopped. One of his acquaintances introduced him to director, Phani Majumdar who took an instant liking for him. At that time, he was planning to make ‘Rajkumar’ (1944) for which he cast him as hero opposite Nargis. However, the film never saw the light of the day.
The Pali Hill bungalow of Chetan Anand became an intellectual hub for upcoming writers and artists connected with theatre, cinema, music etc. The regular visitors included Balraj Sahni, Mohan Saigal, Zohra Saigal and her sister, Uzra Mumtaz, Ravi Shankar, Ali Akhbar Khan, Manmohan Krishna, Prem Dhawan, Madan Puri etc. Through such gatherings, Chetan Anand came under the influence of IPTA and decided to direct a film, ‘Neecha Nagar’ (1946) at a shoe-string budget.
The story of ‘Neecha Nagar’ (1946) was written by Hayatulla Ansari which he adapted from Maxim Gorky’s play ‘The Lower Depths’ (1902). Apart from his wife, Uma Anand, Chetan Anand introduced Uma Kashyap in the film giving her new name, Kamini Kaushal. He picked up most of the other actors and crew members from IPTA. The film was about the rising gulf between the rich and the poor under the British rule. The film could not get a theatrical release due to its theme. However, film won Grand Prix at Cannes International Film Festival, 1946, the first Festival held after World War II. Much later, the film was telecast on Doordarshan sometime in early 1980s.
After ‘Neecha Nagar’ (1946), Chetan Anand was without work for a long period. His younger brother, Dev Anand had started getting lead roles in the films and had a steady income. After the box office success of ‘Ziddi’ (1948), Dev Anand told Chetan Anand that both of them are going to float a film production company to produce a film which will be directed by Chetan Anand and he and Suraiya would act. He arranged the finance for the film from one of the producers of his film. Thus, Navketan Films was set up in July 19, 1949, and ‘Afsar’ (1950) was the first film under the banner, written and directed by Chetan Anand. The film had moderate success at the box office.
The next film from Navketan Films was ‘Baazi’ (1951) directed by Guru Dutt. Chetan Anand did not have much to do with this film except being a partner in Navketan Films, he was producing the film along with Dev Anand. However, he was instrumental in introducing Mona Singha in the film and gave her a new name, Kalpana Kartik. Incidentally, Chetan Anand’s mother-in-law (Uma Anand’s mother) was the first cousin of Kalpana Kartik. The film was a hit at the box office.
Chetan Anand directed his second film ‘Aandhiyaan’ (1952) for Navketan Films. The film was critically acclaimed but was a disaster at the box office. The next film, Hamsafar’ (1953) was also miserable failure at box office. This resulted Navketan Films in a financial turmoil. The banner was badly in need of a commercially successful film. ‘Taxi Driver’ (1954) was launched under Chetan Anand’s direction on the story written by Uma Anand and Vijay Anand. The film was a great success at the box office.
Sometime during the making of ‘Funtoosh’ (1956), creative difference between brothers developed. Chetan Anand felt that under Navketan banner, he cannot make the type of films which he would like to promote as they may not be commercial success which Dev Anand would like for Navketan. So, After ‘Funtoosh’ (1956), Chetan Anand separated from Navketan Films and started directing films with stories of his liking outside Navketan. However, the family bonding between the brothers remained strong. After separating from Navketan, Chetan Anand directed ‘Joru Ka Bhai’ (1955), ‘Anjali’ (1957) and ‘Kinaare Kinaare’ (1963) for different producers. However, none of these films made money for their producers.
Sometime in 1963, when Dev Anand was planning a big budget film, ‘Guide’ (1965) which was to be made in Hindi and English, he requested Chetan Anand to direct the Hindi version of the film. Few schedules of shooting of the film had already started when Chetan Anand had to give up directing the film as he got financial approval from Govt of Punjab as well as Defence ministry’s permission to shoot in Ladakh for a war film, ‘Haqeeqat’ (1964). This was his first film produced under his newly set up banner, Himalaya Films.
‘Haqeeqat’ (1964) is considered as one of the best war films of the black and white era of Hindi films. The film got Chetan Anand fame as well as money. He introduced Priya Rajvansh (real name: Veera Singh) in the film, who later become his live-in partner. She worked only for films directed by Chetan Anand. His next was another critically acclaimed film, ‘Aakhri Khat’ (1966).
After this, Chetan Anand produced and directed two films of musical romantic drama genre – ‘Heer Ranjha’ (1970) and ‘Hanste Zakhm’ (1973) In between, he made another war film, ‘Hindustan Ki Kasam’ (1972) outside his banner. All three films earned him critical appreciation with moderate box office success.
On the occasion of the 25 years of Navketan Films, Dev Anand requested Chetan Anand to direct Navketan’s ‘Jaaneman’ (1976) for him which he agreed. Similarly, Dev Anand worked for Chetan Anand in Himalaya Films, ‘Sahib Bahadur’ (1977) which was a remake of Navketan’s first film, ‘Afsar’ (1950). But their combined efforts did not reflect favourably at the box office.
‘Kudrat’ (1981) was his last major film released with Chetan Anand as a director. Though the film was a box office success, Chetan Anand was unhappy with Producer B S Khanna and Rajesh Khanna who supervised the final editing of the film without his knowledge. He made his last feature film, ‘Haathhon Kee Lakeeren’ (1986) and ended his connection with celluloid after producing and directing the TV Serial, ‘Param Veer Chakra’ (1988) for Doordarshan.
Chetan Anand passed away on July 6, 1997, at the age of 82.
The story of ‘Haathon Kee Lakeeren’ (1986) is as under:
Mala (Priya Rajvansh) is married to Major Ranveer Singh (P K Sharma). Mala is pregnant and Major Ranveer Singh has got orders to report to one of the border posts. Since Mala has no one in the family to support her, Major entrusts the responsibility of looking after Mala to his close friend, Dr Bhanu Pratap (Sanjeev Kumar) who has a nursing home.
Major Ranveer Singh gets killed at a border post. Mala is devasted as she has no relatives to support her. Her health deteriorates. She delivers a dead baby at Dr Bhanu Pratap’s nursing home. Now Dr. Bhanu Pratap has to be more careful in psychologically tackling Mala as she has gone into depression. He start visiting her house almost every day. Dr. Bhanu Pratap’s wife (Shubha Khote) laments that he has more time for Mala than for her.
Lalit (Jackie Shroff), son of a businessman father (Kamal Kapoor) and Geeta (Zeenat Aman) daughter of a Nurse (Deena Pathak) are in love with each other. Lalit wants to get married to Geeta, but his father is deadly against the marriage because of Geeta’s background. He sends Lalit to London to take care of his business at the branch office. On the day of departure, Geeta tries to convey Lalit that she is carrying his child but in vein as she is not able to contact him. Lalit is also not able to contact Geeta to tell her about his sudden departure to London. Geeta thinks that Lalit has ditched her.
Geeta apprises about her pregnancy to her mother and tells her that she will not go for abortion. On due date of delivery, Geeta delivers a boy in the nursing home of Dr. Bhanu Pratap where Geeta’s mother works as Nurse. She tells Geeta that the baby boy was born dead. Actually the new born baby boy is alive, and Geeta’s mother has requested Dr Bhanu Pratap to hand over the infant to an orphanage so as to keep the family’s honour. Dr Bhanu Pratap refuses her by telling that the infant must stay with the mother. But she threatens that she would kill the infant for the sake of the family’s honour.
Dr Bhanu Pratap finds a solution by which the baby boy will be given to the care of Mala thus keeping her mind busy. Mala first refuses to look after the baby boy. Dr Bhanu requests her to at least look after for few hours until he makes the alternative arrangement. During those few hours, Mala gets attached to the baby boy and relents to look after him.
After about 6 years, Lalit on a visit to India stays in a hotel where he finds Geeta working as a housekeeper. After removing her misunderstanding about him, he promises that soon he will get married to her. In the meantime, Lalit’s father dies of heart attack leaving the property and business to Lalit. He gets married to Geeta. The baby boy with Mala is now Bunty who has started going to school.
During an outing with Lalit, Mala falls from horse-riding, seriously injuring her. She is admitted to hospital where she is operated upon. She recovers but the doctor tell Lalit that Mala would not be able to conceive. Both Lalit and Mala are devasted. Over the period of time, both have drifting apart. It is at this juncture that Geeta’s mother reveals to Mala that her child out of wedlock is alive. She does not know where the child is but Dr Bhanu Pratap knows. They all visit Dr Bhanu Prasad’s nursing home. When he refuses to divulge the child’s whereabout to Lalit and request him that taking the child away from the poster mother (Mala) would badly affect her health. Somehow Lalit finds the whereabout of his child and takes legal action against Dr Bhanu Pratap and Mala to restore the child to them. The court gives judgement in favour of Lalit and Geeta.
Nest day, both Lalit and Geeta go to Mala’s house to take the custody of Bunty. He refuses to go with his real parents. But Dr Bhanu Pratap cajoles him to go with them. Bunty feels uncomfortable missing his foster mother. One night, he runs away from Lalit’s house to visit her poster mother. On the way, he narrowly escapes a car accident. Both Lalit and Mala comes and takes back Bunty. They assure him that next day, they would take him to his foster mother to spend some days with her.
As promised to Bunty, Lalit and Geeta take him to Mala’s house where Dr Bhanu is sitting in the verandah with a gloomy face. Bunty runs towards him and asks him to take him to his mother. Dr Bhanu Pratap tells him that his mother has left the house to meet her mother. After Lalit and Geeta has gone back to their house with Bunty, Dr Bhanu Pratap visits the room where the dead body of Mala is lying on the floor. The film ends with Dr Bhanu Pratap closing the eyes of the dead Mala.
Despite an excellent performance by Sanjeev Kumar, the film was a box office disaster. The performances of Priya Rajvansh, Zeenat Aman and Jackie Shroff failed to match the melodramatic and emotional contents of the film. Incidentally, ‘Chiraag Kahaan Roshni Kahaan’ (1959) and ‘Amar Rahe Yeh Pyaar’ (1961) had similar theme and stories with some variations.
‘Haathhon Kee Lakeeren’ (1986) had six songs (with one song having two versions), written by Hasan Kamal and set to music by debutant, Pyare Mohan. I am presenting the first song from the film, ‘ye jawaanee gulaab jaisee’ rendered by Jatin Pandit and Bela Sulakhe. The song is picturised on Jackie Shroff and Zeenat Aman.
The song is the reinforcement of love between Lalit (Jackie Shroff) and Geeta (Zeenat Aman) when they meet after getting separated for six years due to miscommunication. Now they have decided to get married. The song covers the sequence of romance before marriage, the pre-wedding and post-wedding rituals followed by couple going on an outing.
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Sources of information on the life of Chetan Anand:
1. Chetan Anand: The Poetics of Film – Documentary film (2007) directed by Ketan Anand.
2. The Navketan Story by Sidharth Bhatia (2011)
3. Romancing with Life – An Autobiography by Dev Anand (2007)
Video Clip:
Audio Clip:
Song-Ye jawaanee gulaab jaisee (Haathhon Kee Lakeeren)(1986) Singers-Jatin Pandit, Bela Sulakhe, Lyrics-Hasan Kamal, MD-Pyaare Mohan
Female Chorus
Lyrics (Based on Video Clip):
ho o o o o o
hmm hmm hmm hmm hmm
ho o o
ye jawaanee
ye jawaanee gulaab jaisee
gulaab jaisee hai
kisee rangeen khwaab jaisee
kisee rangeen khwaab jaisee
khwaab jaisee hai
ye jawaanee
ye jawaanee gulaab jaisee
gulaab jaisee hai
chaahaa hai mere dil ne
deewaanaawaar tumko
deewaanaawaar tumko
aa aa aa aa
hmm hmm hmm hmm hmm
ho o chaahaa hai mere dil ne
deewaanaawaar tumko
deewaanaawaar tumko
kah do meri wafaa kaa
hai aitbaar tumko
kah do meri wafaa kaa
hai aitbaar tumko
ho ye khaamoshee
ye khaamoshee jawaab jaisee
jawaab jaisee hai
kisee rangeen khwaab jaisee
kisee rangeen khwaab jaisee
khwaab jaisee hai
rukh par zaraa giraa lo
zulfon kee badliyon ko
rukh par zaraa giraa lo
zulfon kee badliyon ko
jo kaho to main churaa loon
honthon kee surkhiyon ko
jo kaho to main churaa loon
honthon kee surkhiyon ko
ho o o
ke ye masti
ke ye masti sharaab jaisee
sharaab jaisee hai
kisee rangeen khwaab jaisee
kisee rangeen khwaab jaise
khwaab jaisee hai
mehendi lagegi haathhon mein
khankegaa kangnaa raaton mein
badaa mazaa aayegaa
chaandnee raaton mein
pyaar kee ghadiyaan aayengee
phoolon kee ladiyaan laayengee
chedengi jo sakhiyaan teri
ankhiyaan sharmaayengi
mehendi lagegi haathaon mein
khankegaa kangnaa raaton mein
badaa majaa aayegaa
chaandnee raaton mein
aaa aaa aa aaaaa
aa aa aa aa aaa
aa aa aa aa aaa
mehendi lageee hai haathhon mein
khankegaa kangnaa raaton mein
shehnaayiyaan goonjeen hain
shehnaayiyaan goonjeen hain
mere gaaon mein
ho o
mehendi lagee hai haathhon mein
khankegaa kangnaa raaton mein
khushboo tere badan kee
mehkee huyee hawaa mein
mehkee huyee hawaa mein
aa aa aa aa aaa
aa aa aa aa aaa
ho o
khushboo ye tere badan kee
mehkee hui hawaa mein
mehkee hui hawaa mein
shokhee teree adaa kee
bahkee huyee fazaa mein
shokhee teree adaa kee
bahkee huyee fazaa mein
ho ye hansee rut
ye hansee rut
shabaab jaisee
shabaab jaisee hai
kisee rangeen khawaab jaisee
kisee rangeen khawaab jaisee
khwaab jaisee hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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