Tum kaun ho jee anjaan
Posted on: May 9, 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 a less known film Bikhare Moti-1951.
As far as the decade of the 50’s, i.e. the period from 1951 to 1960, is concerned, it was famous for three reasons.
1. The storylines of most social films in this decade emphasised on Joint families, anti dowry, family values and traditions and there was a stress on Mythological films.
2. The Music was very good and justified calling the decade as “The Golden Era”.
3. There was a smooth changeover from the old time-a rollover of silent and early decade Talkie films- actors and M.D.s to the new techniques, publicity methods, artists’ fees, cost of film making and the slow death of studio system.
On the whole the film industry was renewing and redeveloping itself. It was like the snake shedding its old skin for the new one. The self centred film industry was now alive to the outside world, music, technology and trying to cope up with the new world cinema.
Film Bikhare Moti-1951 was directed by S.M.Yusuf. The cast of the film was Kamini Kaushal, Nigar Sultana, Jayant, Jeevan, Ranjana, Sherry and others.
Actress Ranjana’s name may be unfamiliar to many readers.
Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. Here is some information about her, for our readers.
Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as an actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.
Kusum arranged for specialised dancing for Ratan in the holidays. Later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was in the payroll of Prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46, Zamin Asman-46, Mahasati Vrinda Tulsi-47 etc.
Ranjana was called by Bombay Talkies to do the Heroine’s role opposite Dilip Kumar in the film Milan-46. This film was based on Bangla novel Nauka Doobi written by Tagore. She played the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.
After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer, Arvind Shukla. But after a few months he fell sick and there was no income. After the death of her first husband, Ranjana,it seems, married one Patwardhan in 1954. She continued working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 Hindi films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip kumar, Jeevan, Umakant etc etc
It is interesting to note that her sister and her brother in law acted with her in a few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In the film Saajan ka Ghar-48 all three had worked together.
We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis, her mother and brothers, Kapoor family, Dilip Kumar, his brother and sister in law, many film couples and families of several film people as examples. Ranjana was perhaps one early example.
The Music Director of film Bikhare Moti-1951 was Ghulam Mohammed. Naushad and Ghulam Mohammed’s relationship was built on emotions. They respected each other very much. In the late 1971 period Naushad wrote an article on Ghulam Mohammed ,in the film Magazine SHAMA. This article was in Urdu. It was translated in English and published by the famous Film and Song Historian and a great collector of old Hindi songs-Pasupuleti Kamalakar ji, on his Blog.
With his kind permission, I am reproducing it here, duly adapted, for our readers, which brings out many new facts. I sincerely thank Shri Kamalakar ji for his kind permission…
” The year was 1937. I started working for Ustad Jhande Khan Saheb as a pianist on a monthly salary of Rs 40/ . Ghulam Mohammad was working as a tabla player on a monthly salary of Rs 60 /. After that assignment Jhande Khan Saheb had no films on hand and so we got separated .
I found him to be an amazing tabla player. He belonged to Bikaneer and came from a family of reputed musicians Both his parents as well as his in-laws were attached to stage. Before and after moving to Bombay all of them acted on stage for a living. Later Ghulam Mohammad acquired great mastery over the table and earned a big name as a table player
Ghulam Mohammed first joined me as a tabla player and later became my assistant. He was an amazing tabla and dholak maestro. I always felt that he should take independent assignments as a music director which he rightly deserved .
Ghulam Mohammad’s first film as an independent music director was Doli – 1947. It was me who assured PN Arora Saheb that Ghulam Mohammed was an efficient person capable of scoring music on his own. I always wanted to see him grow and take up independent assignments. I was present along with Ghulam Mohammad at the recording sessions of the film Doli. He composed and conducted the score, my presence was purely for moral support. After this he scored music for some more movies produced by PN Arora. Here I make this point very clear that I always wished to see him as an independent composer, which he rightly deserved . I did not do any favor by recommending his name to PN Arora Ghulam Mohammad was senior to me both in age and profession. I always followed his suggestions and was always successful .
Ghulam Mohammad’s younger brother Abdul Karim was an excellent tabla and dholak player. He worked for me after his brother took charge of composing his own films . I can tell with utmost confidence that there was hardly any tabla player in the film industry who could match these two brothers, every tabla and dholak player must have been inspired by these two brothers and learnt lots of techniques from them .
Mohammad Ibrahim was the second brother. He was an excellent harmonium player. He worked with me for a long time. He had excellent knowledge of music and his advice was always helpful in composing music. Mohammad Ibrahim is not with us today .
When Sohrab Modi approached me for the music of the film Mirza Ghalib I recommended Ghulam Mohammed’s name and assured Modi Saheb that he would deliver better music than me. I used to be present at the recordings of the film Mirza Ghalib as a moral support. He used to carry on everything by himself. My presence was something of confidence to him.
When Kamal Amrohi commenced his movie Pakeezah he approached me for scoring the music. I told him that I am already busy with a movie and I will not accept any movie until I complete it. I recommended Ghulam Mohammad and assured him that he would do a better job . If , however, you at any stage feel that something was lacking I shall be always there to help you. Kamal Amrohi honored my suggestion and engaged Ghulam Mohammad for the film Pakeezah .
Film Pakeezah was started as a black & white movie. Later it was decided to shoot it in color and at last it was both color and cinema scope. From time to time many songs were recorded and many discarded. Many of the songs were recorded in our ( SU Sunny Partners) Rang Mahal Studios. I was always present at these recording sessions. When Ghulam Mohammad suffered a heart attack I extended whatever support and help he needed during the completion of the songs and recordings .
A number of songs based on classical music were recorded for the film Pakeezah. It was in the voice of a classicalist from Jaipur. None of them were included in the movie. Many filmi style songs including a large section of popular song ‘ chalo dildar chalo chaand ke paar chalo ‘ were not included in the movie .
Ghulam Mohammad passed away before the movie could be completed. After the completion of the movie Kamal Amrohi approached me and said ‘ I have come to remind you of the promise you had made years ago. The film is ready and you can score the background music ‘ It took two and a half months for me to complete the background score. I told Kamal Saheb not to include my name in the titles of music but he did not listen. He was very adamant.
Ghulam Mohammed was not only a good tabla and dholak player but he was also good at singing and dancing too. His association with me lasted for nearly 20 years , first as a tabla player and later as an assistant. It was his greatness that he not only accepted me as an Ustad but loved me with his deep heart. On the contrary it should have been the other way round. His knowledge was remarkable. I accept with my whole heart that he was more knowledgeable than me and played a significant role in mending my career .
Late Ghulam Mohammed was a devotee of an elderly Sufi Haji Wali Mohammad Saheb of Bombay. He was known to many as Barrister. Haji Saheb was an elderly Sufi absorbed in meditation. Ghulam Mohammed used to visit him on Thursdays and play dholak during the qawwali session . After the qawwali, there used to be a session of discourse during which Haji Saheb used to say ‘ Ghulam Mohammad your dholak will go to heaven.” Haji Saheb’s tomb is located in the Sonapur graveyard of Bombay. Ghulam Mohammad was given a holy bath at the premises of Haji Saheb’s Dargah and was buried close to Haji Sahib’s tomb .
Ghulam Mohammad used to live in the Play House area of Bombay. On my suggestion he purchased land in Pali Hill and constructed a four room house on the ground floor. Later he constructed the second floor and gave it on rent. After years of struggle he was able to get the premises vacated. The entire house was used for their living .
Ghulam Mohammad’s eldest son Mumtaz Mohammad leads a life of an ascetic. Mohammad Aziz is a good tabla player like his father. Iqbal Ahmed, another son is in the field of music and currently composing music for Tajdar Amrohi’s film ‘ Ek number ka chor “.
Ghulam Mohammad was a deeply religious person. He was very regular in matters of prayer and fasting during the Ramzan. On Fridays we both used to offer namaz at the Bandra Jama Masjid .He was a very sentimental person. While composing a song, if he was inspired by a particular raag he used to cry and make me cry .
Ghulam Mohammad passed away before the release of the film Pakeezah. His brother Abdul Karim met me at the premier of the movie. Tears were flowing uncontrollably from his eyes when he told me ‘ how happy my brother would have felt had he seen his success with his own eyes.’ Abdul Karim left playing tabla and dholak for movies and became an ascetic .The passing away of Ghulam Mohammad left me in a void. I feel very lonely. May God bless him with heavenly bliss . ”
Here is a 74 year old song sung by a 32 year old Shamshad Begum. Enjoy….
Song- Tum kaun ho jee anjaan (Bikhre Moti)(1951) Singer- Shamshad Begum, Lyricist-Akhtar Ul Imaan, MD- Ghulam Mohammad
Lyrics
Tum kaun ho ji anjaan
Tum kaun ho ji anjaan
bina pehchaan huye mehmaan
haaye hamaare dil mein
Tum kaun ho ji anjaan
bina pehchaan huye mehmaan
haaye hamaare dil mein
haaye hamaare dil mein
mujhe neend se kyun
jagaate ho aa kar
mujhe neend se kyun
jagaate ho aa kar
ho o
jagaate ho aa kar
main soyee huyee hoon
main khwaabon kee duniya mein
khoyee huyee hoon
main khwaabon kee duniya mein
khoyee huyee hoon
mujhe yaad main kyun oon
sataate ho aa kar
mujhe yaad main kyun oon
sataate ho aa kar
sapnon ke mehmaan
kaun ho jee anjaan
tum kaun ho jee anjaan
bina pehchaan huye mehmaan
haaye hamaare dil mein
haaye hamaare dil mein
soyee umangen jaag uthheen hain
ban kar meethhe geet
ho o o
ban kar meethhe geet
soyee umangen jaag uthheen hain
ban kar meethhe geet
ho o o
ban kar meethhe geet
khelenge ye pyaar kee baazee
haar huyee ya jeet
khelenge ye pyaar kee baazee
haar huyee ya jeet
niklenge armaan
kaun ho jee anjaan
tum kaun ho jee anjaan
bina pehchaan huye mehmaan
haaye hamaare dil mein
tum kaun ho jee anjaan
bina pehchaan huye mehmaan
haaye hamaare dil mein
haaye hamaare dil mein
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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