Hamesha khile rahen ye phool
Posted on: May 30, 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 Apna Ghar-1942. The film was made by SIRCO Productions, owned by Chimanlal Trivedi. He was more of a real businessman than a Producer, Director or a Studio Owner.
He had Two principles. One – He kept on floating filmmaking companies and Two – he always employed outside well known directors and used only top stars for his films.
Film Apna Ghar-1942 was directed by Debaki Bose, who had left New Theatres, Calcutta to try his luck in Bombay. This was his first film in Bombay as a director. Songs were written by Pt. Narottam Vyas and the music was by Harishchandra Bali.
Harishchandra Bali aka H.C.Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt. Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a disciple of Bhaskarbuwa Bakhale and Pt. Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered films by acting as a Hero in the film Naqsh-E-Sulemani-33. In later life also he acted in a few more films. As a MD, his first film was Aurat ka dil-33 and last film was Janata -47.
He gave music to 26 films. Among these were First films of Prof. Pt. Ramanand Sharma, ‘ Watan parast ‘-34, first film of actress Pramila, ‘ Bhikarin-35’, First film of Debaki Bose in Bombay, ‘ Jeewan Natak-35’, . In the film ‘ Pati Patni’-39, Naushad was his assistant and composed a few songs also. In 1942, Bali gave music to Marathi version of Apna Ghar-41 ( Aple ghar -42). He was the MD for the last film of Vishnupant pagnis, Mahatma Vidur’-43 and in film Janata-47, he gave the opportunity to lyricist Rajendra krishna for the first time.
Bali also gets the credit for bringing K L Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a Typewriter salesman, Bali was living with R.C.Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 50s, when he said that Lata had sung 4 songs for his film ” Seedha Rasta” -1941 and thus claimed to introduce her to the film singing. However, Lata clarified that till her father Dinanath’s death in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.
After 1947, Bali retired from films and returned to Jalandhar. He started his own Music School,’ Sangeet Vihar’. He became famous as a Music Guru to many singers in later years. Bali also sang on Radio and was an A grade artiste of A.I.R. He also wrote a few books on Music. ” Sangeet Vigyan” in 4 volumes and “Sangeet Prakash” in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.
The cast of the film Apna Ghar-1942 was Shanta Apte, Chandra Mohan, Jagdish Sethi, Jeevan, Maya Banerjee, Nimbalkar, David and many others. This was a Bi-lingual film – made in Hindi and in Marathi as ‘ Aaple Ghar’ ( आपले घर ). In both the versions, Hero was Chandramohan.
Born on 24-7-1906 in Narsinghpur in Madhya Pradesh, Chandra Mohan was known for his large grey eyes, voice modulation and dialog delivery. His eyes formed the opening sequence in V. Shantaram’s 1934 film Amrit Manthan, which was also his film debut. It was the first film made in the newly established Prabhat Films studio, and made both in Hindi and Marathi. Mohan received acclaim for his role as Rajguru in the Hindi version and went on to establish himself as a noted villain of times.
In the film Geeta-40, Chandramohan was the Hero and had done the Father and Son double role. This was a Bilingual film in Hindi and Marathi, and in both versions, Chandramohan was the Hero. Earlier, V. Shantaram had given a break to Chandramohan in his film ” Amrit Manthan”-34, which also was a Bilingual film in Hindi and Marathi. Chandramohan being a Kashmiri and not knowing Marathi, in the Marathi version, his role of Rajguru was done by keshavrao Datey.
However, soon Chandramohan picked up fluent Marathi and acted in the Bilingual films of Hindi and Marathi like, Jwala-38, Geeta-40 and Apna Ghar-42 He became the first Hindi actor to do roles in Marathi films. Chandra Mohan later appeared as Emperor Jehangir in Sohrab Modi’s Pukar, as Randhir Singh in Mehboob Khan’s Humayun and as Seth Dharamdas in Mehboob Khan’s Roti.
Actor Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time his friend Chandra Mohan also left Minerva Movietone ( reason – in spite of Pukar-39 being a Blockbuster, his salary was not increased, though Modi had promised him so.) They both decided to launch their own company and on 16-3-1942, SILVER FILM COMPANY was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Naseeb-45, Devar-46, Dhun-53 and Bahana-60. Kumar had acted in these films. He also directed Dhun and Bahana.
One of his last appearances was in Ramesh Saigal’s film Shaheed-48. As Rai Bahadur Dwarka Nath, he played father to Ram, who was portrayed by Dilip Kumar. His character in this film, initially supports the British Government, but later favours the Freedom struggle. Chandra Mohan’s last major film was Raambaan-1949, in which he played the role of demon emperor Ravan. Chandra Mohan had acted in 31 films in all from Amrit Manthan-1934 to the film Chocolate-50, which was released after his death. He had sung 1 song in his first film-Amrit Manthan.
Chandra Mohan was, being a Kashmiri himself, against Kashmiri girls working in films. He is said to have intimidated actress Shyama Zutshi, being a Kashmiri girl, from working in Hindi films and she left the films. However, later when Yashodhara Katju came into the films, she did not care for his opposition and continued successfully in films. He was very friendly with actor Motilal and treated him as his son.
He was the original choice to play the lead role in K. Asif’s Mughal-e-Azam, but due to his untimely death the film had to be reshot after ten reels were shot with him as lead. The film was eventually released in 1960.
Chandra Mohan took to heavy gambling and drinking and died penniless on 2nd April 1949 at the age of 44 at his residence, Bilkha House, in Bombay.
The film was an ordinary one. Music was also ‘run of the mill’ type and the story was unconvincing. The story….
Narendra (Chandramohan) has turned recluse after the accidental death of his wife. With his self-imposed isolation from society, he develops individualism and loses sight of emotional values of life. Over a period of time, the inherent goodness in him gets lost and he becomes stubborn in his approach to life.
One day, Narendra, on one of his visits to the city, accidentally meets Meera (Shanta Apte), a social worker and the daughter of an old and infirm father. Some arguments ensue between them over the charges levelled against her father for committing some fraud in the company for which he works. Narendra happens to be one of the directors of that company. The father is asked to give up all his possessions to make good the fraud. The demand makes him sick and he is on his deathbed.
Realising the sacrifices her father made in bringing her up and to help her father to die as a happy man, Meera agrees to marry Narendra. Since the marriage was more of a bargain than for love for each other, differences in views come to the fore. Meera is a strong willed girl having definite views on life. Narendra also has uncompromising views on life which he has developed after living in isolation. The married life of Narendra and Meera, therefore, becomes a clash of egos.
At this stage, Mami (Vimla Vashisht), Narendra’s maternal aunt joins the family and creates more problems for the couple. At the same time, on a social front, Meera is on a collision course with Narendra when she encourages the local villagers to resist Narendra’s autocratic orders instead of meekly following them. With strong arm tactics, Narendra crushes the villagers’ rebellion. Many such skirmishes take place between Meera and Narendra as clashes between social worker versus director of the company which create friction in their married life.
Meera is expecting her first child and she is in a delicate condition. Narendra on the other hand has gone to the city for his medical check-up. Meera delivers a boy and the news makes Narendra leave his medical check halfway to be with Meera. But the circumstances make him unable to see his infant child. He suspects a conspiracy to keep him away from the new born son.
Meera becomes a tool in the hands of Mami who creates an impression that the child should be kept away from the evil eyes of Narendra who is eager to see his infant child. One day, Narendra rushes to the house and demands for the child to be handed over to him at gunpoint. Being afraid that her child would be shot, Meera hands over the child to Narendra. Having lost respect for her husband, she runs out of the house leaving the child at the mercy of Narendra. While crossing the river, she accidentally falls in the river and is presumed dead. The fact is that she is saved by some fishermen and she is staying at a place some miles away from the house.
The child soon gets ill and Narendra, with his insensitivity embedded in his nature, is not able to judge the seriousness of the situation. The child is now seriously ill and on the last stage before death snatches him away. At this juncture, Narendra gets the news that Meera is alive and living a few miles away from his house. With news of the illness of the child reaching her, she rushes home only to get the news that her child is no more.
Meera refuses to believe that her child is dead. She holds the child and walks in the room the entire night. When the doctor comes to the house in the morning to take the child away from her, he finds the child to be alive. A mother’s faith has created the miracle.
Having found the child hale and hearty, Meera prepares to leave the house. But the husband and wife have now found a common ground to live together – the well-being of their child and the work for the social upliftment of downtrodden and deprived people, some of whom had saved Meera from drowning.(Thanks to Sadanand Kamath ji ).
Now enjoy this 83 year old song by 26 year old Shanta Apte….
Song- Hamesha Khile rahen ye phool (Apna Ghar)(1942) Singers-Shanta Apte, Lyricist- Pt. Narottam Vyas, MD- Harishchandra Bali
Shanta Apte + unknown male voice
Lyrics
Hamesha khile rahen
khile rahen ye phool
hamesha khile rahen
khile rahen ye phool
hamesha khile rahen
aanand kand kavita ke chhand
aanand kand kavita ke chhand
baalak amrut ke mool
hamesha khile rahen
baalak amrut ke mool
hamesha khile rahen
dukh ka paalaa pade na in par
dukh ka paalaa pade na in par
sukh kee chhaayaa rahe jeewan bhar
sukh kee chhaayaa rahe jeewan bhar
chubhe na inke shool
hamesha
chubhe na inke shool
hamesha khile rahen
apnee khushee mein
hanste rahen ye
hanste rahen ae ye
jag ko meethhee khushboo den ye
jag ko meethhee khushboo den ye
Ram rahe anukool
hamesha
Ram rahe anukool
hamesha khile rahen
dukh inke maataa sah legee
dukh inke maataa sah legee
rog shok wo khud jhelegee
rog shok wo khud jhelegee
bharee rakhe
bharee rakhe maataa kee godee
bharee rakhe
bharee rakhe maataa kee godee
prem hindole jhool
hamesha prem hindole jhool
hamesha khile rahen
khilen rahe ye phool
hamesha khile rahen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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