Ho mainaa bol rahee
Posted on: March 14, 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 Historical film Padmini-1948.
This film has a historical value, in the sense that this was one of the last films of Music Director Ghulam Haider in India. He had recorded his last song of Lata for his film. The film was made by Punjab Film Corporation, Bombay. It was owned by Wali Saheb, who was the Lyricist and the director of this film. By the way his wife Mumtaz Shanti was the Heroine in this film. The Music Director was Ghulam Haider. The cast of the film included Mumtaz Shanti, Ashok Kumar, Mumtaz Ali, Maya Devi, Neelam, Sultana and many others.
Ashok Kumar was known as a Lover- Boy, a Romantic Hero, in his early films with Devika Rani. That is why doing any other role was extremely difficult for him and it did not suit him also. Film Padmini-48 was the second Historical movie in which Ashok Kumar had ‘acted’. The first one was ” Humayun”-1945. In that film, according to Isaq Mujawar, author of several books on old films and artistes,” Ashok kumar was ridiculed by the theatre audience for his feminine acting and running with the war gear on the screen. He looked so funny in that attire that the whole audience was laughing loudly at him” (book-Screenplay). Obviously, Ashok Kumar, who had an image of a simple romantic Hero in the Bombay Talkies films with Devika Rani and later with Leela Chitnis, was a misfit in the Historical role. Looks like he did not realise this or did not care for it and accepted the second such film again.
Same case was with Ashok Kumar’s Mythological films. The first mythological film that he acted in was ‘ Savitri”-1937 with Devika Rani as Savitri. Ashok Kumar was still a new actor and this was his only 4th film. He had yet to get branded as a Romantic hero, but the Mythological role of Satyawan did not suit him at all. When one sees some photos of this film, one will be confused as to who is Satyawan and who is Savitri. Even in the photos he looked so odd and awkward. In Spite of this, he acted in another Mythological film ” Uttara Abhimanyu “-1946, with Shanta Apte. Here, he was Abhimanyu and did not suit the role at all due to his age, which was 35 years. Shanta Apte as Uttara was also over 30 years old. Thankfully, good sense prevailed and Ashok Kumar did not act in such films in the Hero’s role thereafter !
In the film Padmini-1948, actress Sultana had done a role. Her sisters Zubeida and Shehzadi had quit films in late 30’s after their marriage, but Sultana continued in films. Sultana, also known as Sultana Razaaq, was one of the earliest film actresses from India and acted both in silent movies and later in talkie movies. She was daughter of India’s first female film director, Fatima Begum. Zubeida (leading actress of India’s first talkie film Alam Ara -1931) was the younger sister of Sultana. The youngest sister was Shehzadi-also an actress. Actress Mehtab (Sohrab Modi’s wife), whose real name was Najma, was the step sister of these girls. Najma was the daughter of Marium, one of the wives of Nawab of Sachin.
Sultana was among the few girls who entered films at a time when it was not considered an appropriate profession for girls from respectable families, let alone Royalty. Born in the Surat city of Gujarat in western India, Sultana was a stunningly beautiful Muslim princess, the daughter of Nawab Siddi Ibrahim Muhammad Yakut Khan III of Sachin State and Fatima Begum. She had two sisters, Zubeida and Shehzadi, both actresses. However, there is no record of a marriage or a contract having taken place between the Nawab and Fatima Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. Actually, the Nawab had 3 wedded wives and Fatima was an ‘ outside’ arrangement.
Sultana was a popular actress in the silent movie era, usually cast in romantic roles. She started her career as an actress in Veer Abhimanyu (1922) film in 1920s and later performed in several silent films. Later, she also acted in talkie movies. Sultana did sexy roles in films and earned a name as “Sultry Sultana”. She acted in 20 Silent films. She continued acting after the Talkie films started and worked in 19 Talkie films. Her last film was ‘ Girdhar Gopal ki Meera’-1949.. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !
When India was partitioned in 1947, she migrated to Pakistan with her husband, a wealthy man named Seth Razaaq. Her daughter, Jamila Razaaq, was also encouraged by her to act in Pakistani films and she produced a film in Pakistan, named Hum Ek hain (1961), written by famous scriptwriter, Fayyaz Hashmi. The film was partly shot in colour, which was rare those days, but it failed miserably and Sultana stopped producing any films afterwards.
Sultana’s daughter, Jamila Razaaq, married the well known Pakistani cricketer Waqar Hasan, who is the brother of filmmaker Iqbal Shehzad. He runs a business under the name National Foods at Karachi. ( based on information collated from the book ‘Asli Nakli Chehere’ by Vithal Pandya, Blog of P.Kamalakar, 1946 Film Directory, pak.mag site and my notes, with thanks to all).
Talking about Master Ghulam Haider, he changed the face of HFM, with the history making music to Khazanchi-41. Till Khazanchi-41 happened, the Hindi films were under the influence of Marathi, Parsi and Gujarati Natya sangeet and classical singing. Hindi films from Calcutta were heavily influenced by Rabindra Sangeet. People listening to this brand of music for almost a decade were now fed up and they craved for something new. Khazanchi music brought the Punjabi theka and zest into Hindi film music and then there was no looking back, because the audience immediately lapped it up.
Master Ghulam Haider was also known for discovering hidden talents, developing them and using them for HFM. Singers like Umrao Zia Begum, Shamshad Begum, Noorjehan, Lata Mangeshkar, Mohd.Rafi and Surinder Kaur are examples of talents discovered, nurtured and presented by him. Though these singers were already singing songs, Masterji gave them All India exposure and helped them establish their careers.
It was Master ji who took Lata to S Mukherjee of Filmistan for songs of Shaheed, but Mukherjee rejected Lata. Master ji told Mukherjee,”one day you and all the industry will run after her,remember this.” From there, going with Lata to Goregaon station to board a train for Malad (to go to Bombay Talkies studios), Master ji used his 555 cigarette tin for tapping and Lata sang a tune on that music. This song was “Dil mera toda” from the film Majboor-48.
Master Ghulam Haider was born in 1908 in Hyderabad, Sind, Pakistan. After passing his intermediate examination, Ghulam Haider took admission in the college of dentistry. However, he left his dentistry education incomplete because of his aptitude for music.
Ghulam Haider took music lessons from honorific ustaad, Babu Ganesh Lal. During those days, it was a matter of great honor and privilege for a musician to be hired by a gramophone company. Ghulam Haider landed a job as a harmonium player in the Alfred theatrical company in Calcutta, India. After a while, Ghulam Haider was hired as a musician in the Alexandra theatrical company. Later, he worked for the Jeno phone recording company as a music composer.
In 1935, Ghulam Haider also composed songs for director Roshan Lal Shori’s film ‘Majnu’, which was released under the banner of Kamla Modi Tone.
Ghulam Haider came out distinctly powerful in the song ‘Ray Aaj mein hosh ruba day saaqi khoon kar kay katora pila day’, composer, Ghulam Haider, film, ‘Majnu.’
He contributed wholly to each of his musical pieces to what is now known as the best of Ghulam Haider.
Ghulam Haider raised the status of fellow music composers in those days. He insisted on a huge sum of money for his compositions. The filmmakers agreed to his demand. Ghulam Haider’s big break came in 1939 when he composed songs for D.M.Pancholi’s Punjabi film, ‘Gul Bakawli’, which was released under the banner of Pancholi Art Pictures and directed by Barkat Mehra. He also composed songs for Noor Jehan’s 1939 Punjabi film ‘Sassi Pannu.’
Ghulam Haider’s genius in succeeding was largely due to patience, self-discipline, rationality and inner resolve. Ghulam Haider composed songs for the 1940 Punjabi film ‘Yamla Jatt’, which was released under the banner of Pancholi Art Pictures. Ghulam Haider’s breathtaking command of tempo and rhythm made him the most sought-after composer in the 1940s and early 1950s. As time passed by, Ghulam Haider’s music played more forcefully and energetically.
One of his considerable achievements was the 1941 film ‘Khazanchi’. In reality, ‘Khazanchi’ was the first Indian film in which Ghulam Haider had introduced the sound of ‘Dholak’, which enhanced the quality of the song. ‘Khazanchi’ was also the singing debut of Shamshad Begum. Prior to that, Shamshad Begum had been rendering songs for the gramophone company.
Ghulam Haider was that one composer who excelled at all the attributes. Moreover, he devoted much of his time to invent tunes. Ghulam Haider’s compositions for the 1941 Punjabi film ‘Chaudhry’ was the melody of a grateful heart. With hope and belief in him, Ghulam Haider composed music for the film ‘Chaudhry.’
The first Muslim social film ‘Khandaan’ was released in 1942. Incidentally, ‘Khandaan’ was also the first film of Noor Jehan as lead actress and the directorial debut of Syed Shaukat Husain Rizvi.
Ghulam Haider used his skill to invigorate every musician who shared the stage with him. Director Barkat Mehra’s film ‘Sehti Murad’ was released under the banner of ‘Nadiran India Pictures.’ Ghulam Haider composed its music.
The believability and humanity in Ghulam Haider’s music was powerfully manifested in the 1942 film ‘Zamindar’. It was a feeling Ghulam Haider had given to millions of music lovers. ‘Zamindar’ was directed by Moti B. Gadvani and released under the banner of ‘Pancholi Art Pictures.’
It seemed Ghulam Haider knew just how to create magnificent musical masterpieces. He composed songs for the film ‘Bhai’, which was released under the banner of ‘Karavan Pictures’ and directed by K.D.Mehra. For the first time in ‘Bhai,’ Ghulam Haider recorded songs in the voice of Naseem Akhtar.
Ghulam Haider had the savvy to motivate the singers. Additionally, he reached the pinnacle by following his own instincts. He composed music for director Vishnu Pancholi’s 1943 film, ‘Poonji.’
As a music composer, Ghulam Haider took great interest in his profession. He composed songs for director K. Asif’s 1944 film, ‘Phool.’
Ghulam Haider moved to Bombay in 1944. Later he composed songs for director Mehboob Khan’s 1945 film ‘Humayun’, which was released under the banner of ‘Filmistan limited.’ Ghulam Haider composed the song ‘Naina bhar Aaye naar’ for the film ‘Humayun.’
Lata Mangeshkar’s big break came in director Nazeer Ajmeri’s 1948 film ‘Majboor’, which was released under the banner of ‘Bombay Talkies.’ Ghulam Haider composed the song, ‘Mera dil tora’ in the voice of Lata Mangeshkar for the film ‘Majboor.’ Another popular song from ‘Majboor’ was ‘Angrezi chora chala gaya, wo gora, gora, chala gaya.’
Ghulam Haider also used Lata Mangeshkar’s voice for the 1948 film ‘Padmini.’
The Listeners were spellbound as sure, poignant strains of Ghulam Haider’s melody emerged in director S. Mukherjee’s 1948 movie, ‘Shaheed.’ It was released under the banner of ‘Filmistan limited.’
Dedicated composer, Ghulam Haider, also composed music for director Krishin Kumar’s 1949 film ‘Kaneez.’
Afterwards, Ghulam Haider returned to Lahore and established ‘Film Saaz’ along with director S. Nazir Ajmeri and actor S. Gul. Also, in Lahore, Ghulam Haider worked with Roshan Lal Shorey and his son, Roop Kishore Shorey.
‘Shahida’ was the first Urdu film of Ghulam Haider in Pakistan, which was released in 1949.
Ghulam Haider also composed songs for the four Pakistani movies, ‘Bay Qarar’, ‘Akeli’, ‘Bheegi Palkain’ and ‘Ghulam.’
After the film ‘Khandaan’, Ghulam Haider and Noor Jehan once again worked together for the film ‘Gulnar.’ Moreover, Noor Jehan also starred in the film ‘Laila.’
Ghulam Haider passed away on November 9, 1953, in Lahore, soon after the release of the film ‘Gulnar.’ He was forty-five years of age.
From 1934 to 1944 master ji was in Lahore. After Poonji, he came to Bombay, but met Lata very late. This actually prevented him from using her voice for more films, since he migrated in 1947. Lata sang only 8 songs in 3 films for him- Majboor, Mehandi and Padmini. When Master Ghulam Haider left India 3 of his films were incomplete. Kaneez-49 was completed by Hansraj Behl,Putli-50 was completed by Aziz Hindi and Aabshar which was released in 1953-after his death- was completed by Mohd.Shafi and Bhola Shreshtha.
The song, ” Bedard tere dard ko ” from Padmini-48, was actually recorded for ‘ Mehendi ‘- but used in Majboor. This was the last song he recorded for Lata before leaving for Pakistan. Noted writer Harish Bhimani,in his book ‘ In search of Lata Mangeshkar ‘ has written about this song recording, how Lata waited for 8 hours, without food or even a cup of Tea (due to an upset stomach), and how Masterji was shocked to find her there since he had forgotten that he had called her there for recording a song ! This is what Lata herself said about this song:
” In 1947, I received a message from Masterji, Ghulam Haider. “One song needs to be recorded, come as early as possible.”
As it was night, I was accompanied to the studio by my cousin. Masterji was in a hurry as he had to leave for Pakistan. The recording lasted through the night. I was waiting my turn on a bench in a corner.
Finally, at the stroke of dawn, Masterji called me. He played the tune on the piano. He was a master piano player. Then I sang his song, Bedard tere dard ko. It was past 8:30 AM by that time. Those days one had to sing the entire song with the orchestra without committing a single mistake and hence was a strenuous exercise.
Masterji recommended me for the film Shaheed to Filmistan’s Mukherjee. He rejected me, reasoning that my voice was too thin. Masterji told him that day, “You are rejecting her now, but one day will arrive when the entire industry will spread a red carpet for this girl.”
The prophecy of Masterji turned out to be true. The songs of Andaaz, Barsaat, Badi Behan, Mahal were gaining popularity every passing day.
One day, I received a call from Masterji from Pakistan. He used to refer to me as ‘Memsahib’. He said, “Memsahib, I had told you, people will never forget you, and you will not forget me either!” Then one day, Noorjahan called me, Masterji was suffering from cancer. The last song that Masterji recorded with me is the one closest to me. “
Today’s song is sung by G.M.Durrani and Zohrabai Ambalawali. Enjoy this 77 year old song….
Song- Ho maina bol rahee (Padmini)(1948) Singers-Zohrabai Ambalawali, G M Durrani, Lyricist- Wali Saheb, MD- Ghulam Haider
Both
Lyrics
ho o o
bol rahee
ho o o
bol rahee
teen dheen
tananananan
ho tanannanananan
dheen dheen dheen dheen
tanannanananan
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho pardesee se pinjre mein dol rahee
ho pardesee se pinjre mein dol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho o
jhoothha nainon ka mel
jaise putlee ka khel
ho maina hirday kee khidkee ko khol rahee
ho maina hirday kee khidkee ko khol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho meree geelee lakadiyaa jalat naaheen re
pardesee kee rotee pakat naaheen re
ho maina
ho maina
arree o mainaa
ho teree geelee lakadiyaa ko baalmaa
ho saajnaa
ho teree geelee lakadiyaa jalaa doongee
pardesee kee rotee pakaa doongee
maina choolhe mein ankhiyaan tatol rahee
ho maina choolhe mein ankhiyaan tatol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
binaa paisaa kaheen se milat naaheen re
pardesee ka mela basat naaheen re
ho maina
ho maina
arree o mainaa
ho bina paise ke melaa ho baalmaa
ho saajnaa
ho bina paise ke melaa dikhaa doongee
pardesee kee duniya basaa doongee
tohe man ke taraazoo mein tol rahee
ho tohe man ke taraazoo mein tol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
ho maina bol rahee
tanananana
jhumjhumjhum
jhoom
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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