Munhwaa se bol kanakhiyaa na maar
Posted on: February 17, 2025
- In: "Aankh" song | "Helen" song | "Mehmood" song | Asha Bhonsle songs | Body part song | Dance song | Duet | Guest posts | Manna Dey songs | Manna Dey-Asha Bhonsle duet | Munh song | Post by Sadanand Kamath | Song from regional movies | Songs of 1960s (1961 to 1970) | Songs of 1963 | stage dance | Yearwise breakup of songs
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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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‘Laagee Naahee Chhoote Ram’ (1963) was a Bhojpuri film produced by Ramayan Tiwari and directed by Kundan Kumar. The cast included Ashim Kumar and Kumkum in lead roles with the supporting roles of Indrani Mukherjee, Nazir Hussain, Anwar Hussain, Tiwari, Ram Singh, Leela Mishra, S N Tripathi with Helen and Mehmood making special appearances. This was the third film in Bhojpuri dialect, the first and second being ‘Ganga Maiyya Tohe Piyari Chadhaibo’ (1962) and ‘Bidesiyaa’(1963), respectively. Nazir Hussain wrote screenplay and dialogues, apart from doing an important supporting role in this film.
Nazir Hussain (15/05/1922 – 16/10/1987) was born in Usian village in Ghazipur district of Uttar Pradesh where they owned agricultural land. His father, Shahbaaz Khan was working as a Guard in railway in Lucknow where Nazir Hussain spent his childhood and studied. He joined British Army and was posted in Malaysia and Singapore. During the Word War-II, Nazir Hussain became a prisoner of war. When he was released, he joined Indian National Army (INA) under Subhash Chandra Bose. During his INA days, as a part of cultural activities, he wrote and staged many plays.
After independence, the cases against INA were closed and they were released. Not finding the job, Nazir Hussain started staging plays which he had written during his INA days. B N Sircar, the boss of New Theatres (NT) saw his play and invited him to join NT which was toying with idea of making a film with INA background which was to be directed by Bimal Roy. The film was ‘Pehla Aadmi’ (1950). With INA background, Nazir Hussain joined as assistant to Bimal Roy and also wrote story, screenplay and dialogue for the film. The film was about a man who was in love with his girlfriend, and they were to get married. But he joins INA after the call from Netaji Subhash Chandra Bose and promises her that after his return from INA, he will marry her. This was Nazir Hussain’s first film as an actor, also as a story-screenplay-dialogue writer.
When Bimal Roy shifted to Mumbai, Nazir Hussain also followed him. He worked in many of Bimal Roy’s films such as ‘Maa’ (1952), ‘Do Bigha Zameen’ (1953), ‘Parineeta’ (1953), ‘Baap Beti’ (1954), ‘Devdas’ (1955), ‘Amaanat’ (1955), ‘Yahudi’ (1958), ‘Parakh’ (1960) etc. He worked mostly in supporting roles.
Nazir Hussain was a catalyst in promoting the first film in Bhojpuri dialect, ‘Ganga Maiyya Tohe Piyari Chadhaibo’ (1962). The idea of making the first Bhojpuri film was mooted by none other than Dr Rajendra Prasad, the first President of India when Nazir Hussain met him at a film award function sometime in the late 1950s. When Rajendra Prasad came to know that Nazir Hussain was from the Eastern U.P., he started speaking to him in Bhojpuri. During the conversation, President suggested him to make a film in Bhojpuri dialect. This was also in the mind of Nazir Hussain, and he has already written the story for the film. But not finding a producer/financier to make a Bhojpuri film, he had shown the script to Bimal Roy at the time of making ‘Devdas’ (1955). He liked the script but did not pursue it.
Now, having the President of India keen on Nazir Hussain to make a Bhojpuri film, he got a boost to revive his cherish desire of making the first Bhojpuri film. He took back the script from Bimal Roy to explore the possibility of making a Bhojpuri film. Fortunately, he met a businessman, Bishwanath Shahbadi from Bihar who was on a visit to Mumbai. He agreed to finance the film because Dr Rajendra Prasad had mooted this idea. The main cast, the director, the lyricist and the music director were finalised based on their knowledge of Bhojpuri dialect. The shooting of the film commenced on January 17, 1961, and the film was released on February 3, 1962, in Varanasi and later all over India. The film was shown to Dr Rajendra Prasad at a special screening. The film became a super silver jubilee hit and grossed around 75 lakhs at the box office with a budget of Rs.5 lakhs. The success of the first Bhojpuri film encouraged others in the waiting to make Bhojpuri films.
After his first Bhojpuri film, Nazir Hussain actively got associated in a few Bhojpuri films as producer-director-actor-writer. He produced his first Bhojpuri film, ‘Hamaar Sansaar’ (1965) which was a super hit with silver jubilee. He directed his first Bhojpuri film, ‘Baalam Pardesia (1979) which was produced by his son, Mumtaz Hussain. This was followed by ‘Roos Gayeela Saiyaan Hamaar’ (1980), ‘Chanwa Ke Taake Chakor’ (1981) and ‘Chutki Bhar Senur’ (1983).
Nazir Hussain has acted in over 200 Hindi films from 1950 through 1983. His only Hindi film as a director was ‘Aangan’ (1973).
‘Laagi Naahee Chhoote Ram’ (1963) has an usual story of the love affairs of an unequal pair in terms of class and caste. In this case, while the hero is a priest’s son, the heroine is a nautanki dancer. Their first meeting is argumentative. But after watching heroine’s nautanki dance, the hero is floored by her charm. After a couple of more meetings including a duet song, their love blossoms. At this point, the villain enters the scene who has an eye on the heroine after he has also seen her nautanki dance. The villain tries first through persuasion, followed by threat to her family and kidnapping. That gives an opportunity for the hero to prove his unequivocal love for the heroine. She is timely rescued by the hero giving more confidence for the heroine in their love. But this is not the end. The villain brings to the notice of the respective parents their love affairs and the family’s honour by playing the card of caste/class prejudice. How to break this deadlock? The answer is to show how good she is as a human being. When hero’s father is in distress, heroine takes care of hero’s father. When hero is ill which the doctor cannot diagnose but the heroine facilitate his recovery with her presence. The parents surrender and their love wins over the caste/class prejudice. Hero and heroine are united with the consent of their parents.
The story in detail is as under:
Chanda (Kumkum), a nautanki dancer is traveling with her uncle in a train. After getting down from the train at a station in rural Bihar, she hires a horse-cart, but she gets into argument with the horse-cart puller over the high fare he is charging. At that point Suraj (Ashim Kumar) comes and sorts out the issue by offering a free ride to Chanda and her uncle in his horse cart.
Suraj is the son of a village priest (Ramayan Tiwari). One day, he goes to watch a nautanki dance performance by Chanda and is mesmerised by her charming performance. A couple of songs together, they falls in love with each other. There is another suitor who has fallen for the charm of Chanda. He is an influential Thakur (Ram Singh). But Chanda is not interested in him. Thakur’s henchman, Firangia (Anwar Hussain) kidnaps Chanda in a horse carriage, But Suraj follows the horse carriage and rescues Chanda after a fight with Firangia. This incidence strengthens the bonding between Chanda and Suraj. When Suraj’s father comes to know about the love affairs of Suraj with Chanda, he is infuriated as he cannot think of a priest’s son marrying a dancing girl.
There is the twist to the story. Sukkhu (Nazir Hussain) comes to know that Chanda is none other than his daughter,, Roopa who went missing during a village fair about 12 years back. He recognises Chanda as Roopa when he sees a tattoo on her hand. Thakur’s Firangia comes with an intention of blackmailing Sukkhu so that he agrees to get Chanda married to his boss, Thakur. Sukkhu outrightly rejects the offer. However, knowing the power of Thakur, Sukkhu comes to Suraj’s father for help. But instead, he advises him to shift to some other village keeping in mind that Suraj is in love with Chanda.
Seeing her father in a pitiable situation because of her, Chanda runs away from home and comes to Varanasi. To sustain herself, she joins a nautanki company. Suraj also runs away from his home to search for Chanda and coincidentally meets Chanda on her dance performance. However, Chanda refuses to recognise him. Suraja’s father has also landed in Varanasi in a temple to pray for the return of Suraj. One day, Chanda was travelling a taxi which hits a pedestrian who is none other than Suraj’s father. She gets him admitted to a hospital for eye operations which was damaged due to accident. She takes care of him in the hospital since he has no one in Varanasi. In her village in Bihar, Chanda’s father. Sukkhu is not keeping well since she has run away from home. He is being taken care of by Suraj’s sister, Parvati (Indrani Mukherjee).
Pandit ji recovers from the accident and when he comes to know that the girl who took care of him was Chanda, he snubs her and walks out of the hospital. She returns to her village to be with her father who also snubs her for running away from the house. Suraj while wandering in Varanasi meets one of the person who works for Chanda in nautanki company. He comes to know from him about his father’s accident and recovery. Suraj return to his village.
While on the way to his home, he finds Chanda sitting in a lonely place cursing her fate that both Suraj’s father and her own father have snubbed her. He consoles her and says that he is with her. But she does not want to continue her relationship with him. With her background of a dancing girl, his family would not accept her as their daughter-in-law. Suraj returns home and falls on the floor unconscious. Apparently, he has consumed poison to end his life. Suraj’s father’s rushes to Sukkhu’s house and pleads Chanda to meet Suraj. After some hesitancy, Chanda takes care of Suraj in his house. When he is fully recovered from his illness, Chanda leaves his house only to be stopped by Pandit ji that she cannot leave his house. Pandit ji visits Sukkhu’s house with his formal consent for the marriage of Suraj with Chanda.
Despite the familiar story line, the film is watchable. The story flows smoothy without overdoing within the parameters of moral turpitude set for a family film. The depiction of rural scenes look realistic as most of the shooting of the film has taken place in a village near Patna. Even the performances of the main actors in the film, for a moment, give an impression that they belong to that village. The folk based songs composed by Chitragupt adds to the feel of the rural atmosphere.
The film had seven songs written by Majrooh Sultanpuri which were set to music by Chitragupt. Two songs have been covered on the Blog. I am presenting the 3rd song, ‘munhwaa se bol kankhiyaan naa maar (Speak, do not wink) rendered by Manna Dey and Asha Bhosle. The song is picturised on Helen and Mehmood as a nautanki dance. In the film, it is an item dance song as there is no apparent context for this dance song in the story except that Helen and Mehmood own a nautanki group and one of the characters in the story works for them.
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Acknowledgement: The profile of Nazir Hussain and his involvement with Bhojpuri films is mainly based on the book, ‘Cinema Bhojpuri’ (2010) by Avijit Ghosh.
Video Clip (Full):
Audio Clip (Part-1):
Audio Clip (Part-2):
Song-Munhwa se bol kanakhiyaa na maar (Laagi Naahee Chhoote Raam)(1963) Singers-Manna Dey, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics (Based on Video Clip):
haaaaaaa aa aa
aa aa aaa aa aaaa
aa aa aa aaaa
aa aa aa aa
haaa aaaa
aa aa aa
aa aa aa
binaa khul le tu othhwaa ke
ke gazab muskaan maare lu
bulaawat laaj laagelaa
to ankhiyaan se pukaare lu
ajee munhwaa se bol
hat
munhwaa se bol kankhiyaan naa maar
munhwaa se bol kankhiyaan naa maar
hoooooooooo
aa aa aa aa aa
tonaa naa jaadoo bhaila bekaaboo
tonaa naa jaadoo bhaila bekaaboo
Patna ke baaboo jabaniyaa sambhaar
jabaniyaa sambhaar
aeeeee
munhwaa se bol kankhiyaan naa maar
munhwaa se bol kankhiyaan ho o o
aa aa aa aaa
aa aaa
ho ho ho
naa maanee dil binaa dildaar ke bolee sun le
naa jaayib aaj binaa pyaar ke bolee sun le
naa maanee dil binaa dildaar ke bolee sun le
naa jaayib aaj binaa pyaar kee bolee sun le
lutaayiba jaan tu bekaar mein aashique ban ke
lutaayiba jaan tu bekaar mein aashique ban ke
sunaiy jee baad mein ilzaam naa deehaa hamke
ankhiyaan ho khanjar abroo kataaree
ankhiyaan ho khanjar abroo kataaree
ho jaaibe zakhmee bahut naa nihaar
bahut naa nihaar
munhwaa se bol kankhiyaan naa maar
munhwaa se bol kankhiyaan hooooon
aa aa aa
aa aa aaa
ho o o o
uthhaa bhar deyee je hum ek konaa ghoonghat ke
gire bijlee jigarwaa khaakh ho jaayib phat se
uthhaa bhar deyee je hum ek konaa ghoonghat ke
gire bijlee jigarwaa khaakh ho jaayib phat se
kawan hai ranj je ham dil pe naaheen jhelee le
kawan hai ranj je ham dil pe naahee jhelee le
akele dil se naheen jaan se bhee khelee le
mar jaayee chaahe jar jaayee chaahe
mar jaayee chaahe jar jaayee chaahe
chamke da bijlee ghunghatwaa utaar
ghunghatwaa utaar
Patna ke baaboo jabaniyaa sambhaar
Patna ke baaboo jabaniyaa ho o o o
aa aa aaa
aa aa aa
ho o o o
bahut naa roop waalin kaa galee mein dil phenka
kaheen tu jaai ke seesaa mein pahle muhn dekha
bahut naa roop waalin kaa galee mein dil phenka
kaheen te jaai ke seesaa mein pahle muhn dekha
hanseloo roz hamraa haal par de ke taanaa
hanseloo roz hamraa haal par de ke taanaa
kabhee ta pyaar se tu bol da ae deewaanaa
sau ber hamke kahloo begaanaa
sau ber hamke kahloo begaanaa
ek ber aapan to kahi ke pukaaraa
ho kahi ke pukaaraa
Patna ke baaboo jabaniyaa sambhaar
Patna ke baaboo jabaniyaa sambhaar
arre munhwaa se bol kankhiyaa naa maar
munhwaa se bol kankhiyaa haan aan aan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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