Mujhe dard deke ye keh diyaa
Posted on: December 4, 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 Pyar ki Manzil-1950. This is the last song of this film covered here and the film will become YIPPEED !
The film was produced by ‘Superteam Federal Productions’, Bombay – a name I have never heard. Possibly this was one of those mushroom production banners which had erupted post second world war, with people earning black money and then investing in filmmaking. It was directed by Keki Mistry and the music was by the successful team of Husnlal Bhagatram.
Generally Husnlal-Bhagatram team is considered as the first composer team in Hindi films. If you too think like this, then please read on…..
Generally it is considered that Husnlal- Bhagatram was the first pair of composers or at least they started the trend. However, it is NOT true, really. In the early era, when the Talkie films started in 1931, as early as 1932 itself a pair of 2 composers worked for a film- Indrasabha-1932, which had a record 71 songs. Composer Vazir Khan made the tunes and composer Nagardas Nayak played them on Harmonium.Though only Nagardas Nayak’s name is mentioned as its Music Director, HFGK has put up a footnote giving this information, quoting the name of composer Fida Hussain. OK, forget them.
Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Forget them also. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of MDs as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the H-B team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available.
But it is also true that the Husnlal-Bhagatram team was the first prolific successful team, who gave music liked by both old as well as newer generations. Some of their songs became evergreen songs. Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with Chand. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 49 films and most films’ music became popular. Although Bhagatram was the Elder of the two brothers, their name was famous as Husnlal – Bhagatram. During the peak of their career, the handsome,good looking Husnlal’s name was linked to the upcoming singer of those days-Lata Mangeshkar. This episode is described by C. Ramchandra in his autobiography.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husn Lal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husn Lal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husn Lal was a performer par excellence in Khyal, Thumri, Dadra, Gazal, and Bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of Taans, like his Guru Vedi Ji.
Pandit Husn Lal was an accomplished Violinist, a renowned Classical singer and an ace Music Director. He, along with his elder brother Bhagat Ram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of “HusnLal-Bhagat Ram”. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named Chand, after which they never looked back. They gave super hit melodies for more than 80 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film Badi Behan (1949) was a classic in the history of Indian cine music. Besides the most popular song, ‘Chup chup kharay ho…‘ there are other seven numbers which gave the audiences the pleasure of music as an art form – ‘Wo pass rahein, ya door rahein‘, ‘Tum mujhko bhool jao, ab hum na mil sakeinge‘, ‘Likhnein waley ney likh dee meri taqdeer mein barbaadi likhnein waley ney‘ and ‘Bigree bananey wale, bigree banaa dey‘ (Suraiya) and ‘Muhabbat ke dhoke mein koi naa akey‘ (Mohammed Rafi).
In ‘Chaley janaa nahin‘ and ‘Jo dil mein khushi ban kar ayey‘ Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husan Lal on her 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husan Lal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Aye Duniya Walo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold, within one month.
Husn Lal-Bhagat Ram worked with famous playback singers like Ameerbai Karnataki, Suraiyya, Shamshad Begum, Zohrabai Ambalawali, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, amongst others. He also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husn Lal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s,this pair parted company with each other. Husnlal’s father in law was an influential person. With his help,Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognised him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition,working for other composers.one day in 1973,he died in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan. ( I had the opportunity to speak to Shri Ashok Sharma ji, about his father,a few months back).
Once Lady Luck turns her back on someone, Destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny..
“some things happen in life differently……for example, as Shankar was a good dancer, he danced with ‘dholak’, in ”pyar ki jeet”, for which , story, screenplay, dialogues and few songs were written by the song writer, Rajendra Krishan, under the banner of famous pictures….. and the music directors were the then first pair of hindi film music, Husnlal Bhagatram, and incidentally both were brothers to join the film industry……Husnlal was a good violinist and Bhagatram was a harmonium master……when they were assigned the film ”pyar ki jeet”, Shankar was their assistant and played on dholak and tabla and being a dancer himself, danced in the film as stated above……
….it is destiny, that Shankar made a pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time….
…Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director, with Bhagatram…..and then Husnlal took to play violin….and Bhagatram…..sorry to say….being alone , started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction………what would you call it….destiny? “
Here is their Filmography yearwise– 1944: Chand; 1946: Hum Ek Hain; Nargis; 1947: Heera; Mirza Sahiban; Mohan; Romeo and Juliet; 1948: Aaj Ki Raat; Lakhpati; Pyar Ki Jeet; 1949: Amar Kahani; Balam; Badi Bahen; Bansaria; Hamari Manzil; Jal Tarang; Naach; Raakhi; Sawan Bhadon; 1950: Adhi Raat; Apni Chhaya; Birha Ki Raat; Chhoti Bhabhi; Gauna; Meena Bazaar; Pyar Ki Manzil; Sartaj; Surajmukhi; 1951: Afsana; Sanam; Shagun; Stage; 1952: Kafila; Raja Harishchandra; 1953: Aansoo; Farmaish; 1954: Shama Parwana; 1955: Adle- Jehangir; Kanchan; Mr Chakram; 1956: Aan Baan; 1957: Dushman; Jannat; Krishna Sudama; 1958: Trolley Driver; 1961: Apsara; 1963: Shaheed Bhagat Singh; 1965: Tarzan And The Circus; 1966: Sher Afghan. (Filmography from Encyclopedia of Indian Cinema, with thanks.)
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog ” Songs of yore ” published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi, wife of Husnlal. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview….
” The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….
“DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ” Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around. (Thanks to Blog “songs of yore” for this information.)
When I planned to write on this song, as usual, I checked the “Film Index” book of Hamraz ji to find if there was any other film with the same title. When I started checking, I was amazed at the number of film titles starting with the word ‘pyar’. Seeing this huge number, I was curious to know the status of similar words like Prem, Preet, Love, and Ishq. My findings are here…
96 films starting with Pyar
63 films with Prem
26 films with Love
17 films with Ishq and
6 films with Preet.
These numbers are exclusive with starting words only and not variations like Pyara, Pyari, Premi, Lovely etc.
Today’s song is sung by Shamshad Begum. This is not only the last song of the film featured here, but in the HFGK also this song is the last one in the song list.
Enjoy this 74 year old song….
Song- Mujhe dard deke yeh keh diya(Pyaar Ki Manzil)(1950) Singer- Shamshad Begum, Lyricist- Shevan Rizvi, MD-Husnlal – Bhagatram
Lyrics
mujhe dard deke ye keh diya
mujhe dard deke ye keh diya
mere paas iskee dawa naheen
mere paas iskee dawa naheen
tere pyaar kee hai yahee saza
tere pyaar kee hai yahee saza
meree ismein koi khata naheen
meree ismein koi khata naheen
tere paas rahke bhee door hoon
mere dil mein kya hai
main kya kahoon
main kya kahoon
tera dil to khud hai dukha hua
tera dil to khud hai dukha hua
mujhe tujhse koi gila naheen
mujhe tujhse koi gila naheen
mujhe hanste hanste rula diya
meree har khushee ko mita diya
mita diya
ke bahaar apnee main dekhtee
ke bahaar apnee main dekhtee
wo naseeb mujhko mila naheen
wo naseeb mujhko mila naheen
kahaan leke jaaun ye bekalee
tu heedekh meree ye bebasee
ye bebasee
tujhe bhool jaaun to bewafa
tujhe bhool jaaun to bewafa
jo wafa karoon to wafa naheen
jo wafa karoon to wafa naheen
mujhe dard deke ye keh diya
mujhe dard deke ye keh diya
mere paas iskee dawa naheen
mere paas iskee dawa naheen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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