Ho gaya ho gaya unse pyaar thhodaa saa
Posted by: Atul on: June 3, 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 Haar jeet-154. This is the last song of this film to be discussed here.
Produced by G.A.Thakur, the film was directed by J.Rampal. The music was by S.D.Batish. The cast of the film included Shyama, Suresh, Sunder, Shyam lal, Heeralal, Madan Puri, Amar and others. Surprisingly, Batish had used 6 singers for 7 songs of this film – Ashima Banerjee, Geeta Dutt, Mubarak begum, Lata Mangeshkar, S.D.Batish and Talat Mehmood. Singer Ashima Banerjee was like a Comet. She came to the Bombay film world and after a brief sojourn, went back to Bengal.
Ashima was born in Comilla, East Bengal (now Bangla Desh) in 1936, but like many middle class Bengali families they too shifted to Calcutta. Ashima got Postgraduate training in classical music from Gyanprakash Ghosh and others, and completed her M.A. At the age of 18 years she came to Bombay, where her Mama was working as a technician in Ranjit studio.
She got her first break in Ranjit’s BAHADUR-53.She sang 2 solos and a duet with Rafi.Surprisingly for a new comer,she got 4 more films in 1953 itself-Footpath,Khoj,Gul Sanobar and Naina.However her luck exhausted and she got 2 films in 54,1 each in 55 and 56 and few more till 1963.
She got married to Alok Mukherjee in 1960 and later in 1965 settled in Calcutta where she worked as a Musician in A.I.R.
Her selective Filmography is Bahadur,Gul Sanober,Khoj,Naina,Saaya,Sultana Daku,Dhobi Doctor,Haar jeet,jungle ka Jaadu,Flying Horse etc.
She sang with Rafi, Talat, Shankar Dasgupta, Geeta Dutt, Chandbala, Ira Mujumdar, Asha etc. In all, she sang only 18 songs in 11 films.
The 50’s decade was called the Golden Era of HFM, not for nothing. Year after year, the films provided excellent songs, different film Genres, convincing stories, superb acting and Full Paisa Vasool Entertainment. In such a scenario an average music, beaten track stories, mediocre acting, poor direction and lustreless short lived songs had no chance of winning. Today’s film was one such film.
Just before this decade, the Genre of crime story films had already started being popular with films like Apradhi-1949 and Sangram-1950. In 1951 Baazi, in 1952 Jaal etc. continued this trend. The year of 1954 also began with Guru Dutt’s Aar Paar, with hit songs by O.P.Nayyar. Next was Taxi Driver from Navketan. It had foot tapping melodious songs.
Filmistan brought Nastik, which showed the change of a Nastik to being Aastik, Its songs were very good. Filmistan’s Naagin gave Hemant Kumar the necessary boost with hit songs. Minerva’s Mirza Ghalib showered good songs. It also won the President’s Gold Medal – the First for a Hindi film.
After Do Bigha Zameen-1953, Bimal Roy brought Naukari on the issue of unemployment. His other film was Biraj Bahu, an effective Tragedy film, based on Sharat Babu’s novel. Kamini Kaushal won her First and the only Filmfare award for Best Acting.
Film Amar from Mehboob Khan survived with good songs in spite of a weak story. Some films were made for children. Filmistan’s Jagriti, Munna- India’s second songless film from K.A.Abbas, Bimal Roy’s Baap Beti and H.S. Rawail’s Mastana were these films. All had good music too.
Satyen Bose made Parichay, Debki Bose’s last film in Bombay-Kavi, Mohan Sehgal’s Aulad were followed by Shantaram’s Subah ka Tara- last film before Shantaram and Jayashree were divorced. To save the sinking studio Bombay Talkies from bankruptcy, its employees made the film Baadbaan, in which all artistes, technicians and others worked free of charge. However Bombay Talkies had to be sold to Tolaram Jalani. Today, its site in Malad is full of small plastic factories.
Kala Maharshi Baburao Painter died in 1954. Dilip Kumar became a victim of depression due to his continuous Tragedy films in which he always died in the end and had to seek psychiatric treatment. The year 1954 also saw some films being made in colour partially heralding fully coloured films in a few years later.
The film HAAR JEET-1954 was an interesting film. I remember having seen and enjoying it too, in my younger school days. The film was important for its Heroine Shyama, because during the shooting of this film, she got married to the film’s Cinematographer Fali Mistry.
This film was directed by Jaggi Rampal, who was basically a story,dialogue and screenplay writer. This was the only film he directed. He was associated with films like, Gora aur kala, Jaani Dushman, Khoon ki keemat, Do yaar etc.
S.D.Batish, no doubt, was more famous as a singer, but he gave music to not less than 15 films independently and also as an assistant Music Director in many other films. From 1948 to 1960,there were 15 films under his name as MD. He left the film industry in 1970 and went to the USA to live with his son Ashwin. In the USA, he wrote many books on classical music and Raagaas.He was running an academy of classical music there.
Nalini(Shyama) is the daughter of Raja Bahadur, a retired Jaagirdar in Poona. Her uncle, C R.Bihari, a psychiatrist and a hypnotist also lives with them. The uncle is a wicked person who wants all their wealth.
He lives in the house of his millionaire brother and is driven by an overpowering lust for wealth to thoughts of murder because of a growing pile of debts. One is never told how he comes to incur the debts.
The doctor is the central character around which the picture and story revolve. He is shown making use of his hypnotic power to get his brother’s daughter Nalini under his control so that he can get her married to a rascally confederate of his, whom he introduces into the family as Prince Balraj.
Under his spell Nalini actually goes through the betrothal ceremony with a show of pleasure, sharing in the gaiety of the occasion. On the other hand, she is also shown growing suspicious of her uncle in scenes that follow. She refuses to marry the phoney Prince, and when her father insists, she runs away to Bombay, where she finds shelter with a young woman friend.
Nalini accidentally encounters a young man named Rajan and his friend Balam. Rajan falls in love with her. There are glimpses of a phoney Academy for Acting, where the lovers meet. But how that academy comes into existence, how it is managed and how the hero gets into it as a teacher of dramatic art one doesn’t quite know. In some comically unreal scenes she is selected to play the heroine in a film and Rajan is cast opposite her as the hero, presumably to enable the romance to develop.
The romance is interrupted, however, by the wicked uncle who turns up at this point with his bogus Prince Balraj, in search of Nalini, hypnotizes her and takes her back home.
In the final sequence, the doctor, desperate to get his hands on the money and pressed by his confederate, takes to violence and almost succeeds in getting what he desires, when Rajan and Balam burst in with the police to defeat him. He meets a dying end by falling off the roof and is killed. Nalini and Rajan are united.
Hiralal puts over quite a convincing portrayal of the villainous Dr. Behari. Shyamlal is good as the millionaire brother, and so is Madanpuri, despite occasional touches of artificiality, as the polished rogue Balraj. Sunder manages to have a few bright moments.
Actress Shyama was one of my favourite artists in Hindi films. I not only liked but also respected Shyama, because in my opinion, she was one of the few actresses, who was not only versatile but also very humble, modest and cooperative. Though she started from scratch- as an Extra- she worked with Top actors like, Ashok Kumar, Raj Kapoor, Guru Dutt, Kishore Kumar, Balraj Sahni, Motilal, Rehman, Shammi Kapoor, Raaj Kumar, Karan Dewan, Bharat Bhushan etc. But she never hesitated to work with B or C grade Heroes like Sajjan, Mahipal, Kamal Kapoor, Suresh etc. With Johnny Walker, she did 7 films as a Lead actress and 3 more in other roles.
Another speciality of Shyama was that in the song sequences, she used to lip sync in a very natural way giving a feeling that in reality she was actually singing. Some of her senior actresses , especially Meena Kumari, might be a big star but while lip synching she was simply terrible. One felt that she was murmuring something . Never got a feeling that she was singing.
Shyama did many child roles as Baby Khurshid Akhtar. When her first film as a Heroine-Shrimatiji-52, opposite Nasir Khan- was released in Opera House, Bombay, the film Soorat was released in Roxy cinema at the same time. In the film Soorat, she did a child role while in Shrimatiji she was the Heroine. Film Soorat-47 got delayed and was released in 1952. She was named Shyama By director Vijay Bhatt at the time of the film Nai Maa-46.
Shyama ( real name Khursheed Akhtar) was born on 12-6-1935 at Lahore. Her family shifted to Bombay when she was 2 year old. Shyama’s father too was a fruit seller, like Dilip Kumar’s father, in the Byculla market, in those days. Khursheed studied in Urdu medium Municipal school. When she was 10 year old, a chance visit to see a film shooting ended in her participating in the shooting.
The film was “Zeenat”-1945. She was given her screen name-Shyama. Along with Shashikala and Shalini-the other child stars, she sat in the famous qawali, “Aahen na bhari” India’s first all female qawali. Though Noorjehan sang the qawali, her lines were NOT lip synched by herself, but Rehana lip synched them. In the true sense, this was her first playback in films !
In the next 6 years Shyama did 80 films mostly uncredited,in small roles , like Shayar, Jal Tarang, Namoona, Sajaa, jalsa, Nishana etc. During film Jalsa’s shooting, its heroine Geeta Bali took a fancy to her and predicted that one day,she too will become a Heroine.Her small roles were almost like an extra or a chorus girl.
In her career of 31 years, Shyama acted in 169 films ( 70 as a Heroine) and sang about 140 songs on screen in her films. She married Cinematographer Fali Mistry in 1954. They had 2 sons and 1 daughter. Shyama retired from films in 1976. Fali Mistry died in 1979. She spent a happy retired life with old friends, at her luxurious flat in Napean Sea Road, Mumbai. Shyama died on 14-11-2017.
With today’s song, all the songs of this film get covered and the film Haar Jeet -1954 gets YIPPEED !
Enjoy this 71 year old song from the 18 year old Mubarak Begum….
Song – Ho gaya ho gaya unse pyaar thhodaa saa (Haar Jeet)(1954) Singer – Mubarak Begum, Lyricist- Aziz Kashmiri, MD – S D Batish
Lyrics
Ho gaya
ho gaya unse pyaar thhoda sa thhoda sa
kar gaye beqaraar thhoda saa
wo mere dil ka haal kyaa aa aa jaanen
teree tasweer jabse dekhee hai
tasweer jabse dekhee hai
dil hua hai shikaar thhodaa saa
thhodaa saa
kar gaye beqaraar thhoda saa
wo mere dil ka haal kyaa aa aa jaanen
ab teree yaad ke sahaare
kat hee jaayenge din hamaare
ab teree yaad ke sahaare
o o o
o o o
chal diye
chhed kar
nigaahon se
chal diye chhed kar nigaahon se
haan chhed kar nigaahon se
de gaye intzaar thhodaa saa
thhodaa saa
kar gaye beqaraar thhodaa saa
wo mere dil ka haal kyaa aa aa jaanen
kitna bhola hai mera dil zaalim
dola hai mera dil zaalim
kitna bhola hai mera dil zaalim
dola hai mera dil zaalim
kar gaya aitbaar thhodaa saa
thhodaa saa
kar gaye beqaraar thhoda saa
wo mere dil ka haal kyaa aa aa jaanen
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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