Jhhoothha jag jhhoothhee re maayaa
Posted by: Atul on: December 28, 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 an obscure and less known film Mordhwaj-1952.
This was a Mythological film about a less known incident which happened during the Ashwamedh Yadnya by Pandavas, after they won the Kurukshetra war against the Kauravas, with the help of Shri Krishna.
Seeing religious films had many advantages. When I was very young and had to see, not by choice, such films while taking a group of family elders to the Theatres. Initially, I was happy, then reluctant and later on an interested person. First it increased your knowledge about your religion. Most children knew about religion what was taught in the books or told by the elders in the families. I mean, this was the situation some decades ago, when I was a school boy, i.e. the 40’s and the 50’s. Nowadays, the school books do not have stories from Religion and there are no elders in 90% of the families.
Secondly, you learnt about the Vedas and the Puranas. Today’s youngsters may not even know how many Puranas there are. There were films on various Gods and Goddesses, as well as different incidents from the Holy books. This widened the scope of your knowledge. With our Holy books and Puranas overflowing with stories from the religion, the filmmakers never felt shortage of subjects. Most of the major studios made religious films. The decade of the 50’s was full of such films.
Thirdly, these films were very entertaining with their Trick scenes. Flying Gods, disappearing Demons, shape changing magicians and colossal war scenes truly bound you to the seats. All these things confirmed in the minds of people that ” whenever there is decay and loss of religion, God will come to this world to set things right “.
Despite making films on all varieties, types and kinds of Gods, I have yet to see any film made either on the God Bramhadev or the Goddess Saraswati. Another question always popped up in my mind was why Bramhadev is always shown as an old God ? When the other Gods and the Goddesses put on colourful dresses and beautiful gold ornaments, Bramhadev alone is shown devoid of such decoration and always shown in the same attire ! These are the questions which have no answers and now that the Genre of ‘Pouranic’ or ‘ Mythological’ films is practically over, there is a slim chance of getting the answer.
Today’s song is from a film which circles around an incident from Mahabharat. The film was produced by M. Gautam and was directed by Balwant Bhatt- aveteran in handling such films. He was the elder brother of another such film expert Nanabhai Bhatt. The film had a cast consisting of Durga Khote, Prem Adib, Ram Singh, Tiwari, Leela Mishra and others. The eminent Hindi Lyricist Bharat Vyas wrote all the 8 songs of this film and these were composed by a Debutante Music Director – Narayan Dutt. he was a victim of the ‘Same name Confusion’ with the more popular Md, N.Dutta. A lot has already been written about them earlier here and in books, so I will not repeat it. The film’s story was…..
Prince Suchitra, son of Raja Mordhwaj, of Ratnapur, goes for daily hunting accompanied by his friend Kaak. His attention is drawn by the sudden flight of a horse with a youngish rider on it. Reaching nearby finds that a lion is lying dead and another is out to leap on the rider. A well aimed arrow from his bow takes life out of the creature and it reels back dead. Suchitra tries to be friendly while the saved rider cares to keep up only formalities.
In the course of their short company the prince happens to know that his companion is none other than princess Vijaya of Srimantapur. Love takes root in both the hearts and fixed meetings follow thereafter. Yudhishtira the Pandava King of Hastinapur, decides to perform Ashwamedh Yajna. The sacrificial horse moves in the direction of Ratnapur throwing open challenges to the heroism of independent states. Huge armies of Hastinapur with mighty Arjun at their head,stand guarantee to the safety of the advancing horse. All must accept Pandavas’ sovereignty or fight.
The whole Ratnapur is astir. King Mordhwaj, by nature, does not want war but the people refuse to surrender. Representatives of the people meet in Sudharma Sabha and decide to stop the horse and accept the challenge. Prince Suchitra heads the people’s cause. Very soon the news gets currency in the neighbouring states. Princess Vijaya too decides to follow in the footsteps of prince Suchitra. The advance of the sacrificial horse-the symbol of pandavas challenge, is arrested at the border of Ratnapur. A fierce battle ensues for which the king prays and the prince fights. The armies of the Pandavas are routed out and their leader Arjun is injured and defeated on the battlefield. Lord Krishna, accompanied by sage Narad, comes to Arjun’s war camp. The sage attributes the defeat of Arjun’s armies to the unsurpassed devotion of king Mordhwaj, he also asserts that devotion weighed heavier than friendship with Lord Krishna, Arjun does not accept this plea and presses for solid proof. Lord Krishna takes Arjun with him garbed as Sadhus to Raja Mordhwaj and asks for the flesh of his son to feed a hungry lion. The king does not refuse the Brahmin beggars and agrees to sacrifice his only son. Arjun looks horrified and retires from the arena totally defeated. He admits the supremacy of the devotees’ claims over his own. Lord Krishna, affected by his devotee’s most thrilling sacrifice, blesses their son to life. He and His party consisting of Arjuna and sage Narada, appear in their true forms.
Today’s song is sung by one Dilip Kumar Roy. Do you know who he was ? He was none other than the Music Director Dilip Dholakia. Contribution of Gujarat to the film industry is tremendous right from the beginning of the moving pictures era. The important fact is, this contribution was all pervading, i.e. in all departments of film making from Production to Distribution and in the music field it was in the form of Singers and composers. Producers like Dalsukh Pancholi and Chandulal Shah, Directors like Desai and Doshi, actors like Sanjiv Kumar and Nirupa Roy, MDs like Pransukh Nayak and Madholal Master right up to Kalyan ji Anand ji….the list will be endless !
However, in the music field, not all those who came from Gujarat were as famous or lucky as some others. Composers like Avinash Vyas, Ninu Mujumdar, Ajit merchant-despite the quantity and the quality, never got counted amongst the Top Of the Line composers. Another name of such a composer is that of DILIP DHOLAKIYA.
Dilipbhai, as he was popularly called, was born on 15-10-1921 at Junagadh in Gujarat. He took classical music training from well known Gurus and also completed B.A. degree with Sanskrit and Gujarati Literature as main subjects. From 1942 to 1944 he even worked in govt. office, but his intense desire for music made him leave the job and seek opportunities. He sang on A.I.R. for 5 Rs. a song basis. He developed friendship with Snehal Bhatkar who was working in HMV that time, and cut a record of 2 songs. He sang along with Saigal in a chorus for Bhanwaraa-1944. Later Shantikumar Desai and Ratan lal gave him songs in Kismatwala and later Chitragupta also gave him songs in Sakshi Gopal, Mahasati Savitri, Naya Raasta etc.
In 1947, he was selected by Phiroz Nizami to sing the famous song, “yahan badla wafa ka” from JUGNU. Few rehearsals also took place. Due to the turmoil of Independence activity in 1947, Mohd. Rafi was stuck in Jalandhar, Punjab. Just one day prior to the recording, Mohd. Rafi came to Bombay. Phiroz Nizami gave the song to Rafi, which made lot of good to him. This was the first indication to Dilip bhai that Luck was not with him.
Basically, he worked as assistant to Tripathi and Chitragupta from 1951 to 1972 and later from 1972,as arranger for Laxmikant Pyarelal up to 1988.
While not so successful in Hindi, he was quite popular in Gujrati as a singer and composer. His song ” Tari ankhni afini” from the film DIVADANDI-1950,under Ajit merchant’s baton is hugely popular even today.
His first independent film in Hindi ,as composer was ‘ Baghdad ki raaten-1956’,but the film was released only in 1962 ! In all he gave music to 8 Hindi films, Bhakti Mahima, Saugandh, Teen Ustaad, Private secretary, Dagabaaz, Veer Ghatotkach and Mata Vaishno Devi. The song” Mile nain, mile chain” from private secretary by Lata, became quite popular in those days. He used several names like Dilip,Dilip D., Dilip Rai and Dilip Kumar for his songs and music.
He gave music to 11 Gujarati films from 1963 to 1984. There is not much information available about Dilip bhai on the Net or in Books. However the following is the summary of his life ,from a site “deshgujarat” with thanks to them-
-Gujarati film Divadandi was released in 1950. Though the film was not a superhit, its one song written by Venibhai Purohit, composed by Ajit Merchant and sung by Dilip Dholakia is a superhit even today. The song is: Tari ankh no afini… Initially people misunderstood that this song was sung by Mukeshji.
-His father used to play flute while his grandfather Manishankar used to sing Kirtan and Bhajan in Swaminarayan Mandir. Shri Dholakia came to Mumbai in 1982 and passed B.A
-He worked in the Bombay government’s Home department for two years as a clerk in the Accountant General’s office. While his office was located on the first floor, the third floor in the same building was occupied by All India Radio.
-Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadur Khanji high school and Bahauddin College.His father’s name was Bhogilal.
In 1944, musician Khemchand Prakash’s brother Ratanlal gave him a chance to sing in Kismatwala film. His songs were ‘Gori chalo na sina ubharke” and ‘Dekho hamse na ankhe ladaya karo’. In 1946 he sung a song ‘Dukh ki is nagri mein baba koi na puchhe baat’ in ‘Laj’ film under Ramchandra Pal’s music composition arrangement.
-He sung Saigal’s 1944 song of film Bhanvra’s song Thukra rahi hai duniya in chorus. He was introduced to musician Snehal Bhatkar in HMV studio with whose help a record of songs ‘Bhint fadi ne piplo ugyo’, and ‘Aadha tel aur aadhaa paani’ was made. In this record Dilipbhai was the singer and Venibhai Purohit was writer. In 1948 Avinash Vyas gave a chance to Dilipbhai for two duet songs in the film ‘Sati son’. The name on the record printed was Dilipkumar. When Dilip Dholakia started his career as a musician, he chose D.Dilip as his identity. In 1960 he gave music in K.Shankar Directed Bhakti Mahima film under this new name.
-From 1951 he became assistant to musician Chitragupt and worked with him till 1972. In this course the films that were worked out were Insaf, Kismat, Zindagi ke mele, Bhabhi(Chal ud ja re panchhi ki ab ye desh huva begana, and Chali chali re patang meri chali re), Kali topi lal rumal(Lagi chhute na ab to sanam, Daga daga vai vai, Deewana admi ko banati hai rotiya) etc.
Moreover he worked as assistant of S.N.Tripathi. The tasks as assistant were very technical, such as writing notations, editing, providing creative inputs while composition of new creations. Dilipbhai composed 16 songs in Bhakti Mahima,which were sung by Lataji, Ushaji, Mannade, Suman Kalyanpur, S.Janaki. In 1961 he gave music in Saugandh film which was acted by famous actress Rekhaji’s father Gemini Ganeshan and Anjalidevi. This film’s one song ‘Apne liye jiye to jamane me kya jiye’ was sung by Rafiji, and ‘Chali havaye matvari’ was sung by Lata and Talatji. He also composed six songs in Nanabhai Bhatt directed film ‘Teen Ustad’.
-In 1962 he gave music in the film Bagdad ki rate. While two songs of this film were sung by Gita Dutt, one was by Shmshad Begum-Rafi. Dilipbhai’s favorite writer for songs in those days was Prem Dhavan. Dilipbhai made Manna Dey and Rafi singing his song of film Private Secretary. The song was ‘Pyar ka maara hu mein Juli’. After this He gave music in film Dagabaj in 1970 with name of Dilip Roy. In this film one song was sung by Mukeshji. One song sung by Mahendra Kapoor ‘Chand bhi sitare bhi hai bazama mein, jane kya raz hai kyun ujala nahi’ was written by Kaifi Azmi. Dilipbhai gave music of Vir Ghatotkach and Mata Vaishnavi Devi with name as ‘Dilip Roy’.
Thus Dilipbhai gave music in eight Hindi films. He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.
-Dilipbhai’s last recording happened on 15 February 1988.
Dilip Dholakiya died on 2-1-2011.
Today’s song is a real sweet song, sung by Dilip Kumar Roy, in Manna Dey’s style. Enjoy this 72 year old song….
Song- Jhootha jag jhoothi re maaya man kyun bharmaayaa re (Mordhwaj)(1952) Singer-Dilip Kumar Roy, Lyricist- Bharat Vyas, MD- Narayan Dutt
Lyrics
Jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
Naaraayan se ae preet lagaa re
jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
janm maran ka jhoothha jhamelaa
aayaa akela aur tu jaayegaa akelaa
do din ka hai ae jeevan melaa
jis par tu itraayaa re
sun sun mere manwaa aa
samajh na paayaa re
jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
kaayaa kachchee phool see
dhoop lage kumhlaaye
maayaa maatee kee teree
boond padey ghul jaaye
kaahe ko gumaan kare
jhoothhaa abhimaan karey
sar pe kaal mandraayaa re
tere sar pe kaal mandraayaa re ae
uskee naiyyaa paar lagee
jisne Hari ka gun gaayaa re ae
Hari gun gaayaa re
jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
jhoothha jag jhoothhee re maaya
man kyun bharmaayaa re
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