Jiyaa hiyaa doley mere nainon mein pyaar hai
Posted on: May 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 from the film Ratnadeep-1952.
In the early era of Indian Talkie Cinema, the two major centres of film production were Bombay and Calcutta. They had dual responsibility. One, to make films to entertain the local audience and two, to enter the Hindi cinema market spread throughout the Indian subcontinent. Film makers found a way for this. Films were made in two languages simultaneously-the Local language and the Hindi version.
Thus the trend of Bilingual films started. ( In the south too, films were made in Tamil plus Hindi/Telugu/Kannada/Malayalam/Simhalese. But this was much later than Bombay/Calcutta). Bombay, Poona and Kolhapur being in Maharashtra, films made here were in Marathi and Hindi. Similarly, in Calcutta, films were made in Bangla and Hindi ( few films were made in Bangla and Tamil/Telugu also, to capture south markets). Prabhat, Saraswati Cinetone, Huns Pictures (of Master Vinayak), Navyug films( of P K Atre) etc made Marathi and Hindi films. Sometimes companies like Sagar and Ranjit made films in Hindi and Gujarati ( their owners were Gujarati). Other companies like Minerva, Bombay Talkies( barring few films), Wadia etc stuck to only Hindi films.
The trend did not last long. At the end of the 40s, Marathi and Hindi Bilinguals almost stopped. Reason was the enormous growth of other film making centres in Maharashtra and the growing Marathi audience. Hence film makers did not need to depend upon the Hindi market for profits. Additionally, Hindi being a popular, working language in Maharashtra, Hindi films also had their market there.
This was not the case with Calcutta. Language was a major issue in Bengal. Added to this, the old and the established film making companies like Madon and New Theatres became non-entities in the late 30s and early 50s respectively. Hence even in the 50s, Calcutta continued to make Bangla/Hindi bilingual films to sustain profitability. By the late 50s, this stopped and bilinguals ceased to be made there.
Ratnadeep-52 was one such film which was made not only in Bangla and Hindi but also in Tamil as Ratna deepam. The film was made by Chitramaya, Calcutta. It was produced and Directed by Debaki Kumar Bose. The MD was Robin Chatterjee. The film had 8 songs. Lyricists were Pt. Madhur and Mahendra Pran. Some songs from this movie have already been discussed in this Blog.
This film was one of the only two films in which the Great Juthika Roy had sung in Hindi films.( the other film was Lalkar-56). She sang two Meera Bhajans in it.
The film’s director Debki Kumar Bose is considered a Premier director of the early era of Talkie films. His contribution to Bangla and Hindi films is immense.
The film was produced and directed by Debaki Bose, who owned the banner Chitramaya. Music Director was Robin Chaterjee. He was born on 8-1-1914, at Calcutta. His name is not too well known to Hindi film lovers, though he was very famous in Bengal, where he composed several NFS and film songs. For many years he assisted Anupam Ghatak, MD. He even sang in the chorus for New Theatre’s film Adhikar-1938. However he was not so successful in Hindi films.
His first Hindi film was Rajlakshmi-1945, wherein he gave the first opportunity to Talat Mahmood to sing a Hindi film song. Till then he was singing Bangla NFS and film songs with the name Tapan kumar. His next film was Tum aur main-1946 which had very good songs by Kanan Devi. Then came Voh Dono-1947 and here Sandhya Mukherjee gave good songs. Robin Chatterjee gave music to 14 Hindi films,namely – Rajlakshmi-45, Tum aur main-46, Voh Dono-47, Sabyasachi-48,Ratnadeep-51, Pehli Shadi-53, Firdaus-53, Shobha-54, Majboori-54, Africa-54, Dhake ki malmal-56, Miss Toofan mail-58, Police Station-59 and Chimney ka Dhuvan-1973…this was a much delayed film. He also gave music to a Bhojpuri film- Saiya se kar le milanwa-1966. Robin Chatterjee died on 2-4-1976 at Bombay at the age of just 62 years.
The cast of the film was Anuva Gupta, Abhi bhattacharya, Manju Dey, Molina Devi, Chhaya Devi, Pahadi Sanyal, Tulsi Chakraborti and many others.
The story of the film was….
The film is based on the famous novel of the same name by Prabhat Kumar Mukhopadhyay (1873-1932). Prabhat Kumar was a barrister by profession and later a professor of law at University of Calcutta. He started writing while still studying at school, and his poems were published in Bangla magazines. He became famous for his short stories which looked at life using a light-hearted lens. As an author he has published more than 100 short stories and 14 novels. ‘Ratnadeep’ is the most well known of his novels.
It was the day of mourning at Basuligram, the seat of the Basuli Raj, and the entire estate wore a melancholy appearance. Fourteen years ago Bhuvan ( Abhi Bhattacharya), the heir-apparent to the estate, had left his home . All these years his mother and his young bride had waited patiently, hoping against hope that Bhuvan would return. But, unfortunately, this was not to be.
According to the Shastras, if an untraced person fails to return within fourteen years, he is to be considered dead and declared as such. And today, this period being over, the grim announcement was made and the cremation rites performed. How pathetic the bride looked in a widow’s garb! And Ranima? She was half-blind, grief-stricken, crazy!
The same night at Khusrupur – an obscure, wayside railway station -far off from Basuligram, the guard of a passenger train asked Gopal ( Abhi Bhattacharya), the assistant station-master, to take down the dead body of a sannyasi. Gopal, who had just been sacked from service and was virtually on his last day’s duty, observed with surprise the striking resemblance between him and the dead sannyasi. Even the station-staff noticed the likeness and talked about it.
Left alone, Gopal read minutely the manuscript of the deceased’s autobiography, which he found amid his belongings, and after going through the contents a crazy idea struck him. The deceased Bhuvan, heir apparent to Basuli Raj, was every inch like him. Can he not step into his shoes? And then property worth lakhs as also the deceased’s young and beautiful wife will be his for the mere asking. Gopal became almost possessed with the fantastic possibilities of his wild scheme.
Gulfam, a crafty businessman, was a spendthrift and led a fast life. In response to an advertisement by the Dewan of Basuli Raj for a Hindu widow of good character to serve as a companion to Bahurani, he induced his favourite actress Kanak to apply for the job. Gulfam wanted her to act as a go-between for persuading Bahurani to agree to a re-marriage and accept him as her husband. Kanak, posing as Gulfams’ sister, reached Basuli Gram and was accepted as Bahurani’s companion. Soon after, Gopal, posing as sannyasi Bhauvan, entered the palace. Once again after fourteen years Basuli Raj became agog with excitement and jubilation. The mother got back her long-lost son and the bride her lost husband.
Gopal had passed every test, every scrutiny, and was unhesitatingly taken in as Bhuvan. But, he had to face two serious impediments to gain what he had come after, impediments which he had never thought of. One was Ranima’s sincere affection, and the other, Bahuranis pure and unsullied love which almost bordered on a devotee’s yearning for her God. To overcome these, Gopal pretended to remain a sanyasi for three months more. But that too was not very helpful. Bahurani, attempting to regain her husband’s love, continued seeing him. And the result was that Gopal started loving her deeply but silently. Meanwhile, Gulfam for his own personal reason tried to prove that Gopal was an impostor, and Kanak did her best to render all assistance. But Gopal, having tasted true love, became a changed man. No more did he hanker after worldly wealth, and he resolved to make a clean breast of everything to Bahurani.
Finally the day comes and Gopal tells the truth to Mother and Bahurani. By that time, the mother had started loving him and also knew Bahurani’s love for him. They both pardon him and all is well that ends well.
One of the actors in the cast is Tulsi Chakraborty. Tulsi Chakraborty ( 3 March 1899 – 11 December 1961) was an actor and comedian who worked in Bengali cinema in the 1940s and 1950s. His most notable role could be the lead role in Parash Pathar, directed by Satyajit Ray.
Chakraborty was born on 3 March 1899 in the small village called Goari. His father, Ashutosh Chakraborty, was an employee of the Indian Railways and the family had to move around various places in undivided Bengal. So, young Tulsi had to spend a lot of time in Calcutta staying with his paternal uncle Prasad Chakraborty, the elder brother of Asutosh Chakraborty. Prasadbabu was a talented tabla and harmonium player who was an employee of the renowned Star Theatre, the legendary Bengali commercial theatre stage and production company.
He had a small group of musicians who used to play live background music during theatrical performances. It was through his uncle’s contacts that Tulsi was able to watch the finest actors of the generation at work and this fostered his own ambitions to become a singer-actor. Before launching in theatre, Tulsi Chakraborty engaged himself in a number of odd-jobs, starting from dish-washer in a small North Calcutta eatery to working as a clown in a circus in Burma (now Myanmar). In films, he started with character roles before performing as a comedian. He was known for his realistic acting. He never used any make-up or extra arrangements. Usually, he was clad in a white dhoti accompanied by a sacred thread on his shoulder.
One of Chakraborty’s notable performances was in Sharey Chuattor, which was the debut film of the popular pair of Bengali cinema: Suchitra Sen and Uttam Kumar. In Parash Pathar directed by Satyajit Ray, he acted in the lead role of Paresh Dutta. He unleashed memorable roles in Uttam Kumar-Suchitra Sen starrers Ekti Raat and Chaowa Pawa. In both these films, Chakraborty played a sceptical inn owner; in the latter, he teamed up with Rajlakshmi Devi. He also had a small role as that of a village pandit cum grocer in Pather Panchali. Ray once remarked that if Chakraborty had been born in the United States, he would have been awarded an Oscar for his acting.
Tulsi acted in only films made as a Hindi version or made in Calcutta. He worked in 10 Hindi films namely, Saugandh-42, Jawab-42, Wapas-43, Shri Ramanuj-43, Taqrar-44, Subah Shyam-44, My sister-44, Hamrahi-44, Giribala-1947 and Ratnadeep-52.
Chakraborti spent the latter part of his life in utmost poverty. His widow was also known to have lived in abject poverty as was revealed by a television programme. Due to his poverty, he had to take a walk from Tollygunge studio to his home in Shibpur, Howrah. He died on 11 December in the year of 1961. (based on some information from Encyclopedia of Indian Cinema, wiki, Bangla Cinema by A.K.Bose and my notes.)
Here is a 73 year old song by the 22 year old Geeta Dutt. Enjoy….
Song- Jiya hiya doley mere nainon mein pyaar hai (Ratnadeep)(1952) Singer- Geeta Dutt, Lyricist- Pt. Madhur, MD-Robin Chatterjee
Lyrics
Jiya hiya doley
mere nainon mein pyaar hai
nainon mein pyaar hai
mastee kee lehron mein
chhotee see naiyya moree
jiya hiya doley
mere nainon mein pyaar hai
nainon mein pyaar hai
taaron ke raajaa o re
taaron ke raajaa o re
chanda tu kya
itraaye ae ae
kyun itraaye
sookhee hai shokhee teree
mujhpe bahaar hai
mujhpe bahaar hai
mastee kee lehron mein
chhotee see naiyya moree
jiya hiya doley
mere nainon mein pyaar hai
nainon mein pyaar hai
kaliyon ne hansnaa seekhha
mere ishaare paa ke
gaatee hai koyal mere
geeton se geet churaa ke
meree angdaayee saawan
meree angdaayee saawan
bhaadon ke baadal mein hai
meree angdaayee saawan
bhaadon ke baadal mein hai
meree hee mastee saare
jag ka singaar hai
jag ka singaar hai
mastee kee lehron mein
chhotee see naiyya moree
jiya hiya doley
mere nainon mein pyaar hai
nainon mein pyaar hai
main hoon ulfat kee manzil
main hoon husn e sharaab
main hoon
main hoon ulfat kee manzil
main hoon husn e sharaab
main hoon
main hoon husn e sharaab
?? ke jawaanee meree
hai ik niraalaa khwaab
kitne armaan sajeeley
kitne armaan sajeeley
hain mere dil mein haaye
kitne armaan sajeeley
hain mere dil mein haaye
koi na jaane mujhe
kiskaa khumaar hai
kiskaa khumaar hai
mastee kee lehron mein
chhotee see naiyya moree
jiya hiya doley
mere nainon mein pyaar hai
nainon mein pyaar hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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