Aahen bhar bhar ke tujhko yaad kiya karti hoon
Posted on: March 2, 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 the last song from the film Muqaddar-1950. With this song, all the songs of this film will be covered and the film will be YIPPEED !
Film Muqaddar-1950 was a Bombay Talkies film in its last gasping years. Established on 22-6-1934 by the adventurous couple Himanshu Rai and Devika Rani. This public limited company was a highly respected organisation in the film industry. Himanshu Rai had a knack of employing very talented and loyal employees. He had employed a lot of Germans in his company, as he had seen how work oriented people they were, when he and Devika Rani studied and worked in Germany. He had also called his fear friend Niranjan Pal from England to write stories etc in Bombay Talkies.
Himanshu Rai died in just 6 years-1940 and his wife took over, but she did not have the same acumen. She could not manage the people who were there from the beginning. All the Germans working there were arrested and interned in jails by the British Government after the II World War, under the suspicion that they were Nazis. Actually, these Germans left Germany because they did not share Hitler’s philosophy. Many of them were Jews also.
No wonder groupism escalated within the studio and soon a big group of old loyalists, led by S. Mukherjee and followed by Ashok Kumar, Sawak Vachha and 12 others left the company and established their own ‘ Filmistan ‘ studio. Undeterred but shaken Devika Rani tried to pull on but in 1945 she got married to a Russian. She sold all her shares in the company and she left Bombay Talkies taking away all films from its archives.
Seeing the condition of Bombay Talkies Ashok Kumar bought the company and made few films, but it was beyond his capacity. Finally the studio was sold to a businessman- Tolaram Jalan, who finally closed the company on 13-10-1954. A last effort by the employees of the company for its revival by making a film “Baadbaan”-1954, also failed and the name of Bombay Talkies was forever forgotten.
Bombay Talkies’ contribution to the Indian film industry was immense. Firstly, the company promoted many new and upcoming artists like Ashok Kumar, Madhubala, Kishior Sahu, N.M.Charlie, Mumtaz Ali, Shahzadi jr., Najmul Hasan . Najam Naqvi, maya Devi, urmila, Ranjana, meera Mishra, Dilip kumar, Moni Chaterjee, Peethawala, V.H.Desai, Sumitra Devi, Arunkumar mukherjee and others.
Secondly, among the other contemporary studios like New Theatres, Prabhat and Ranjit, it refrained from getting stamped as a regionally dominant film studio. Though the owners were Bengali, the company never did anything to be called a Bengali dominated company. God, deserving artists from all over India got opportunities here. On the contrary, New Theatres was known as a Bengali, Prabhat was a Marathi and Ranjit was called a Gujarati company.
Thirdly, Bombay Talkies used simple, pure and usable Hindi language in their films, which was followed ultimately by the 3 other ‘regionally dominated’ studios.
Fourthly, the studio management was people oriented and all modern facilities were made available to artistes, like playing fields for Badminton, occasional cricket games, abig library, a common dining hall for all – from peons to the directors, a Garden etc.
The most important factor was they trained technicians and actors by providing professional guidance, help and experience. In its short life of 20 years, Bombay Talkies made 41 films in Hindi and etched their name permanently in film history books.
Film Muqaddar had 3 M.D.s – Khemchand Prakash, Bhola Shreshtha and James Singh aka Jimmy. Out of the 9 songs 3 were by Jimmy and the rest 6 were jointly composed by Khemchand and Bhola. The film was directed by Arvind Sen. The cast of the film was Nailini Jaywant, Sajjan, Kishore Kumar, Iftikhar, Radha Kishen, Sophia and many others. Kishor sang his first duet with Asha Bhosle in this film. Songs like ” Jalnewale jala karen” and ” aati hai yaad humko Janwari, Farwari…” became very popular.
The Heroine Nalini Jaywant was in her prime and lasted another 15 more years in films. Though I have seen many films of Nalini Jayawant, I remember her role only in “Hum sab chor hain”-56, which was loosely based on a similar story of film ‘ Ek thi Ladki’-49, with some changes like twin sisters lost in childhood (in Kumbh Mela ?).
Nalini Jayawant’s life story is a lesson for those who make immature decisions-only to regret later. Fortunately, she came out of her blunder of marrying Virendra Desai ( a much married man of 32 years) at her age of just 17 years, albeit with some scratches and loss of 5 years of young life.
Nalini Jaywant (18 February 1926 – 24 December 2010) was an Indian film actress who appeared in Hindi films in the 1940s and 1950s.
Nalini Jaywant was born in Bombay (now Mumbai) in 1926. She was first cousin of actress Shobhna Samarth, the mother of actresses Nutan and Tanuja. Since 1983, she had lived a mostly reclusive life.
She was married to director Virendra Desai in the year 1943. They divorced in 1948. Later, she married her second husband, actor Prabhu Dayal,in 1960 with whom she acted in several movies. Prabhudayal died in 2001.
The marriage with Virendra Desai ( who was 15 years elder to her) and the next 5 years were quite traumatic for Nalini. This marriage only gave suffocation and wastage of 5 years of her teen age and the opportunities of working in films. More than her, Virendra Desai suffered due to this marriage. His mother Nandgauri, a tough lady, announced a family boycott on him and never again spoke to him. Even when she was on death bed and Virendra had gone to meet her, she refused to talk to him. His wife and 3 children also treated him in an aloof manner, like a stranger. His career was destroyed and he never came out of this situation.
In her teens, she appeared in Mehboob Khan’s Bahen (1941), a film about a brother’s obsessive love for his sister. Nalini finally broke through with Anokha Pyar (1948). The film was a love triangle with Nalini, Dilip Kumar and Nargis, with Nalini sacrificing her love for the hero, Dilip Kumar. It is to her credit that it was she who got the best reviews in the film, many critics calling her the only saving grace in the otherwise disappointing film.
1950 was Nalini’s big, big year as she became a top star with two of her films opposite Ashok Kumar, Samadhi and Sangram. Samadhi was a patriotic drama addressing Subash Chandra Bose and the Indian National army. Nalini and Kuldip Kaur played sisters who were spies for the British. The film, though called politically obsolete by leading film magazine of the day, Filmindia, was a huge success at the box office, its song Gore Gore O Banke Chhore being perhaps Nalini’s most popular song ever. On the other side of the spectrum, Sangram was a gritty crime drama wherein she played the heroine doing her best to reform the anti-hero. Nalini more than left her mark on both the films and went on to form a hit pair with Ashok Kumar, the two of them doing several films together thereafter like Kafila (1952), Naubahar (1952), Saloni (1952), Mr X and Sheroo (1957). It is said the two of them were romantically involved for a period as well.
Nalini remained an important leading lady through to the mid 1950s. Filmmakers like KA Abbas (Rahi-53), Ramesh Saigal (Shikast-53 – arguably her career’s best performance opposite Dilip Kumar), Railway Platform and Zia Sarhadi’s Awaaz extended Nalini Jaywant’s association with realistic and socialistic films, while filmmakers like Mahesh Kaul (Naujavan (1951)) and AR Kardar (Jaadu) developed her alternate musical persona, later personified by the frothy Filmistan musicals like Nastik, her biggest hit opposite Ajit, and Munimji, a carefree romantic film with Dev Anand as her leading man.
Perhaps Nalini’s last big, successful film was the Raj Khosla directed Kala Pani (1958). She gave one of the best performances of her career as the nautch girl Kishori who is the key witness in framing the hero’s father for a murder he did not commit. Playing a shaded character, she easily stole a march over goody-two-shoes heroine Madhubala and deservedly went on to win the Filmfare Award for Best Supporting Actress for the film. She is absolutely unforgettable in the film be it in the come-hither mujra Nazar Laage Raja Tore Bangle pe or as she looks tearfully at Dev Anand from across the room in that all time great SD Burman composition, Hum Bekhudi Mein.
Nalini remained an important leading actress through the mid-1950s, appearing in such films as Rahi (1953), Shikast (1953), Railway Platform (1955)), Nastik (1954), Munimji (1955), and Hum Sab Chor Hain (1956). The 1958 film Kala Pani, directed by Raj Khosla, was Nalini’s last successful movie. Bombay Race Course (1965) was the last film she made before retirement. After 18 years, she returned as a character actress in Nastik-83 which marked her last film appearance.
Nalini acted in 64 films. She also sang 41 songs in 10 films. Her last song was in the film Chingari-55. She worked in 10 films with actor Ajit and in 11 films with Ashok kumar.
Nalini Jaywant died lonely on 24 December 2010, aged 84, at her bungalow of 60 years at Union Park, Chembur, Mumbai, India. The death was not noticed by anyone until an ambulance carried her body after 3 days of her passing away. The neighbours reported that she had secluded herself from society and had not been meeting people after her husband’s death. Her relatives were also not in touch with her for long.
(based on information from wikipedia, Upperstall, the book “Sagar Movietone” by Biren Kothari ji , Cinerang by Isak Mujawar and my notes with thanks.)
Now let us enjoy today’s 75 year old song by Nalini Jaywant……….YIPPEE !
Song- Aahen bhar bhar ke tujhko yaad kiya kartee hoon (Muqaddar)(1950) Singer- Nalini Jaywant, Lyricist- Raja Mehdi Ali Khan, MD- Khemchand Prakash and Bhola Shreshtha
Lyrics
aahen
bhar bhar ke ae
tujhko
yaad
kiya kartee hoon
aahen bhar bhar ke tujhko
yaad kiya kartee hoon
yaad kiya kartee hoon
fariyaad kiya kartee hoon
dil ko main dard se aabaad kiya kartee hoon
yaad kiya kartee hoon
aahen
bhar bhar ke tujhko
yaad kiya kartee hoon
meree duniya mein aaye ban ke bahaar kyun
le gaye saath apne mera karaar kyun
rotee hoon raat din
fariyaad kiya kartee hoon
rotee hoon raat din
fariyaad kiya kartee hoon
yaad kiya kartee hoon
aahen bhar bhar ke tujhko
yaad kiya kartee hoon
poonam kee raat hai
aur birha kee tees re
rote hain mere armaan
rotee hai preet re
tujhko main yaad hoon
yaad kiya kartee hoon
tujhko main yaad hoon
yaad kiya kartee hoon
yaad kiya kartee hoon
aahen bhar bhar ke tujhko yaad kiya kartee hoon
jis par main gaa rahi thhee wo saaj toot gayaa
dil ke chaman ko mere gham tere loot gayaa
tere bin zindagee barbaad kiya kartee hoon
tere bin zindagee barbaad kiya kartee hoon
yaad kiyaa kartee hoon
aahen bhar bhar ke tujhko yaad kiya kartee hoon
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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