Jab se nazar milee dil ko sabar naheen
Posted on: March 12, 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 of the film Sardar-1955.
The film was made by the Gyan Mukherjee productions, Bombay, by its owner- Producer Gyan Mukherjee, who also directed this film. The film is unique in the sense that this was the only Hindi film, for which the famous singer Jagmohan Sursagar gave the music. Yes, the same famous singer of NFS – Jagmohan Sursagar. The cast of the film was Ashok Kumar, Bina Rai, Tiwari, Nigar Sultana, Jagdish Sethi, Rama Shukul, Murad, Iftikhar, Mehmood and many others. There was a Guest Artiste – Nana Palshikar.
Those readers who have seen the film Kanoon-1960, can never forget Nana Palshikar as Kaalia, a small-time petty thief who is caught and charged for a murder which he did not commit. He had won the FilmFare Award for this role.
Nana Palshikar aka Narayan Balwant Palshikar (20 may 1908 – 1 June 1984) was a film actor who appeared in over 125 Hindi films. He made his film debut in 1935 with Dhuandhar, and went on to play character roles in both Hindi mainstream and New wave films. He was also cast in small parts in a few international productions such as Maya (1966), The Guru (1969) and Gandhi (1982). Palshikar was awarded the Filmfare Award for Best Supporting Actor twice, in 1962 and 1965. He was recognised with an award in the same category by the Bengal Film Journalists’ Association in 1965.
Palshikar made his first film appearance in 1935 along with Leela Chitnis in Sukumar Chatterjee’s Dhuandhar. He appeared in two more films in this decade, Kangan and Durga (1939), both of which were produced at the Bombay Talkies production house and were the two final films directed by German director Franz Osten.
After a long break of 14 years, during which he appeared only in two films Bahurani (1940) and Maali-44, he returned to the screen in Bimal Roy’s 1953 picture Do Bigha Zamin (Two Acres of Land), in which he played Dhangu Maheto, alongside actors such as Balraj Sahni and Nirupa Roy. The film was a major critical success and won several national and international honours. He followed it with supporting roles in other successful films of this decade, such as V. Shantaram’s Jhanak Jhanak Payal Baaje, Bimal Roy’s Devdas, Raj Kapoor’s Shree 420, Sombhu Mitra’s Jagte Raho and Hrishikesh Mukherjee’s Anari.
In 1960, Palshikar appeared in Kanoon, a courtroom drama involving a murder case. Directed by B. R. Chopra, the film saw Palshikar playing Kaalia, a petty thief who is caught and charged with murder for no fault of his own. Palshikar’s performance earned him his first Filmfare Award for Best Supporting Actor. In a retrospective review in 2009, The Hindu noted: “the star of the second half is Nana Palshikar, who slips into the role of a petty thief with a commanding performance.”
In 1963, Palshikar appeared in Khwaja Ahmad Abbas’s Shehar Aur Sapna (The City and The Dreams). It is a social film which portrays the struggle of pavement dwellers in the backdrop of rapid industrialisation. The film, a love story that takes place in a drain pipe, received the President’s Gold Medal Award and the National Film Award for Best Feature Film. Palshikar’s performance as Johnny earned him his second Filmfare Award for Best Supporting Actor, and he was acknowledged as Best Supporting Actor (Hindi) by the Bengal Film Journalists’ Association.
John Berry’s Maya (1966) saw Palshikar playing Sajid Khan’s father. In 1969, James Ivory cast him in the foreign co-production The Guru. Ivory said: “I didn’t know a great deal about him when we cast him… He was said to be a very good actor, which I took on faith.” Judith Crist from the New York Magazine described his small part of “The Guru’s Guru” in the film as “an unforgettable cameo”.
In the 1970s, Palshikar continued to portray father figures or authoritative characters such as judges. For instance, he played a father in many films such as B. R. Chopra’s Dhund, based on Agatha Christie’s play The Unexpected Guest in 1973 and Yaaron Ka Yaar in 1977. However, these roles were generally relatively minor and he was often uncredited for his performances, such as his role as a judge in Jwar Bhata in 1972.
He continued playing a father into the 1980s, appearing in Aakrosh (1980), playing Om Puri’s dad. His last major film was in the epic film Gandhi in 1982, a Richard Attenborough directed biographical film based on the life of Mohandas Gandhi, who led the nonviolent resistance movement against British colonial rule in India during the first half of the 20th century. However, his role was very minor, playing a villager. His last appearance was in the film Kanoon Kya Karega, again playing a parent.
Nana Palshikar acted in 126 films in all. Not many people know that he had written a song in the film Maali-1944.
He died on 1 June 1984 in Bombay, aged 77. ( Thanks for some information collated from books, Ateet ke sitare, Cinerang, Yaadon ki Baaraat, Filmography and Encyclopedia of Indian Cinema and sites like CISTF, wiki, muVys and my notes.)
The name of Jagmohan Sursagar evokes the memories of melodious and popular Non film songs of the period 1937, through the 40’s and the 50’s. He also sang for several Bangla and Hindi films – 23 Hindi songs in 12 films. Sardar-1955 was the only Hindi film for which he gave music and sang just one song in it.
MUSIC has been an integral part of every Indian. From birth to death, we are drenched in music. During Vedic times, the Rishis used to teach their students verses in Taal and Sur, so that the students would remember them easily. You will have observed that whenever there is a Mahapooja or an Yadnya, the Purohits will recite the Mantras in a typical rhythm and sur.
In our school days, teachers used to literally force us to learn poems by heart in a tune, so that it was easier to remember. Not only poems, even the Maths teacher taught us the ” Pahade ” (Paadhe or the Tables) in a particular tune. That is how we remember the difficult tables of 1/4, 1/2, 3/4, 1-1/2,or the 1-1/4 etc even today. In these days of calculators and Mobiles, the tables are nowhere now !
In ancient times, Fine Arts like Dance, Drama and Music were the exclusive preserves of the Royalties and the Rich. Over a period, the commoners too found pleasures in village arts like Folk dances and Folk songs. In every festival and during the Harvesting times, there used to be musical entertainments.
Record making came to India in 1902, when a song by a professional singer ( read Tawaif) Gauhar Jan was recorded by a German technician in a Hotel in Calcutta. A factory was set up in Dumdum,Calcutta in 1908 by the gramophone company-UK to make records in India. There was no looking back ever since. There was a spate of records of songs and geets, Bhajans and Ghazals etc, by noted singers and classical gurus. By 1925, Electrical recordings started. Gramophones became popular and singers also multiplied. Records of geets, Thumris, ghazals, natya sangeet, Bhajans, Naats,love songs, sad songs etc became available and the songs became popular quickly.
In 1930, All India Radio started and in 1931 the films started talking. However, records of film songs were in general not made those days, though the first film song record came in 1932. Until about 1939-40, records of film songs were not made from every film. So, people continued to enjoy the NON FILM SONGS by famous singers. This trend of making records of NFS was so popular that most Film singers started their careers by recording NFS. Examples are Talat Mehmood, Hemant Kumar, S D Burman, Lata, Asha, Mukesh, Rafi etc.
Those of our readers, who were young in the 40s…50s….60s, will remember the melodious NFS played on Radios and in homes. Songs of Saigal, Jagmohan, Pankaj Mullick, Kamla Jharia, Juthika Roy, Paluskar, Talat, Mukesh, Hemant etc were played in many Hotels and restaurants too.
NON FILM SONGS played a very vital role in entertaining people and in giving opportunities to singers to become famous. As Radio became popular, these songs reached millions of Indians, and the singer’s names became famous all over India. Singers like Jagmohan, Pankaj Mullick and Talat Mehmood were invited to sing their NFS on stage shows and they toured countries all over the world for these shows.As Radio Ceylon became more and more popular after 1950 and the Vividh Bharati after 1957, film songs started getting extensive exposure and slowly they stole the limelight from the NFS. However some NFS were immortal and are remembered even today.
There is a popular saying that Non Film Songs means Talat,Jagmohan,Pankaj mullick,Juthika Roy,hemant etc. But the fact is from 1930 onwards,almost every Film singer sang Non Film songs,because NFS had a special place in people’s hearts then.
Few months ago, Nupur Mitra, daughter of singer Jagmohan called me on mobile and wanted to meet me for some information on Jagmohan, for her proposed book on her father. She came to meet me , along with two other people and we had a very good time together, discussing many matters of music of her father. I gave some information which she had been trying to get for the last one year or so. I was very pleased with her visit.
A singer of the calibre of Jagmohan, gave music to a Hindi film having a crime story was indeed a big mismatch. The story of the film Sardar-1955 was…..Sardar (gang leader, Jagdish Sethi essaying the role) has been terrorising villages around dense forested and hilly tracks in the outskirts of Bombay (Mumbai) for many years. The local police forces are helpless in tackling him. So the police headquarters deputed a police officer (Ashok Kumar) to this hilly terrain on the pretext of hunting crocodiles. He meets Thakur, the timber merchant who has a daughter (Bina Rai). During his stay in the village, Ashok Kumar often meets Bina Rai who has a soft corner for him. But he ignores her as his first aim is to capture Sardar. But over a period of time, both fall in love.
In his quest for capturing Sardar, Ashok Kumar lays a trap, luring him to rob some car passengers with police forces watching him from a distance. During the scuffle, Sardar manages to run away but he is injured in the process. He hides inside the deep forest but he has left a clue to the police – his mistress ( Nigar Sultana). To save herself from the clutches of the police, she discloses the whereabouts of Sardar. Now the police are on the look out for him who after knowing that his mistress had betrayed him gets her killed.. The police chase continues.
Based on the information given by Sardar’s mistress, Ashok Kumar continues the search and ends with a surprise. The Sardar is none other than Thakur, Bina Rai’s father ! He decides that Duty is bigger than Love and arrests Sardar, but Sardar dies in his arms,giving Bina Rai’s hand in his hands…filmy style !!!
Here is the last song of this film, sung by Asha Bhosle. With this song all songs of Sardar-1955 will be covered and the film gets YIPPEED ! Enjoy….
Song-Jab se nazar milee dil ko sabar naheen(Sardaar)(1955) Singer-Asha Bhonsle, Lyrics-Uddhav Kumar, MD-Jagmohan Sursagar
Lyrics
Jab se nazar milee
dil ko sabar naheen
apnee khabar naheen haaye re
kadam kadam per aaj sharam se
naram jiya bal khaaye re
ho o
apnee khabar naheen haaye re
nainon ke pat khol gaya koi aa ke
pyaar kee bolee bol gaya ithhlaa ke
palat palat kar kaun kapat se
natkhat mohe lalchaaye re ae
kadam kadam per aaj sharam se
naram jiya bal khaaye re
ho o
apnee khabar naheen haaye re
khwaabon(??) mein toofaan uthhaayaa kisne
ik anjaanaa geet sunaayaa kisne
machal machal kar kaun chapal ye
pal pal mohe tadpaaye re ae
kadam kadam per aaj sharam se
naram jiya bal khaaye re
ho o
apnee khabar naheen haaye re
door door magroor rahoge kaise
gupchup gupchup chal na sakoge kaise
man ke chaman mein kaheen gagan ye
agan naheen barsaaye re ae
kadam kadam per aaj sharam se
naram jiya bal khaaye re
ho o
apnee khabar naheen haaye re
jab se nazar milee
dil ko sabar naheen
apnee khabar naheen haaye re ae
kadam kadam per aaj sharam se
naram jiya bal khaaye re
ho o
apnee khabar naheen haaye re
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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