Denewaalaa do dil detaa
Posted on: January 18, 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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‘Tasweer’ (1966) was produced under the banner of Wadia Movietone and was directed by J B H Wadia. The star cast included Feroz Khan, Kalpana, Helen, Sajjan, Nazeer Hussain, Rajendranath, Lalita Pawar, Raj Mehra, Sabina, Indira Bansal etc. This was last but one film of Wadia Movietone and its director J B H Wadia. Kalpana had an active career as a leading actress in the 1960s and this film was one of those films of her later years when her career was facing some setback.
Kalpana Mohan (Real name: Archana Mohan) was born in Srinagar (Kashmir) on July 18, 1946. Her father, Avani Mohan was a freedom fighter and close to Pandit Jawaharlal Nehru. Later, he became a member of All India Congress Committee. Kalpana was a trained Kathak dancer and she had given her dance performances in front of foreign visiting dignitaries in Rashtrapati Bhavan.
It is said that Balraj Sahni and Ismat Chughtai who had witnessed her dance performance, suggested her to come to Mumbai and try to work in Hindi films. It appears that initially, she worked in a few films as a dancer. It was ‘Professor’ (1962) which was her first film as a lead actress and she immediately came into limelight. Although she was also in ‘Naughty Boy’ (1962) as a lead actress, she came late in this film as a replacement for Madhubala. The box office success of ‘Professor’ (1962) was followed by the success of ‘Teen Devian’ (1965) and ‘Pyaar Kiye Jaa” (1966). But in these two films, she was not the sole lead actress. During her short filmy career, Kalpana worked in 14 films which included (other than what have been mentioned above) ‘Saheli’ (1965), ‘Teesra Kaun’ (1965), ‘Biwee Aur Makaan’ (1966), ‘Nawab Sirajuddaullah’ (1967) etc. ‘Ek Bechara’ (1972) appeared to be her last major film.
Sometime in the mid-60s, Kalpana got married to writer, Sachin Bhowmick which soon resulted in a divorce. After her second marriage with a navy officer in 1967, she retired from the films. Her second marriage was also a failure which resulted in a divorce in 1972. Thereafter, she vanished from the public eyes until 2011, when a newspaper reported that Kalpana had filed a FIR against three persons who had allegedly made a fake memorandum of understanding (MoU) by forging her signature and sold the 56-hectare plot owned by her in Mauje Visaghar village, near Lonavala to Sahara City in 2007. (Source: Mumbai Miror, 03/06/2011).
Kalpana who was staying in Mumbai after her retirement shifted to Kalyani Nagar, Pune on medical ground. She was suffering from cancer and she was hospitalised occasionally during her last 5 years. She succumbed to her illness on January 4, 2012. Kalpana’s daughter and her husband who have settled in the US, were present during her last days.
The story of the film under discussion is as under:
The film begins with Artist, Ishrat (Sajjan) seen behind the bushes looking at a girl (the audience can see only her side angle) and painting her without her knowledge. She leaves and Ishrat follows her in a small temple complex when girl’s father, Baba (Nazeer Hussain) confronts him for trespassing. Ishrat requests him to be introduced to the girl. Baba, holding a double barrel gun, pushes him out of his property.
In the next seen, Ishrat is seen in Kolkata to paint some pictures in the swimming pool in which a few girls and a lone man are swimming. The lone man is Shyam (Feroze Khan) who comes out of the swimming pool and gives a surprise to Ishrat. They are friends and Shyam has come to meet his girlfriend, Alka (Helen). She meets Shyam who introduces her to Ishrat. Both look at each other and then Ishrat says to Shyam that he knows Alka.
After some time, Shyam drops Alka to her home where she finds Ishrat sitting, waiting for her. He sarcastically tells Alka that so long her purse is full of money, her love for the man continues like her new lover (Shyam). Suddenly, Ishrat sees Shyam through the glass panel who has come to return her purse which she has forgotten in his car. Ishrat deliberately pulls Alka in his arms and tells her that he loves her, just to create a bad impression in the mind of Shyam about Alka. Shyam leaves the house without meeting Alka.
Next day, Shyam visits Ishrat’s place ostensibly to tell him that he is not interested in Alka to clear the possible misunderstanding in the mind of his friend Ishrat. However, Ishrat is not at home. Ishrat’s servant takes Shyam inside the room where a lot of paintings are lying scattered. However, Shyam’s eye falls on a painting of a girl hanging on the wall and he likes it. He removes the painting from the wall, takes it and leaves the room after paying some money to the servant.
After some time, Ishrat returns and notices that the painting hanging on the wall is missing. When he is enquiring about the missing painting, Alka also visits Ishrat home to tell him that Shyam has left Kolkata to return to his house in Mumbai. Shyam stays with his businessman uncle (Raj Mehra) in a palatial house.
Ever since Shyam has seen the painting of the girl, he has been curious about knowing the whereabouts of the girl as he has been mesmerised by her beauty. With his uncle pestering him to get married, Shyam goes in search of the girl on the painting. Surprisingly, he finds her in his first attempt in Kashmir. The girl in portrait is Peelu (Kalpana) when he sees her with her friends at the temple. Like Ishrat, Shyam also follows her. But Baba’s pet dog barks at Shyam inviting attention of Baba. Shyam faces the same wrath of Baba with double barrel gun in hand. Shyam makes a retreat.
Unlike Ishrat who had made an hasty retreat after seeing Baba, Shyam has taken only a temporaty retreat from Baba as ever since Peelu has seen Shyam, she has lost her heart to him. Both of them secretly meet and become close to each other. Shyam with his show of a good natured and helpful person, mellows down Baba’s hatred toward him in which Baba’s pet dog also helps. This time the pet dog does not bark at him. With the consent of Shyam’s uncle and Baba. Shyam gets married with Peelu.
It is now the turn of Alka to create a rift between the married couple. She reveals to Shyam that Ishrat and Peelu had affairs. Shyam gets convinced as it was Ishrat who had painted Peelu but does not get convinced by Peelu that she has never met Ishrat. The situation brings back anger in Baba against Shyam when he visits his house to pick up Peelu. He orders his servants to tie him and throw him out of the city limit. However, Shyam manages to free himself and returns to find Peelu in the same temple when he has seen her for the first time. He tries to clear her misunderstanding with him.
Meanwhile Baba reaches in the temple complex and fires from his double barrel gun toward the mountain as a warning shot to Shyam and warns him that he cannot take back Peelu. He fires the second shot which hits the peak of the mountain full of snow. Shyam runs away from Baba taking wth him Peelu. However, by this time, the shot fires by Baba has resulted in avalanche carrying along the way boulders on the path of destruction. Everyone in the village is scrambling for the safety. Surprisingly, Ishrat appears on the scene of destruction and saves Peelu but not before he gets badly injured. Before he dies, he hands over the necklace which Shyam had given to Alka as part of the deal to get her united with Ishrat. The return of the necklace makes everything clear to remove the misunderstanding between Shyam and Peelu and Baba has no reason to point his double barrel gun to Shyam and Ishrat anymore.
‘Tasweer’ (1966) had nine songs written by D N Madhok (8) and Prem Dhawan (1) which were set to music by C Ramchandra. Four songs have been covered on the Blog. I present the 5th song from the film, ‘dene waalaa do dil detaa kyaa uska jaataa’ rendered by Mahendra Kapoor on the words of D N Madhok. This party song is picturised on Feroze Khan dancing with some of his gestures reminding me of Shammi Kapoor. Halfway through the song, Rajendranath also joins with his love interest, Sabina for dancing. Rajendranath too lip syncs in Mahendra Kapoor’s voice. Raj Mehra, Lalita Pawar and Indira Bansal among others are also present.
One interesting feature of this song is the display board of Ted Lyons and His Cubs which was one of the prominent bands in the 1960s. The Band was often seen in many dance party songs in Hindi films of 1960s. Sometime Ted (Terrence) Lyons will himself appear as one of the dancers, beside playing guitar, drums etc. In this song, Ted Lyons is a drummer so also his sister, Edwina as one of the dancers. Probably all the male dancers and musicians with white coats are from his band.
Video Clip:
Audio Clip:
Song-Dene waalaa do dil detaa(Tasveer)(1966) Singer-Mahendra Kapoor, Lyrics-D N Madhok, MD-C Ramchandra
Chorus
Lyrics (Based on Video Clip):
dene waalaa do dil detaa
dene waalaa do dil detaa
kyaa uskaa jaataa
ek dil gaataa
pyaar ke gaane
doosraa gham khaataa
mazaa aataa
phir naa zulfon ke bal se darte
naa zulf waalon pe ham yoon marte
phir naa zulfon ke bal se darte
naa zulf waalon pe ham yoon marte
phir teer e nazar
chalte bhee agar
dil ko dil bachaataa
mazaa aataa
[dialogues]
tum haseen bhee ho mahjaabeen bhee
dil kee manzil ho aur naheen bhee
tum haseen bhee ho mahjaabeen bhee
dil kee manzil ho aur naheen bhee
majboor hoon main
dil ke haathhon
varnaa sar jhukaataa
mazaa aataa
dene waalaa do dil detaa
dene waalaa do dil detaa
kyaa uskaa jaataa
ek dil gaataa
pyaar ke gaane
doosraa gham khaataa
mazaa aataa
[dialogues]
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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