Banee jaihon ban ke joginiya ho raamaa
Posted on: February 16, 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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‘Bidesiyaa’ (1963) was the second film in Bhojpuri dialect which was produced by Bachhubhai Shah and was directed by S N Tripathi who also acted in a supporting role beside the music director of the film. The cast included Naaz and Sujit Kumar in lead roles with the supporting cast of Jeevan, Sheel Kumar, Padma Khanna, Sadhana Chowdhary, Sulochana Chatterjee, S N Tripathi, Helen, Bela Bose, Rani etc. The story, screenplay, dialogues and lyrics were written by Rammurti Chaturvedi.
There were some producers/businessmen from the Bhojpuri speaking region who were keen to produce a Bhojpuri film but were afraid of its financial viability. Generally, films are made for heterogeneous audiences all over the world. It was, therefore, felt that making films to target the Bhojpuri speaking audience was fraught with financial risk. The tremendous box office success of the first Bhojpuri film, ‘Ganga Maiya Tohe Piyari Chadhaibo’ (1962) created an optimism that Bhojpuri film can be a commercial success. Bachubhai Shah, who had the film distribution business in Mumbai and elsewhere, decided to produce the Bhojpuri film, ‘Bidesiyaa’ (1963). The story of the film was written within the framework of the social and cultural fabrics of the Bhojpuri region. It is a love story caught between caste discrimination and land grabbing. The story of the film is as under:
Bidesi Thakur (Sujit Kumar) belongs to an upper caste Thakur family. His late father was a reformist zamindar who distributed his excess land to low caste people, keeping for himself the minimum landholding. After his death, even that holding has been grabbed by his younger brother, Chhote Thakur (Jeevan), the uncle of Bidesi. As a result, Bidesi runs a paan shop for the living.
Parbatiya (Naaz) belongs to a low caste family. She often comes to Bidesi’s paan shop to buy paan during which they fall in love with each other. Parbatiya also works as a labourer in Chhote Thakur’s farm, and he has also an eye on her. Once Bidesi saves her from the clutches of Chhote Thakur’s henchmen from molesting while returning from a nautanki programme. With this, Parbatiya and her family’s affinity toward Bidesi grows but due to caste considerations, they do not even think of the possibility of their union.
With Chhote Thakur’s lust for Parbatiya and Bidesi in love with her, there is a clash of interest between the uncle and the nephew which often leads to clashes during which Bidesi gets insulated by the timely intervention of Chhote Thakur’s wife (Padma Khanna). So, Chhote Thakur instigates the villagers about Bidesi’s love affairs with a low caste Parbatiya. Fed-up with the constant pressure from the villagers, Parbatiya’s father calls Bidesi and requests him to leave the village for some time. Bidesi leaves the village and goes to Banaras where he drives a horse-cart for a living. Now, Chhote Thakur gets a free hand to seduce Parbatiya.
After a few months, Parbatiya’s father gets seriously ill and is on the verge of his death. He calls Bidesi to reach his village urgently. On reaching, Parbatiya’s father agrees to his relationship with Parbatiya after which he dies. The return of Bidesi and the approval from Parbatiya’s father for their marriage create more problems for Bidesi and Parbatiya from Chhote Thakur and his henchmen. Chhote Thakur considers Bidesi as an obstacle for his design to seduce Parbatiya and to legally take control of the Bidesi’s land which he has already grabbed. With the help of Parbatiya’s maternal uncle, Chhote Thakur attempts to pressurise Parbatiya to succumb to his seduction by confining her in the room to prevent her meeting with Bidesi.
Bidesi comes to know about Parbatiya’s confinement. He goes to his uncle, Chhote Thakur and vows to get Parbatiya released. Knowing his nephew’s determination, Chhote Thakur sends his henchmen to assault Bidesi. Meanwhile, Parbatiya gets out of her confinement with the help of her friend (Sadhana Chowdhari). When she comes to know that Chhote Thakur’s henchmen are after Bidesi, she runs towards him. Chhote Thakur who is witnessing the progress of the fight between Bidesi’s supporters and his henchmen, decides to shoot Bidesi when he sees his henchmen cannot subdue Bidesi. However, Parbatiya comes in front of Bidesi and the bullet hits her. She is killed. The film ends with Bidesi carrying Parbatiya’s dead body to the village.
The combination of S N Tripathi as the director and Rammurti Chaturvedi as a writer have taken a reformist approach in the film instead of making the film based on box office formulas. For example, a reformist zamindar distributes his excess land to low caste villagers and Chhote Thakur’s sister-in-law allows the low-caste villagers to draw water from her well when they are denied by Chhote Thakur’s men drawing water from his well. This film has proved that within the ambit of commercial film, one can make a reformist film with a thumping box office success despite the fact that the film does not have a happy ending.
Another USP of ‘Bidesiyaa’ (1963) was the excellent music direction of S N Tripathi who primarily relied on the folk music of Bhojpuri region for its six songs written by Rammurti Chaturvedi. There are songs based on ‘Kajri’, ‘Birha’ and ‘Chaiti’. I am presenting the first song from the film, ‘banee jaiho ban kar joganiyaa ho rama’ to appear on the Blog. The song is sung by Suman Kalyanpur and is picturised on Rani.
The song is lyrically and musically composed in ‘Chaiti’ style based on the use of the words, ‘Oh Rama’ as a part of exclamation. In this song, the woman expresses her heart-felt feelings of longing to meet her beloved who is far off from her place. Perhaps, this may be the first instance in a film in which a mujra dance has been choreographed on a Chaiti song. It appears that music director S N Tripathi has set the prelude, interlude and the postlude of the song on the fast rhythmic pattern to facilitate Badri Prasad to choreograph the mujra dance steps.
The song under discussion does not have the direct context to the story of the film except that it is a cultural part and a medium of entertainment for the Bhojpuri region in which the film’s story is based.
Video Clip:
Audio Clip:
Song-Banee jaihon ban ke joginiya ho raamaa (Bidesiyaa)(Bhojpuri)(1963) Singer-Suman Kalyanpur, Lyrics-Rammurty Chaturvedi, MD-S N Tripathi
Lyrics (Based on Video Clip):
aa aa
aa aa aa
aa aa aa aa aaa
aa aa aa
aa aa aaa
aa aa aa aa aaa
aaa aaa
banee jaihon ban ke joginiyaa ho raama
piyaa ke karanwaa
banee jaihon ban ke joginiyaa ho rama
piyaa ke karanwaa
kothwaa main chhodee hon
atariyaa main chhodee hon
kothwaa main chhodee hon
atariyaa main chhodee hon
chhodee dayee hoon baabaa ke anganwaa ho raama
aa aa aa aaa
aa aa aaa aa
chhodee dayee hoon baabaa ke anganwaa ho raama
piyaa ke karanwaa
banee jaihon ban ke joginiyaa ho raama
piyaa ke karanwaa
sejiyaa main chhodee hon
singarwaa main chhodee hon
sejiyaa main chhodee hon
singarwaa main chhodee hon
chhodee daihon sagre gahanwaa ho raama
aa aa aa aa
aa aa aa aa
chhodee daiho sagre gahanwaa ho raama
piyaa ke karanwaa
banee jaihon ban ke joginiyaa ho rama
piyaa ke karanwaa
banee jaihon ban ke joginiyaa ho rama
piyaa ke karanwaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 20, 2025 at 11:23 am
Nice Post Sir jee. Few months back browsing through the Geet Kosh I had noted that this movie is yet to be introduced on the blog. Thanks for bringing it here with its details and story of the movie. I have great fascination for folk music and for Bhojpuri folk music too. Enjoyed the song and your post.
Thanks again, and with best regards,
Avinash
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February 20, 2025 at 5:19 pm
Thanks Avinash ji.
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