Bahaaron se kheloon nazaaron se kheloon
Posted on: April 23, 2025
- In: Ameerbai Karnataki songs | Amirbai Karnataki Rafi duet | Duet | Feelings of heart | Guest posts | joie de vivre | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rafi songs | Songs of 1940s (1941 to 1950) | Songs of 1948 | Yearwise breakup of songs
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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 an ‘Unique’ film, Shahnaz-1948. Made by Wahab productions, Bombay, this Costume film was directed by a Comedian – Sheikh.
Sheikh was a Comedy actor in the 40s, 50s and the 60s. He has acted in 170 films,as per Muvyz stats. He sang 10 songs in 8 films as per HFGK (Daulat ki duniya-47, Fifty Fifty-UR, Nakli Baap-49, Jiya Raja-49, Dushman-50, Simba-51, Hatimtai-56 and Naagmani-57).
He was essentially a B and C grade film comedian, so his name is not known to most people. Sanjeev Narvekar’s book, “Eena meena deeka” gives very little information about him. In his hey-days, he was popular in a class of people who were regulars of stunt, fantasy and action films. He was a fixture in almost all Wadia films. He was the main, on- screen singer in the iconic qawali, “Humen to loot liya milke husn walon ne ‘ from the film Al Hilal-58. (It was the 5000th song on this Blog)
He directed 2 films, Shahnaaz-48 and Mr.Toofan-63. He started his career in Hindi films with Pakke Badmash-39. Before that he had acted in a Marathi film “Netaji Palkar-39″by Bhalji Pendharkar (info from CITWF). His last film was Aadamkhor-85. No information is available on his life anywhere.
The cast of this film consisted of Begum Para, Altaf, Nihal, Shanta Patel, Shama Dulari, Basheer, Shaikh and others. For 12 songs of this film, there were 5 practically unknown Lyricists. And now, here is why this film was called an ‘Unique’ film. This was the only film for which the actress/singer Amirbai Karnataki gave the music in her entire career ! This was the period when Singers like Amirbai etc were persuaded to compose music for films,as they were given fees only for composing and not for singing songs separately. Singers took this opportunity as this made them famous. Amirbai too accepted this film as a Music Director, with this view only.
The early phase of Talkie films was full of 2 types of people.
1. Those who wanted to do something worthwhile in this new field,
and
2. Those who saw this field as an opportunity to showcase their skills.
Initially, due to the Studio System, no special qualifications were required to get a job, because in this system anybody was required to do any job. There was no job specification. For example, a script writer would be required to do a role in a film, or the music Director would have to sing a song in the film. So, there are cases where people initially taken for one job, finally excelled in some other job. There are many such examples. Amiya Chakrawarty who was working as a Canteen Manager in Bombay Talkies, ended up as a respected Director of films. Najam Naqvi, a continuity man in BT again, became an actor and a well-known Director, Ashok Kumar-a technician in Photo department became a famous actor and also sang songs, Guru Dutt starting as a Choreographer ended as an actor and a famous Director.
In the Music field also, the filmmakers needed actors and actresses who were reasonably good looking and had a knowledge of singing. This was a great opportunity for the Kothawalis, Tawayafs and singing families, where singing was the profession. Good looking girls from such families had comparatively an easier entry in films. Such actresses were generally called “Bai”, like Jaddanbai, Rattanbai, Waheedanbai, Zohrabai etc. Most joined the industry, acted or sang for a few films, and then got married to some actor or a director and settled in life. But some girls joined the films to make a career and contribute substantially. One such was a girl from Karnataka …
Amirjan was born in a Julaha ( weaver ) family of Belgi in Bijapur district of Karnataka, on 19th February 1906. She was one of the 6 sisters and 1 brother. Singing was very much in the family and her sister Gauhar was already in films- acting and singing. Amirjan was also fond of singing and had dreams of joining films and making a name in it.
Unlike other girls from singing families, Amirjan first completed her schooling and then went to Bombay. Her sister Gauhar helped her to get her first film ‘Vishnu Bhakti’-1934. This film did nothing much for Amirjan’s career advancement, except that her name was now changed as AMIRBAI KARNATAKI. Undaunted, she continued with other films. Her real break came with Kismet-1943. Her own kismat also changed with this film.
Out of all the female singers of the 40s, my first vote goes to Amirbai. She was, in true sense, Amir in her singing and justified her name.
Amirbai’s voice was very flexible. She could sing any type of song with great ease, be it a Bhajan, a Naat, Lori, Holi, Diwali, Party, Comedy, Tragedy, Ghazal, Thumri, Qawwali- you just name the genre and she has sung it.
I would like to highlight some of my favourite Amirbai songs that exemplify her comfort level in various genres.
The first among these is the famous song from Samadhi-1950, sung with Lata-“Gore gore o banke chhore.” This song from Samadhi, composed by C. Ramchandra, created a hurricane in the music lovers and for a long time everybody hummed this song. Young boys and girls danced to this song in festivals and functions and youngsters sang it to impress others. Amirbai skillfully combined her golden voice with the novel lilting tune to give a superb inviting effect to the song. Appropriately shot on Kuldip kaur, the song gave a “come hither” invitation to the listeners. This song also went to prove that whatever the genre, Amirbai could ‘just do it’ !
Out of all her songs, from the first to the last, my favourite is a duet with Surendra from the film Bharthari-1944. The song is “Bhiksha de de maiya Pingala”. In this song Queen Pingla is responding to Raja Bharthari, who comes as a Jogi asking for Bhiksha (Alms). She recognises him and expresses concern how he would cope up with the hard life of a Yogi, when he had enjoyed a King’s life earlier. The song is like a question answer session, written by Pt. Indra and composed by Khemchand Prakash. This song had become very popular in India and was copied in the Gujarati version of the film. It is still played during poojas.
Another song sung by Amirbai that is my favorite is a Bhajan from the film Village Girl-1945. (Bansi ki madhur dhun se). This film had some very popular and evergreen songs, like “Baithi hoon teri yaad ka le kar ke sahara” by Noorjahan, but this Bhajan by Amirbai was something out of the world. Though MD Shyamsunder had copied the popular tune of Jagmohan’s Geet- “Us raag ko paayal mein” famous in those days, for this song’s mukhda as well as Antara, Amirbai made it a Bhajan dripping with Bhaktiras. Coupled with the scenes on the screen this Amirbai Bhajan can be rated amongst the best Bhajans of HFM.
As I said earlier, Amirbai was at ease with any type of song and she would put all her skill and appropriate emotions in it to make it the Best. There are many sad songs in Hindi films. Even Amirbai has sung many sad songs in her career, so it was difficult to pinpoint just one. However I opt for the sad song from Nargis-1946, “Roti aankhon mein.” Music Director Husnlal- Bhagatram had given excellent music to this song and the tune haunts one for a long time.
Though Amirbai sang about 350 songs in about 135 films, her real singing reign was from 1940 to 1950 only. After 1950, the competition became intense, she became tired, public taste and singing pattern changed and consequently singing offers dwindled. From 1951 to 1954 she sang only 17 songs in 12 films. Her last song was in Bankelal-1972.
Amirbai was very popular in Karnataka and she too was proud to be from Karnataka. Her family runs a cinema Theatre called “AMIR ” in Bijapur even today. She died on 3-3-1965, but left a sweet legacy of her songs. They will forever remind us about this exceptional singer. Amirbai was an exceptional singer who could do justice to the song, lyricist and the music director in every piece that she performed. She was one of those who came to the Industry with a desire to do something worthwhile and she really did it!
During her career, when she was about 37 year old and very well set in the film industry, there was a shocking incident in her life with an actor, Himalayawala. Actor of the 1940s A.Himalayawala (Afzuluddin Himalayawala) was an outspoken and straight forward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform her sister.
Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within a few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full detail in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.
The hero of this film was Altaf. The handsome actor Altaf, was married to Khurshid. Mehmood & Altaf were co-brothers, being married to siblings Khursheed & Madhu respectively. Khursheed & Madhu tried their luck & appeared in a few movies,but were not successful. Madhu, it may be recalled, had a brief role in Manzil(1960).
Altaf was not as lucky as his co-brother or sister in law Meena Kumari. Although he initially appeared in some movies as leading man in 40s, but soon he was relegated to play negative roles in films. Chhote Nawab, Ghulam Begum Badshah, Sone Ki Chidia, Noor Jahan, Raja Rani, Char Chand etc were few of his movies.
Meena Kumari, Khurshhed & Madhu, it seems, were destined to suffer in the second half of their lives. While we are aware of Meena Kumari’s last days, Khurshid & Altaf led miserable lives & were forced to live in Jhopadpatti, due to financial constraints, after Meena Kumari passed away. Madhuri was divorced by Mehmood & she had to leave the house, to live the life in penury.
The story of the film was….
SHAHNAZ-1948 was a love story with a differnce.It had tragedy as well as twists of fate.The film tried to stress that love is a serious thing and not to play with it childishly. Murad(Altaf),son of a caravan chief is in love with Shahnaz,daughter of another carvan chief(Begum Para),but both being mischievous, pretend that they love somebody else.Murad pretends to love Gulnar(Gulnar)-foster sister of Shahnaz and she pretends that she loves Nasir(Nihal)-foster brother of Murad.
The lovers don’t realise that all the caravan people and Gulnar and Nisar have taken this matter seriously.
On one Festival night,the engagements are announced between Gulnar and Murad and Shahnaz and Nasir.At this moment the lovers,Murad and Shahnaz are busy in sharing sweet nothings and singing songs.
When they realise what has happened,they are shattered.Nisar first comes to know the truth and leaves the caravan only to get killed in a storm.
Murad wants to go away,but gulnar follows him and dies in his arms.
There is a gloom in the carvans. After few days the engagement of Murad and Shahnaz is announced,but they can not enjoy this moment of happiness.
Let us now enjoy this 77 year old duet by Amirbai and Rafi….
Song- Nazaaron se kheloon bahaaron se Kheloon)(Shahnaz)(1948) Singers- Amirbai Karnataki, Rafi, Lyricist- Akhtar Peelibhiti, MD- Amirbai Karnataki
Lyrics(Provided by Prakashchandra)
o o o o o o o o o o oo
o o o o o
o o o o o
nazaaron se kheloon
bahaaron se kheloon oon
nazaaron se kheloon
bahaaron se kheloon oon oon
meraa bas chaley ae
chaand taaron se kheloon oon oon
meraa bas chaley ae
chaand taaron se kheloon oon oon
lalaalaalalaa
lalaalaalalaa
lalaalala lalalalala
ye jee chaahathaa hai
bahaaron se kheloon oon
machltey huye ae aen
aabshaaron se kheloon oon
nazaaron se kheloon oon
bahaaron se kheloon
nazaaron se kheloon oon
bahaaron se kheloon
meraa bas chaley ae
chaand taaron se kheloon oon oon
meraa bas chaley ae
chaand taaron se kheloon oon oon
o oo ooo oo o
o o
o o o o oo oo
o ho o o
nazaaron se khelo o o
bahaaron se khelo o o o
magar pehle hum
beqaraaron se khelo o o o
mohabbat ke rangeen een
nazaaron se khelo o o
mohabbat ke rangeen
nazaaron se khelo o
tumhaaree khushee
chaand taaron se khelo o o
tumhaaree khushee
chaand taaron se khelo o
nazaaron se khelo
bahaaron se khelo o o
magar pehle hum
beqaraaron se khelo o o
magar pehle hum
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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