Aa aa meree taal pe naach le baaboo
Posted on: January 6, 2025
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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‘Kal Hamaara Hai’ (1959) was produced by K Amarnath under the banner of K Amarnath Productions and was directed by S K Prabhakar who also wrote the story. He was the elder brother of Cinematographer, D K Prabhakar. The star cast of the film included Madhubala and Bharat Bhushan in the lead roles supported by Jayant, Leela Chitnis, Deepak, Jagdev, Hari Shivdasani, W M Khan, Murad, Brahm Bhardwaj, Ravikant, Jeevankala etc.
It is evident from a photograph of a scene from the film in ‘Filmindia magazine of October 1957 issue that the film’s original title was ‘Teen Patte’. But all subsequent photographs from the film which appeared in ‘Filmindia’ in 1958, the title was changed to ‘Kal Hamaara Hai’. Probably, in the background of the announcement of the Second Five-Year Plan of the Government of India in 1956, producer may have changed the title to reflect the aspirations of the people.
This was the only film which S K Prabhakar directed. He was a story-screenplay-dialogue writer-editor of about a dozen films like ‘Ek Saal’ (1957), ’Do Ustad’ (1959), ‘Nartakee’ (1963), ‘Ishaara’ (1964), ‘Naunihal’ (1967), ‘Pehchaan’ (1970), ‘Wo Din Yaad Karo’ (1971) etc. He was married to Chanchal, Madhubala’s younger sister. Coincidently, S K Prabhakar suffered from the same cardiac ailment that of Madhubala and passed away young. (Source: K Amarnath-Producer-Kal Hamaara Hai-1959)
I had watched the film to cover its storyline in this article. However, I find that Shri Arunkumar Deshmukh has already covered the story of the film in his recent article. Therefore, I will confine here writing my impression about the film. The theme of the film is that whatever may be the adverse circumstances faced today, one needs to be the true path with positive attitudes for the better tomorrow.
The film is a social drama with Bharat Bhushan as protagonist and Madhubala in twin-sister’s role – one a traditional and a matured girl and other the modern and flamboyant girl. After facing a lot of problems from Jayant, Bharat Bhushan does not deviate from the path of truth. On the contrary, he rescues the twin sisters from the clutches of Jayant and his henchmen legally. From what I saw in VCD of the film, despite in the role of a protagonist, Bharat Bhushan does not get to depict a strong personality from the script. On the contrary, Madhubala being in twin roles, gets a strong presence in the film. It is quite possible that, being an old film, the VCD of the film may be an edited one by excluding the damaged portions of the film as often happens in the case of old films.
I had watched two earlier films having female actors in double role as sisters – traditional versus modern – Nargis in ‘Anhonee’ (1952) and Shyama in ‘Do Behnen’ (1959). In my view, Madhubala has given a better display of emotional expressions as a traditional sister and comic and a graceful seductive mannerism as a modern sister in this film with ease. In fact, her versatile performance in dual roles make light of the performances of Bharat Bhushan despite both having excellent chemistry during their inter-actions in the film. Of course, credit also goes to the screenplay writer and the director, S K Prabhakar who seems to have given Madhubala the more prominence in this film to display her talents and for being the ‘Venus of Indian Cinema’. And she has justified it. Jayant in the role of a villain gives a restrained performance without overdoing his role. The film was interesting to watch especially for the fans of Madhubala. Unfortunately, the film did not fare well at the box office for the reason best known to the audience.
The soundtracks of seven songs in the film are melodious which appear in the film in the appropriate context. However, with film not performing well at the box office, the songs have been forgotten over a period of time. Except for a couple of songs, I do not remember to have heard other songs until recently. The songs were written by Majrooh Sultanpuri (4) and Shailendra (3) which were set to music by Chitragupt (5) and Gajanan Karnad (2). However, the name of Gajanan Karnad was not listed in the credit title of the film and the film’s publicity material.
Five (out of seven) songs have been covered on the Blog. I am presenting the 6th song, ‘aa aa meree taal pe naach le baabu’ rendered by Geeta Dutt. The song is written by Majrooh Sultanpuri and Chitragupt composed the music. The song is picturised on Madhubala as a stage performer. In the audience, Jayant can be seen with Deepak in his hotel which is the venue of the dance performance. The person with bouquet, I guess, is Jagdev.
During the second half of 1950s and thereafter, Choreographers avoided giving Madhubala the difficult and vigorous dance steps and movements in her dance sequences in the films. The reason was that after she fainted a couple of times during shootings of her earlier films, the doctor had advised her not to perform dances due to her medical conditions. In this dance song, Madhubala performs the dance with simple steps and movements with grace giving more emphasis on the expressions and gestures.
The background of the song is that Bela (Madhubala in the role of a modern sister) has decided to give up her studies in Lucknow and proceed to Mumbai for a better opportunity to exploit her beauty. A fellow traveller in the train (probably Jagdev) offers her a room in a 5-star hotel in Mumbai owned by Shekhar (Deepak) and a job as a club dancer in the same hotel. The next day, Shekhar invites Bela for a dinner. Before that he has fixed her stage dance in the hotel.
An interesting thing about this song is that, at the end of the song, Shekhar (Deepak) requests Bela for her autograph which she happily gives. This clip of the scene from the song also appears in ‘Half Ticket’ (1962) after the end of a songless skating dance (19:44 to 20:05). Deepak has done the role of the elder brother of Kishore Kumar in ‘Half Ticket’ (1962).
Video Clip:
Audio Clip:
Song-Aa aa meree taal pe naach le baaboo (Kal Hamaara Hai)(1959) Singer-Geeta Dutt, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics (Based on Video Clip):
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
yoon bal khaaye meraa badan
kyaa lachkegee jab kiran
yoon bal khaaye meraa badan
kyaa lachkegee jab kiran
dil mein samaaye
hosh pe chhaaye
ye dil mein samaaye
hosh pe chhaaye
zulf kee khushboo
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
aankhen dekheen hongee magar
dekho meraa teer-e-nazar
aankhen dekheen hongee magar
dekho meraa teer-e-nazar
inkaa nishaanaa
aaj bachaanaa
inkaa nishaanaa
aaj bachaanaa
dil pe rahe kaaboo
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
dekho naa ye gaalon kaa til
khil jaayegaa seene mein dil
dekho naa ye gaalon kaa til
khil jaayegaa seene mein dil
rah naa sakegaa
naach uthhegaa
rah naa sakegaa
naach uthhegaa
hoke deewaanaa tu
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
aa aa
meree taal pe
naach le baabu
ruk ruk chaltaa hai mere
husn kaa jaadoo
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 6, 2025 at 9:02 pm
Kamath Sir,
Your write-up beautifully captures the essence of Kal Hamaara Hai, bringing out the nuances of Madhubala’s dual roles with such depth.
Your description of the song “Aa Aa Mere Taal Pe Naach Le Baabu” highlights Geeta Dutt’s soulful singing and Madhubala’s graceful performance, thoughtfully adapted to her health limitations.
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January 7, 2025 at 6:42 am
Gandhi Vadlapatla ji,
Thanks for your appreciation.
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