Phool bane hain khaar
Posted on: January 20, 2025
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 a ‘C’ grade film Laal pari-1954.
Produced by Gulshan Behl under the banner of ” N.C.Films”, Bombay, the film was the Debut film of the director Kedar Kapoor. The music was by Hansraj Behl and the songs were written by Asad Bhopali. Producer Gulshan Behl was the brother of Music Director Hansrsj Behl. The banner was started in the name of their father Nihal Chand (N.C. Films).
Hansraj Behl, in my opinion, was one of those composers in the film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.
Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death in 1988.
Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 26th November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.
After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946 ( it was the last film of Ardeshir Irani’s career.) He got films like Gwaalan and Phulwari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Azadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Azadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.
In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.
In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.
He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhundu To Dhoondu Kahan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.
After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965.
Hansraj Behl died of Cancer in Bombay on 20-5-1984.
Film Laal Pari – 1954 was obviously a Costume film. The film’s cast was Shakeela, Mahipal, Kuldeep Kaur, Ramayan Tiwari, B. M. Vyas, Helen, Maruti, Johnny Walker along with many regular C grade film artists. Whatever type of the film Hansraj Behl always used well known singers like Asha, Geeta, Shamshad etc. one song from this film , sung by Talat Mahmood and Geeta Dutt ” Keh rahi hai dhadkane pukar kar….” had become quite popular in those times. The imaginative film story was by Niranjan, screenplay by M.R.Bhakri and dialogues were by Hemlata.
The decade of the 1950’s had a majority of Mythological films (1240) and C grade action/ costume films (78). development of India was on the fast track after 7 years of Independence and jobs for less educated and technicians were available, thus creating a new class of audience which liked such types of films. They did not need A class actors or luxurious theatres, All they looked for as entertainment was daredevil stunts, Sword fighting, defeat of the evil doers,’Dil-Tod’ dances, lots of cheap humour and lower ticket rates. All this was available by patronising C grade films in D grade theatres of the town !
Film’s director Kedar Kapoor was born on 2-9-1927. Not much information is available about him. Kedar joined the film line in 1945 and did a small role in the film Bhakta Prahlad-46. Working as an assistant to many directors, he started his career by directing the film Lal Pari-1954.
In all he directed 35 Hindi films, mostly B and C grade. He specialised in Dara singh films. He directed 8 films of Dara Singh in the 60s. Some of his films were, Miss Cocacola-55, Changez khan-57, Senapati-57, Dara singh-64, Patanga-71 etc etc. His last film was Bekhabar-83. Kedar Kapoor died on 5-6-1987.
For providing humour, there were Maruti and Johnny Walker. The role of a comedian in a film had been an essential part since the beginning. There have been many great Comedians in Hindi films and the tradition continued till about the 80s. After this period, the format of Hindi films changed drastically and Comedians disappeared. The Heroes themselves started doing comedy, so there was no scope for a separate and individual comedian, as such.
Comedians like Mast Fakir, Harold Lewis ( later called Majnu), Noor Mohd. Charlie, Ghori and Dixit starred as comedians during the silent cinema period. After Talkie films started, Charlie, Ghory, Dixit and Kesari were comedians in the early era. Ghori and Dixit had copied the Laurel and Hardy style. There was a comedian called Durga mota in the Lahore films. Out of these, Charlie came in the limelight and became a famous comedian.
After these old comedians, a new crop of comedians like Damuanna Malavankar, Bhudo Advani and Mirza Musharraf became well known. During this period Yakub and V H Desai also made a mark, though later Yakub did villain and side roles. Then came Gope, Dar Kashmiri or Jeevan as comedians. Jeevan however branched out as Narad in Mythological films and then became a comic villain till the end. Fatty Prasad was another comedian in those days.
Then after the 50s started, came Kishore Kumar, Bhagawan, Omprakash, I S Johar, Rajendranath, Anoop kumar, Jagdeep, Mohan choti, Keshto Mukherjee, O P Ralhan, Asit sen, Ram Avtar, Sunder, Janakidas and many many more. However, in the 50s,there was one Comedian who proved to be the most popular and the Best Comedy actor. His name was JOHNNY WALKER.
Born on 11-11-1926 at Indore, as Badruddin Kazi, Johnny’s family shifted to Bombay. He wanted to act in films, so he started acting as an extra in films. His first film was ‘Aakhri paiham’-49. He was also working as a Bus Conductor, when one day Balraj Sahni heard his jokes and was impressed. He asked Johnny to meet him. Few days later when Balraj was riding his bike , Johnny stopped him and begged to help him get work in films. Balraj made a plan and called him to the Navketan office the next day to meet Guru Dutt, the director of Baazi, for which Balraj was writing the story. how Johnny impressed them and got a role in Baazi is too well known to be repeated here nth time.
Before Johnny got his big break in Baazi, he had acted in about 20 films, mostly as Extra and uncredited. However in Malhar-51 and Pyar ki baten-51, he was credited. After Baazi, the friendship of Johnny with Guru Dutt and Dev Anand formed the base of his tall building and there was no looking back.
Johnny created a situation in the film industry, where producers felt their film was incomplete if Johnny was not in it.Special roles and dialogues were written for him. He played Hero in 8 films. In 7 of these, his heroine was Shyama.Both had risen to lead roles from being extras first in the start of their careers. In the film ” Duniya Rang Rangili’-57 he was the Hero and Rajendra kumar ( later to become Jubilee Kumar) was the side Hero !
Johnny was a Teetotaller and a disciplinarian in private life. He never missed Lunch at 1.30pm and Dinner at 8.30pm. He avoided going to filmy parties. If he had to go, he would finish his dinner at home and then go to the party. He was keen on educating his children. All 3 of his sons went to the USA for higher studies.
According to him he acted in about 300 films. Hamraz ji says about 150 and we have names of 190 films in which he worked. Johnny never posed any threat to any Hero in the film. “Scene Eating” was not for Johnny. Therefore he was a darling of all Heroes. Johnny never ever used any vulgar or double meaning dialogues to create humour. His was a Royal family comedy.
His peak period was from 1954 to 1960. During 1951 to 1960, he did 92 films, maximum being in 1955…tally of 20 films in a year ! The next highest was 16 films in 1958 and third highest was 14 films in 1956. He sang 140 songs on screen in his career. In 3 films, Chaudhvin ka chand-60, Gateway of India-57, and Taxi Driver-1954, Johnny used his typical voice in songs. Johnny directed one film-Pahunche hue log-89. His last appearance in film was Kamal Hasan’s Chachi 420 -1997.
In the late 60s and 70s, Mehmood entered the scene and by the 70s, he was all over the silver screen. Even in the year 1966, his name clone Johnny Whisky had more releases (10) than Johnny ( 7 ). Clearly his time was up. Johnny hung his boots and enjoyed family life. He breathed his last on 29-7-2003.
Let us now enjoy this almost 70 year old song, sung by Shamshad Begum….
Song- Phool bane hain khaar (Laal Pari)(1954) Singer- Shamshad Begum, Lyricist- Asad Bhopali, MD- Hansraj Behl
Lyrics
phool bane hain khaar
yahaan ke chor hain chaukeedaar
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
ho o o
na khelo aag se dil ka khel
na khelo aag se dil ka khel
naheen hain in tilon mein tel
tumhaara
tumhaara
tumhaara
inse itna mel
badhaana thheek naheen
thheek naheen
thheek naheen
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
o o o
yahaan naakaam hai har takdeer
yahaan naakaam hai har takdeer
kamaan se chhoot gaye jab teer
bigad kar
bigad kar
bigad kar
kahne lage takdeer
nishaana thheek naheen
thheek naheen
thheek naheen
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
o o o
yaha har baat mein hain ik chaal
yaha har baat mein hain ik chaal
bichhe hain kadam kadam par jaal
ke in par
ke in par
ke in par
apna jaan o maal
lutaana thheek naheen
thheek naheen
thheek naheen
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
phool bane hain khaar
yahaan ke chor hain chaukeedaar
zamaana thheek naheen
thheek naheen
thheek naheen sarkaar
zamaana thheek naheen
thheek naheen
thheek naheen
thheek naheen
thheek naheen
thheek naheen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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