Badle jo zamaane ko taqdeer hamaaree hai
Posted on: May 4, 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 from the film Taqdeer-1943. With this song, the film gets YIPPEED !
Taqdeer-1943 was specially made for facilitating the Debut of Baby Rani aka Baby Fatima aka Nargis, the only daughter of Singer, actress, Director, Producer and Music Director of early Talkie films – Jaddan Bai. Father of Nargis was a Hindu converted to Islam and from being a Muslim, Nargis got converted to Hinduism before her marriage to Sunil Dutt, with a brand new name “Nirmala Dutt”. Thus a circle was completed from her Nani Daleepabai, who hailed from a Brahmin family to Nirmala Dutt – wife of Sunil Dutt, a Mohyal Brahmin (a sub caste of Saraswat Brahmins). It is said that before marrying Mohan Babu (father of Nargis) Jaddan bai also had changed her name to Jaya Devi Tyagi. However due to Muslim community pressure Mohan Babu had to convert to Islam and become Abdul Rashid.
Besides Nargis, there was one more Debutant – a Lyricist called Mehrul Qadri. Mehboob Khan gave him an opportunity to write all 10 songs of this film. However, after writing a few songs for films like Zaban-43, Geet-44, Jeevan-44, Zeenat-45 and Mitti-47, Mehrul migrated to Pakistan. Rafiq Ghaznavi also migrated to Pakistan after 2 more films (Laila Majnu-45 and Ek din ka Sultan-45).
Very few people know that following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. Journalist and author of several books, Ambarish Mishra writes, “when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and the next day Mehboob also died !
An interesting personality N.A.Ansari was also in the cast of the film Taqdeer-1943. Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in the Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.
Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.
By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain. Competition for him was tough, initially when he joined the film industry ,as there were many character actors already there, who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential .
He believed that it is not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person, always beaming and had a friendly smile on his face . In his films , he used to be the boss of a criminal syndicate and had an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five .
With a hit movie ‘Mangu’ , he became a director and later directed many successful movies like Black Cat, Tower House, Mr Lamboo, Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films, he made many memorable movies. Although he had to look after his own company and permanent staff, he did not disappoint other filmmakers, who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers, but it is also true, Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution.
Mr N A Ansari, was essentially a dedicated film maker and had no false illusions about his own capabilities. His movies were never lavishly made and had average production value, but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies. Those who love the movies of the golden age ,fondly remember his movies which used to have him in the role of villain, beside good music, suspense, comedy, dance with a plausible story and a strong message for society ,that “Crime Never Pays”.
With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954, offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana, Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat, Aadha Fasana ), made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.
He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.
Beside Sheikh Mukhtar, he directed movies, like Black Cat, Tower House, Zara Bach Ke, Wanted for other producers and playing the main villain. He had no qualms working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb, Do Thug ,Khota Paisa, Gunda, Ustad 420, Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log, Mulzim,Zindagi Aur Maut, Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots. It was a big journey for Ansari, who was discovered by Mehboob & given a role in Aasra, released in 1941.
He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes forever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi, much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74. (Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks.)
Another interesting actor was Noor Mohd. Charlie. Noor Mohd. was born on 7-1-1911 at Ranavav, near Porbandar, Gujarat,in a Memon family (Later, comedian Mukri was also a Memon from Konkan area). Not interested in studies, he was very fond of seeing films, even by stealing money from the house, at times-if need be. He was sent to Bombay and worked as an Umbrella Repairer in a shop. His desire to become an actor was so strong that one day he went straight to the Imperial Film Company’s owner and asked for a job. In the tradition of those days, he was asked if he could sing… His reply was, ” I can sing, act, ride, run, fight, cry, laugh, quarrel, dance, play or swim”. He was hired instantly at a salary of Rs. 40 pm. From 1925 to 1931 he did 9 silent films.
In one of these films he did the acting of Charlie Chaplin. It became so popular that he made this get up his Trademark and developed Toothbrush Moustache ,like Charlie Chaplin. He also added ‘Charlie’ to his name. He did his first talkie film “Zarina” in 1932 and then there was no looking back.
Initially with Sagar Movietone, he shifted to Ranjit and did 17 films with Ranjit. He became so famous and Popular that films were sold in his name. He started to get special songs shot on him in almost every film-much before Johnny Walker in the 50s. He sang his own songs. He left Ranjit and was the first actor to become a ‘Free-lance’ breaking the Studio system. Some of his films and songs therein were famous all over India. In the film Sanjog – 43,he sang ” Palat,tera dhyan kidhar hai “. This line became so famous that young boys in colleges used this line for calling girls,in those days.In film Dhandhora – 41, he sang ” ek do teen char panch chhe saat aath nau dus gyara bara,teri nazar ne mujhe mara”. ( Raj kapoor used ‘Ek do teen aaja mausam hai rangeen’ and later Madhuri Dixit “Ek do teen” was very famous.) In one film he sang “Thank you, mention not” and ” I am very very Sorry”. This too became popular.
There was a time when Charlie drew more salary than even Prithwiraj kapoor ! he did about 100 films in all. he was Hero opposite Swarnalata in Chand tara-45,hero opposite Leela Chitnis in Ghazal-45 and hero opposite Chandraprabha (Saraswati Devi’s sister) in Dulha-46.
After partition he opted for Pakistan. He did 6 Urdu, 2 Sindhi and 1 Punjabi films there but was not popular. He came back to India in 1960, but by then here too the position had changed. He did 3 films here. Due to Visa problems, he had to leave India. he went to the USA to live with his son, who had a dairy farming business. He had 6 sons and 6 daughters. Only 1 son-Latif Charlie became an actor In Pakistan. (He died on 19-7-2011). Charlie came back to Pakistan when his wife expired, but later he himself died in Karachi on 30-6-1983.
If he had not gone to Pakistan, who knows he would have prospered here. Mehmood and Johnny Walker consider him as GURU and have copied his actions in films many times. Raj Kapoor and Guru Dutt were also his fans. His film Manorama was remade here as Manchala in ’53 with Agha in his role. Thokar was remade as Mai Baap and Taqdeer was remade as Duniya ka mela,with Mehmood in Charlie’s role.
When he died in Pakistan, no film personality from the Pakistan Film industry attended his funeral. He died unsung !
Before I started writing this post, as usual, I went through all the posted songs. I was astonished to note that I have done posts on 8 songs (including today’s post) out of the 10 songs. Two songs were posted by Atul ji. With today’s song, all songs are covered and the film gets YIPPEED !.
Now enjoy today’s 82 year old song….
( For this post, I have used information from the books “Aap ki Parchhaiyan” by Rajnikumar Pandya, “Mehboob Khan” by Shashikant Kinikar, Encyclopedia of Indian Cinema, ‘ “Filmography” and “Ateet ke Sitare ” by Nand Kishore ji, “Cinerang’ by Isak Mujawar and my notes ).
Song- Badle jo zamaane ko taqdeer hamaaree hai (Taqdeer)(1943) Singers-Noor Mohammad Charlie, Unknown female voice, Lyricist- Mahrul Qadri, MD- Rafiq Ghaznavi
Chorus
Lyrics
sooraj kee tarah raushan taqdeer hamaaree hai ae
sooraj kee tarah raushan taqdeer hamaaree hai
badle jo zamaane ko taqdeer hamaaree hai
badle jo zamaane ko taqdeer hamaaree hai
badle jo zamaane ko taqdeer hamaaree hai
badle jo zamaane ko taqdeer hamaaree hai
sooraj ki tarah raushan
man jismein phire hai sab bharat ke sapooton ke
man jismein ghire hai sab bharat ke sapooton ke
heeron se chamaktee vo zanjeer hamaaree hai
heeron se chamaktee vo zanjeer hamaaree hai
zanjeer humaaree hai
zanjeer humaaree hai
sooraj kee tarah raushan
is mulk pe humko hai paidaishee haq haasil
is mulk pe humko hai paidaishee haq haasil
is mulk kee jo shai hai
is mulk kee jo shai hai jaageer hamaaree hai
is mulk kee jo shai hai jaageer hamaaree hai
jaageer hamaaree hai
jaageer hamaaree hai
sooraj kee tarah raushan taqdeer humaaree hai
sooraj kee tarah raushan
is mulk pe humko hai paidaishee haq haasil
is mulk pe humko hai paidaishee haq haasil
is mulk kee jo shai hai
is mulk kee jo shai hai jaageer hamaaree hai
is mulk kee jo shai hai jaageer hamaaree hai
jaageer hamaaree hai
jaageer hamaaree hai
sooraj kee tarah raushan taqdeer humaaree hai
sooraj kee tarah raushan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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