Aa bataaun tujhe imaan mein kya miltaa hai
Posted on: April 16, 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 film Gul E Bakavali-1963. It is an imaginary story with an Arabic background. The song I am presenting today is an Islamic Hamd – a religious song in praise of Allah. It is a form of expression to acknowledge and honour Him. There is a difference between Hamd – which is directed towards The God and a Naat – which focusses on The Prophet.
The film was made by Jugal productions, owned by the producer and Director of this film, Jugal Kishore. The music was by Hansraj Behl. There were 5 Lyricists for just 7 songs. The cast of the film was Jairaj, Nishi, Tiwari, Maruti, Sapru, Nazi, Sulochana Chaterjee, Sunder and Kummo Tripathi with many others. Here I must assert that the last name in the cast is ” Kummo Tripathi” and NOT the dancer Kammo and Kumud Tripathi. Surprised ? Read on…
Kumud Tripathi joined the industry to become a Lyricist ( like comedian Kanhaiyalal Chaturvedi) but ended up becoming a comedian. During his struggling days in the early 50s, he was staying in Bandra’s slums along with Sunil Dutt and Rajendra kumar. He acted in 73 films. His first film as an actor was Nai Zindagi-1951 and his last film was Hum se badhkar kaun-98. His one role I remember is from the film Apradhi Kaun-57, in which he had sung two songs also on the screen. After retirement from the films, he joined TV and did a memorable role as Guptaji ( owner of a Gen. Store) in a famous serial of the 1986 period- Nukkad. He was called by his friends by his nick-name “Kummo Tripathi”. Kummo being a pet short form for Kumud ! Still not believing ? Check the film’s credits, where it is clearly written “Kummo Tripathi” for him. Easier method is to check HFGK, in which also, he is mentioned as कम्मो त्रिपाठी !
Stories with magic, adventure, daredevil stunts and miracles have always been liked by Indians. The filmmakers understood this aspect and made films which provided these items. The films made on Arabian Night stories and other imaginary stories became popular for this reason. Among all such stories, 4 stories were the most popular – Alladdin, Alibaba, Sindbad and Gul E Bakavali- or a flower with magical powers.
Fantasy stories and Fairy tales have been enchanting masses for centuries. This is because everybody wants a magic which will make him happy, seeking a solace in such stories. For several centuries such stories have been invoking the child in a man.
GUL-E-BAKAVALI or the magic flower of the Bakavali Tree is supposed to do many things which are unimaginable. let us see the history of this story which has mesmerised the film producers for many years.
Gul-e-Bakawali is a popular medieval romance in many versions. The seventeenth-century poet Nawazish Khan was perhaps the first to write a Bangla version of Gule Bakawali, a story in verse about the love of Prince Tajulmulk for the fairy Bakawali. The Sprinter catalogue records an Urdu Gule Bakawali written in verse in 1625. In 1722, Sheikh Izzatullah, a Bengali, wrote a prose version, Tajulmulk Gule Bakawali, in persian. It is not known on which version Nawazish Khan based his poem.
There were several variant versions of Gule Bakawali, such as the poetic versions by Muhammad Mukim (1760–70), Muhammad Ali, Munsi Ebadat Ali (1840), Umacharan Mitra (1834), and Abdus Shakur, and the prose version by Bijaynath Mukhopadhyaya (1904). Kedarnath Gangopadhyaya wrote a play based on the story in 1978. Ebadat Ali’s Gule Bakawali is a dobhasi puthi.
The story was also popular in Urdu. Thus, at the beginning of the nineteenth century, Munsi Nehalchand Lahori wrote a prose version titled Mazhabe Ishq (1803), and Dayashankar Nasim wrote a masnavi (poem) called Gulzare Nasim (1835).
* Gul-e-Bakavali was the first picture with the same subject as Silent film in 1924 directed by Kanjibhai Rathod and produced by Kohinoor films. It starred Jamna, Khalil, Fatma Begum, Noor Mohamed, Sabita Devi, Sultana, Usha Rani and Zubeida.
* The story was made as Silent film again in 1930 (Starring Vishnu, Gulab .. Dir Mohanlal Shah)
* Gul-e-Bakavali was made into Hindi films five times, in 1932 ( starring Ashraf Khan, Zaibunnisa.. Dir Anand Prasad Kapoor), 1947 ( Starring Feroz Dastur,Menaka, Rabab, Sanober..Dir Rustom Modi), 1956 ( starring MG Ramachandran,Varalaxmi, Rajkumari…Dir Ramanna TR), 1963( starring Jairaj, Nishi.. Dir Jugal Kishore) and 1982( starring Feroz Khan , Amjad Khan … Dir Ravi (Kant Nagaich )..
* The story was pictured earlier in Telugu in 1938 with title Gulebakavali directed by Kallakoori Sadasivaravu and starring B. Jayamma. and again pictured as Gulebakavali Katha in 1962 (starring NT Ranarao , Jamuna, Nagaratnam .. Dir Kamalakara Kameshwara Rao)
* There are two Tamil versions, one from mid 30’s by Soundararajan (Tamilnadu Talkies fame!) and another version in 1955 , directed and produced by T. R. Ramanna and starring M. G. Ramachandran, T.R. Rajakumari and G. Varalakshmi…
The earlier Punjabi version was released in 1938 (*Baby Noorjehan , Ajmal , M Ismail … Dir Barkat Mehra) …
In Pakistan the story was pictured in 1961 (Ilyas Kashmiri, Jamila Razzaq .. Dir Munshi Dil .. Md Safdar Hussain ).
This 1963 film featured Jairaj and Nishi in the lead. NISHI KOHLI is the wife of the actor Rajkumar Kohli and mother of Armaan Kohli, the young actor. Not very beautiful and an ordinary actress, Nishi debuted in RAILWAY PLATFORM-1955 in a secondary role. Very soon she became the heroine of many Stunt, Fantasy and action C Grade films. She acted in about 50 odd films before retiring. She was seen on TV at Dara Singh’s funeral, with her husband.
The hero of this film was Jairaj. P. Jairaj spent 70 years in the film industry during which he played various roles – from a body-double stuntman to the macho hero, from mythological God to social drama leads and from filmmaker to the custodian of the film industry’s welfare through various associations – and endeared himself to everybody. P. Jairaj joined the industry at the tender age of 19 and lived a full life till the age of 91. He is survived by four daughters and two sons. His second daughter, Deepa Shahi and her son Rajan, a popular tele-serial maker (of Jaisi Jaissi Koi Nahin, Kareena Kareena, Reth and Yeh Rishta Kya kehlata Hai fame) go into a rewind mode. “Papa was a totally family-oriented person. He would be up at the crack of dawn by 5 am and by 9 pm the lights would be out! He wasn’t a strict father though, he liked to educate us through books, “ recalls Deepa. He amassed a huge library of books on every subject under the sun which he eventually donated to various libraries in Mumbai, Kolkata and to his friends and relatives. “I got the historical section with books on architecture,” elaborates Deepa while her son inherited books on filmmaking and artistic performances.
Born on 28-9-1909 in Karimnagar (Andhra Pradesh) in a cultured family, young Jairaj was schooled in Rishi Valley school. Thereafter he joined the Nizam’s college where he participated in Shakespearean plays. He hailed from a very cultured family with lofty connections – his mama was married to Sarojini Naidu. His father, a government official, passed away and his mother followed suit when he was barely 19 and the youngest among three brothers, Jairaj was totally heartbroken and shifted to Mumbai. “He wanted to join the Navy but he was delayed for the recruitment. He befriended his filmi neighbors, who urged him to join films because of his strapping physique. He was nearly six feet tall,” relates Deepa.
His film career took off as a body-double stuntman in the Sharda Film company. He would be interested in all aspects of filmmaking – from camera work, edit to lab processing. Not before long, he got his first acting break as the hero’s friend and his body-double during stunt scenes in Jagmagati Jawani (1929) and graduated to playing the hero. His distinguished looks and physique landed him the lead role. However, his second venture,Raseeli Rani, was his first release.
He acted in as many as 11 silent films between 1929-1931. Jairaj in an earlier interview had elaborated on how silent films were made,“All shooting took place in natural sunlight. Our day began and ended early. We reached the sets by 7.30 in the morning and packed up by 5 in the evening… We all learnt the craft by trial and error. We discussed the story together, developed it and then started shooting… It was a challenge, you had to make people laugh, cry or get angry through facial expressions and gestures only. Charles Chaplin is the best example of this art. But then, cinema, unlike the stage, is a visual medium. That was why silent movies had universal appeal.”
After the first talkie film, Alam Ara, in 1931, Jairaj also switched over to talkies. Being a Hyderabadi, he was fluent in Urdu and that proved to be a big asset for him. Shikari-1932, replete with tigers, lions and snakes, was his first talkie.
With sound came songs and Jairaj was handicapped by the fact that he was no singer. Once sound was introduced in the movies, the next inevitable step was music. What was worse was that artists had to be singers as well! Jairaj made his first and last — highly embarrassing — attempt to sing before the cameras in a film called “Patit Pawan” opposite Durga Khote and Noor Jahan Sr.. He engaged an ustad to coach him, but the latter gave up in despair. Jairaj rehearsed the song he was to sing for a full month. Finally the camera was switched on and he sang the entire song in three minutes at a stretch without pausing for breath and not bothering to see whether he was “in synch” with the music. He wasn’t. His singing was a few jumps ahead of the music and on a different octave altogether. After they finished filming, they all burst out laughing. It was one of the most embarrassing moments of his life and of course they deleted that song from the film. With the introduction of playback singing, he forged forth with films like Rifle Girl, Bhabhi, Panna and Mahasagar No Moti – which were all hits.
The 1950s and early ’60s was Jairaj’s golden era as an actor as he essayed a variety of roles of hero, villain and even comedian. He was, however, celebrated for his wide range of historical roles, playing Chandrashekhar Azad, Amar Singh Rathore, Prithviraj Chauhan, Rana Pratap, Shaheed Bhagat Singh and Tipu Sultan. “Papa was a natural rider and that helped,” opines Deepa.
Jairaj featured in over 200 films during which he romanced all the top heroines of his times – Devika Rani, Khursheed, Nigar Sultana, Nadira, Shakila, Durga Khote, Nirupa Roy, Nimmi, Suraiya, Madhubala and Meena Kumari. “He was the first kissing star of his times, he was lip-locked with his heroine Madhuri in Jagmagati Jawani. He was also the first superman of the Indian screen,” informs Rajan Shahi about the on-screen shenanigans of his nanaji.
“Although Papa was famous for his parties, he was never involved in any scandal. All his heroines regarded him as their close friend. I remember, Nargis had knitted him a sweater monogrammed with his initials!” Deepa reminisces fondly.
Jairaj started accepting character roles from the mid-‘Sixties. His roles in Insaniyat, Baharon Ke Sapne, Neel Kamal, Raaste Aur Manzil are memorable. Also his most cameos in Don, Masoomand Khoon Bhari Maang are known to viewers today. Jairaj had also acted in three international films, the Russian co-production with K.A.Abbas Pardesi, MGM’s Maya and 20th Century Fox’sNine Hours To Rama. The last film was based on Mahatma Gandhi’s assassination and was banned in India!.
Jairaj produced and directed Sagar starring Nargis, Dilip Kumar and Bharat Bhushan in 1951. “It was based on Lord Tennyson’s poem Enoch Arden. It was a story about two brothers living in a seaside town and the younger brother sacrifices his love as the elder brother is in love with his sweetheart. But papa lost all his money in his maiden production,” Deepa recalls sadly. Jairaj had confessed in an earlier interview, “I did not have the business acumen to produce and promote a film. Unlike others producers, I had invested my own money,” he had admitted regretfully. Jairaj was forced to sell his office and it was the most frustrating period of his career. He went back to acting and recovered.
He also directed films like Mala, Mohar and Rajghar. He also directed two television serials -Tana-Bana and Katha Sagar.
Jairaj was hailed as the industry’s friend. He was a keen sportsman. He would organize all the charity cricket matches that stars played. He also designed musical shows and award ceremonies. He also took keen interest in the propagation of classical dance and music. “While he managed the entire show by drawing sketches of the stage to star performances, veteran character actor David would compere the shows,” Deepa recalls.
He was close friends with the Kapoors. “So much so that both our families would go on vacations together,” Deepa recalls happily how Prithviraj and his sons were like their extended family.
Prithviraj Kapoor and P. Jairaj were the founder members of the Cine Artistes’ Association in 1939. In 1981, most deservingly, Jairaj was honoured with the prestigious Dadasaheb Phalke award for his outstanding contribution to Indian cinema. Interestingly, Jairaj starred in Gujarati and Marathi films but never in Telugu, which was his mother tongue.
Prithviraj’s father had arranged his marriage to a Punjabi girl from Delhi and the two were blessed with six children. Of his two sons Dileep Raj even starred in K. A. Abbas’ Sheher Aur Sapna and was then hailed as the ‘next Raj Kapoor’. “But he couldn’t sustain his success. He now writes films and serials, while Jai Tilak, our second brother, became an engineer and he settled in Chicago. All of us four sisters were married out of Mumbai and out of the film industry,” updates Deepa.
Rajan, his grandson, is the sole torchbearer of Jairaj’s showbiz legacy. “Nanaji advised me to build goodwill in the industry. Name and fame will come and go, only your goodwill will see you through, he said. That’s the most valued mantra for me,” admits his grandson gratefully.
P. Jairaj passed away on August 11, 2000 at the ripe age of 91, leaving behind a rich legacy. (based on the interview of Deepa Shahi ji.)
Enjoy today’s 62 year old song….
Song- Aa bataun tujhe imaan mein kya milta hai (Gul e Bakawali)(1963) Singers- Shamshad Begum, Surender Kohli, Lyricist-Shyam Ralhan, MD-Hansraj Bahl
unknown child voice
unknown male voice
Shamshad Begam + Unknown child voice
Shamshad Begam + Surendra Kohli
Lyrics
aa bataaun tujhe imaan mein kya milta hai
sar ko sajde mein jhukaao to khuda milta hai
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
yoon na maade ishq ka husain ne ata kiya
ghar luta diya khuda ki aashiqui mein mar gaya
hil rahee thhee jab zameen
hil rahee thhee jab zameen
to aasmaan ne yoon kaha
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
intiha na takht tha na biki(?) saari aalka
par Ali ke laal mein to hausla kamaal ka
halak par chhuri chalee
halak par chhuri chalee
to sar kata ke ye kaha
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
wo to(??) sarmad ne bataaya aashiqui ka martaba
sar katne diya magar na apne kaul se phira
kat gaya jo sar to sar se
kat gaya jo sar to sar se
aa rahee thhe ye sada
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ul rasul alla
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
ae khuda tujhe tere rasul ka vaasta
mujh gunahgar ko dikha de nek raasta
uskee mushkil hal huyi
uski mushkil hal huyi
jisne ye kalma padha
la ilaha ilil la
mohammad ur rasul alla
la ilaha ilil la
mohammad ur rasul alla
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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