Saawan kee rut bhaaye sajanwaa
Posted on: February 10, 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 the film Vishwas-1943, made by the divided Wadia Movietone, Bombay.
Wadia Movietone was a noted Indian film production company and studio based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).
Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.
However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy.
Their company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.
However, by the end of 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram hired the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director of the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.
Wadia Movietone made films in Hindi, Telugu, Tamil, Bangla, Sindhi and Gujarati. The first songless Talkie film of India, ” Naujawan”-1937 was made by Wadia. The first English film ” Court Dancer”-1941 (Raj Nartaki in Hindi and Bangla) was also made by Wadia. From 1933 to 1942 Wadia made 42 films. After the split, JBH Wadia continued to make films but slowly, in the name of Wadia Movietone and from 1943 to 1973, he made 24 films. Their first film was Laal-E-Yaman-1933 and the last film was a Gujarati film “Walo Nawori”-1973.
Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003.
The year 1943 was a continuation of major changes in the Hindi film industry. 1942 saw separate establishments of Mehboob studios, Kardar productions, Rajkamal Kala Mandir of V. Shantaram, Filmistan (established by the break away group of Bombay Talkies) and Basant Pictures by Homi Wadia, who separated from his brother J B H Wadia of parent company Wadia Movietone.
Wadia Movietone had created, nurtured and developed a distinct audience group for Stunt films. They made 43 Stunt films from 1933 to 1942. Considering the changing trend of making Social films, the elder brother J B H Wadia ( Jamshed ji Boman ji Hormus ji Wadia) felt that Wadia Movietone must now make Social films instead of Stunt films. The younger brother Homi, however, thought that they can still make Stunt films for another one decade and they will continue to enjoy popularity. The brothers differed so much that they separated, with Homi starting his own Basant Pictures. Fearless Nadia was with him in this division. Later she married him, when both were in their 50s.
Ironically in 1942, J B H Wadia, who advocated Social films, released a stunt film “Jungle princess”-42 and Homi Wadia, who advocated Stunt films, released “Mauj”-42,a social film ! Homi later did release his stunt film with Nadia-” Hunterwali ki Beti”-43 and Wadia Movietone released two social films- Ankh ki sharm and Vishwas in 43.
Film VISHWAS-1943 was directed by JBH Wadia and the music was given by a New and Young Composer-his First Film- Feroz Nizami along with Master Chhaila Solanki ( Father of Usha Solanki-Marathi and Hindi Film heroine). Out of total 8 songs, only one was composed by Master Chhaila and the rest were by Nizami.
The cast of the film was Mehtab(later, wife of Sohrab Modi), Sulochana Chatterji, Gulab, Surendra, Trilok Kapoor, Nayampalli, Meena and baby Madhuri etc. The Lyricists were Pt. Indra, Dr. Safdar ‘Aah’, Munshi Shyam Gilani and Munshi Azam. The story of the film VISHWAS-1943….
Niranjan, son of Sir Rajendra falls in love with a poor Pujari’s daughter Sharada. This is resented by his father and Niranjan and Sharada leave the town. In the Train they meet Dada Gyan and his daughter Prabha. Gyan Dada helps them and gets them married too. When Niranjan gets a job in another town, he starts by train. Unfortunately, the train meets with an accident. Niranjan becomes mad due to the shock caused by the accident and he starts wandering in jungles.
Here Sharada gives birth to Baby Madhuri. She does tailoring jobs for survival. After a few years, Madhuri joins the same school where Prabha is teaching. Dada Gyan is dead by then. Coincidentally mad Niranjan comes to this town and meets Madhuri.They Become friends. Sir Rajendra and Prakash-his younger son are the trustees of the school where Prabha is teaching.
On one visit Rajendra gets attracted towards Madhuri and plays with her, while Prakash promptly falls in love with Prabha. After a few days, Prakash refuses to marry Prabha fearing his father’s ire and Prabha decides to commit suicide. Madhuri learns this and she brings Sir Rajendra there. He has already regretted losing one son so Rajendra stops Prabha from suicide and blesses Prakash and her.
Niranjan appears there and when he tries to sit in Rajendra’s car. Prakash beats him, thinking him to be a mad man. Due to this impact Niranjan regains his memory and remembers everything. Now everybody recognises everybody else and all is well with Niranjan/Sharada and Praksah/Prabha.
You will find an unusual name ‘Nayampalli’ in the film’s cast. S.B. Nayampally (or Nayampalli) was working in the firm of Killick, Nixon and Company when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Director Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo.
When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerkar, the noted Marathi writer, wrote th e story. Three, the film had a kissing scene, probably the first ever in an Indian film.”
Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.
As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.
Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).
Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.
After his career in films ended, he started making Documentaries. He made about 35 documentaries. He won the ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Tehran in 1970. He died on 7-5-1994, in Mumbai.
Let us now enjoy the 82 year old song from today’s film-Vishwas-1943….
Video
Song- Saawan kee rut bhaaye sajanwa (Vishwas)(1943) Singers- Mehtab, Surendra, Lyrics-Pt Indra Chandra, MD-Feroz Nizami
Both
Lyrics
saawan kee rut bhaaye sajanwa
saawan kee rut bhaaye sajanwa
saawan ki rut bhaaye
meri galee mein baadar chhaaye
meri galee mein baadar chhaaye
kunjan mor nachaaye
kunjan mor nachaaye
saawan kee rut bhaaye sajanwa
saawan kee rut bhaaye
saawan kee rut bhaaye
teree galee mein ik pardesee
teri galee mein ik pardesee
aaya hai aas lagaaye ae
aaya hai aas lagaaye
uskee aas mein pyaas chhipee hai
uskee aas mein pyaas chhipee hai
pyaase ko kaun bulaaye ae
pyaase ko kaun bulaaye ae
saawan kee rut bhaaye sajaniya
saawan kee rut bhaaye
saawan kee rut bhaaye
roop nagar ka lobhee jogee
roop nagar ka lobhee jogee
nainon ka jaal bichaaye ae
nainon ka jaal bichaaye ae ae
wo jogee to roopnagar kee
wo jogee to roopnagar kee
raanee kaa gun gaaye
raanee kaa gun gaaye
saawan kee rut bhaaye sajaniyaa
saawan kee rut bhaaye sajanwa
saawan kee rut bhaaye
saawan kee rut bhaaye
3 Responses to "Saawan kee rut bhaaye sajanwaa"
February 16, 2025 at 5:45 pm
The female singer is Parul Ghosh who sings for Mehtab.
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 16, 2025 at 3:20 pm
found pictures of many of the films & characters mentioned in this post. Also, the comment by someone from his family circle is interesting
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