Hamen huaa hai desh-nikaalaa
Posted on: June 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 the film Comrades-1939.
The title of the film was highly misleading. The general meaning of the word Comrades is a Communist Party Member. I was surprised how this title was given to a film, that too when the second world war had just begun. But this title was used to indicate the intimacy and friendship of 2 boys and 1 girl from their childhood. This was a Love triangle naturally, when 2 boys and 1 girl are involved.
From the time Talkie films started, 90% of the films were based on Love themes only. Various permutations and combinations of Love Triangles were used. This film is also no different, but since it was the era of the emerging cinema, this subject or its plot had not yet become routine till then.
Initially for the first 5 to 6 years, the posters and the advertisements of Films indicated only the production company’s names, for example- ” The Imperial Company presents” etc etc. There was no mention of any actor’s names on the posters, though sometimes Photos were added. The credit of getting the names of Artistes included on the film Posters and the Advertisements goes to the Superstar of those days-Sulochana (Ruby Myers). She was the most highly paid star of those days( Rs. 5000 p.m.) and she used to come to the studios by chauffeur driven car for her daily work ! One day, she saw a film poster of her film and was shocked to find that no names of any actors were mentioned on it. She exploded and threatened to stop work with all other artists, unless her and other main actors’ names were printed on every film poster and the advertisements. Due to her insistence, the producers started putting main actors’ names on the posters. Over a period, it became a regular practice. This was from around the year 1935 onwards.
However, this was NOT the case with Film records. Though song records of films started commercially with MADHURI-1932, these records, barring few exceptions, did not carry the singers’ name on them till almost 1949 !! A classic case in this connection is of the iconic song of Lata- ”Aayega Aanewala” from the film Mahal-1949. The name on this record is KAMINI-which was the screen name of Madhubala in that film ! Lata’s name is NOT mentioned on this record !!
It was probably from then onwards that the singers’ names regularly started appearing on the records. That is the reason most of the song records available from the 30s and the 40s are without names and one has to listen to them and guess the singers’ names.
Unfortunately, till recently, the Lyricist’s name was not mentioned either making it extremely difficult to credit the songs to any Lyricist. This is the case even in the case of some famous songs. Now of course all this information is available.
Why all this discussion is, because HFGK does not give credits for every song of this film. Only for one song, the name of Zia Sarhadi is mentioned. That one is today’s song. Zia Sarhadi’s life story is very pathetic. Incidentally, his first wife was the daughter of yesteryear Music Director Rafiq Ghaznavi. He and Rafiq used to quarrel always and finally he divorced his wife and after 2 years, married a foreigner.
Zia Sarhadi, the man who gave us memorable films such as Humlog (1951) and Footpath (1953), lived in virtual oblivion after his misfortune with the Pakistani film censors in the late ‘50s. He died in Madrid in November-1996, having spent the last 15 years of his life in self-exile in London.
Born in Peshawar in 1914, Zia began his film career in Bombay when his friend Mehboob Khan asked him to write the screenplay, dialogue and songs for his Sagar movietone’s Deccan Queen. Quite contrary to the social realism Zia became known for in his later days, this debut film was an action thriller. However, it was Manmohan (1936) which actually brought him to fame. Besides acting in the film, he also wrote the lyrics, story, screenplay and dialogue. Over the next 15 years he received the writing credit for such films as Jagirdar, Kal Ki Baat (1937), Jeevan Saathi (1939),Sajan (1940), Behan (1941), Ghalib ((1942), Badi Maa (1945), Elan (1947), Anokha Pyar (1948), Dil Ki Duniya (1949), Khel (1950) and Baiju Bawra (1952 – dialogue only). Among the films he directed were Abhilasha (1938), Humlog (1951), Foot Path (1953) and Awaz (1956).
Humlog, one of the finest movies of the 1950s, was a great success. Unfortunately, his other films were not box office hits, but in terms of quality, all three left a lasting impact on the tradition of parallel cinema.
Zia was an “unaffiliated Marxist” and his films were known for their social themes. Moving to Pakistan, therefore, proved creatively stifling for his committed and restless soul. Rahguzar, his first movie in this country, turned out to be the last that he ever directed. By the time he could complete it, General Ayub khan had imposed martial law in the country and the compromise with the censors shattered him. Those who have watched it are unanimous that it is still a very fine movie, but the hassles with the censors ensured that Zia never took up the megaphone again. However, he did write dialogue occasionally. Most notably for the celebrated Lakhon Mein Eik (1966), directed by Raza Mir. His other credits include the ambitious commercial disaster, Aftab Manghi’s existentialist action movie, Shehar aur Saaye and the outrageous cult classic, another film plagued by censor problems, Rangeela’s Aurat Raaj.
The third martial law, imposed by his namesake, was the final blow. The last straw came when he was picked up by the army and kept in solitary confinement in terrible conditions. The charges against him were sedition and an inclination towards Marxism. He left the country to settle in the UK, where he supported himself by working mainly on assignments for the BBC.
With a lifespan of 82 years, Zia was only truly productive for a mere 20 years. Others such as Manto, Faiz, Quratul Ain Hyder have been able to withstand the tyrannical oppression of social factors and still produce their best. A future biographer of this fascinating personality would, perhaps, be able to tell us why Zia Sarhadi was different…(adapted from newspaper The Herald, Karachi, dated 16-12-1996)
COMRADES -39 was a film directed by Nandlal Jaswantlal. It was produced by Sagar Movietone, which later became National studios before disappearing fully.The cast of Comrades was Surendra, Maya Banerjee, Jyoti, Harish, Jillo, Sankatha Prasad(elder brother of Kanhaiyalal and a fixture in sagar films), Kaayam Ali etc. The story of COMRADES-1939 was…
Seth Madhavlal(Kaayam Ali) family is a typically happy and contented one. His wife Radha (Jillo) is a very loving mother and a devoted wife. His elder son Jatin (Surendra), younger son Kiran (Harish) and Rekha-an orphan girl, daughter of a distant relative play together and are very close with each other. They share everything and are ready to do anything for each other.
Eventually, all grow up. Now Rekha has become a very beautiful young girl and both the brothers,unknown to each other,love her. One day Jatin sees and hears Kiran expressing his love for Rekha. Jatin is shocked and also disappointed. He does not want to be an obstacle between them, so he decides to become a baddy. He starts dating Nirmala(Jyoti),an employee -Tulsidas’s daughter. Additionally he becomes very arrogant also. Everyone is hurt by his behaviour. One day he even returns home in a drunk condition.
The father admonishes him. After arguing with father, Jatin is thrown out of the house. He now becomes a thief and comes to father’s house to steal one night. Rekha confronts him and tries to reform him but he goes away.
Kiran has an idea why Jatin is doing this. Actually Rekha had turned him down saying that she loved only Jatin, but Jatin did not hear the full conversation that day. Nirmala is being slandered due to Jatin. To save her reputation, Kiran marries her, as he likes her too. Jatin is very angry and fires Kiran for deserting Rekha. Kiran explains everything to him and the clouds of misunderstanding are removed.
Jatin gives up all bad things, returns home and gets married to Rekha. Thus the Comrades remain friends for ever in the rest of their lives.
One of the actors of this film was Bhudo Advani, one of the comedians of the early cinema. I will tell you a story which happened in 2013…..
One Mr. Ramesh Advani came to live in our building in 1992. He was a good looking, jovial person who soon became friendly with all members. Recently,when I was talking to him casually, he told me that he was the son of Bhudo Advani-the Hindi film actor.
I was shocked that despite spending so many years with him he was telling me NOW about it. Anyway,as a writer on old films I was keen to know from him about the yesteryear comedian Bhudo Advani. He graciously agreed and this is what he told me-
Bhudo Advani’s real name was Doulatram Advani. Born in Hyderabad(Sindh),on 17-8- 1905,he was doing all sorts of dramas,stage shows etc from his teens.He had specialised doing female roles.After matriculation,he came to Bombay to seek roles in films.Here he met Mohan Bhavnani,a producer,also from Hyderabad(Sindh),who gave him a break.His first movie with a minor role was AFZAL-1933.As he was good at comedy,he stuck to comic roles.
From 1933 to 1940 he did 35 films.Notable films were-Jeevan lata,Ladies only,The Mill(Gareeb Pariwar),Navjeevan,Postman(Abhilasha),Vasavadatta etc.
He got married in 1939.He had 7 children,2 sons(one died early) and 5 daughters.In Mumbai,he acquired a big flat,on nominal rent at Tardeo in a building on the premises of Central Studios-the biggest studio in Bombay with 6 stages in all. His flat was so big that the reception of one daughter’s wedding for 100 people was done in the drawing room of his flat.
Director Mehboob used to come there for shootings (his studio came up only in 1942).Mehboob was allotted one room for make up of his artists on the same floor where advani lived.Many leading actors and actresses were thus known to him.
Advani was a very simple man. He was called “Buddu”-which means one who is too simple. This name stuck to him and he became Bhudo consequently in film credits. He accepted this name stoically.
From 1940 to 1950 he acted in another 35 films, notable amongst them were-Anmol Ghadi,Anokhi Ada,Meri kahani,Amaanat,Bisvi sadi,Dukhiyaari,Ismat,Pooja,Shauhar etc.
From 1950 to 1960 he did 20 films, notable films were Meena Bazar,Aadmi,Aakhari Dao,Boot polish,Shri 420,Jagte Raho,Ab Dilli door nahin,Madhumati,Madhur Milan,Miss coca cola,Qaidi no.911,Aankhen,Bewafa Saudagar etc.
He was a strict family man.He kept his family away from filmdom.He warned his children never to enter films.
1960 onwards films became less as new comedians entered films and his financial condition became delicate.However his only son Ramesh Advani got into Dena Bank and after Bank nationalisation things improved considerably. His all daughters got married nicely and settled happily.
In the 60s he did only 5 films like Anuradha, Khamoshi,etc.
His last film was Satyajit Ray’s Shatranj ke Khiladi-1977.
He left Tardeo flat and came to Versova in 1978.
Now that there were no films, he used to sit in his brother’s Coronation Footwear chain of shops at Grant Road for 6 years.
BHUDO ADVANI died on 25-7- 1985 peacefully. He had few friends. Mirza Musharraf was his friend.
Nobody from the film industry attended his funeral.
Surprisingly, the news of his death first appeared in Pakistan, in Karachi newspapers and later on in Times of India.
He acted in 102 Hindi films, 4 Sindhi and 2 Gujarathi films.He had a major role in ABANA-India’s first sindhi film.
In 2 sindhi films even his wife acted as his wife.
In his heydays, Bhudo Advani was in great demand. He averaged 3 films a month during 30s and 40s, which is very high. He was very friendly with Motilal,Devendra Goel,Shekhar and Mukesh-who stayed with him in his early days.
Sanjit Narvekar in his book “Eena meena deeka-The story of Hindi comedy films” says ‘In the 30s and 40s,the comedy duo of Dixit and Ghory and Bhudo Advani and V.H.Desai were very good.’
Here is an 86 year old song by Surendra for you. Enjoy….
Song- Hamen hua hai desh nikaala (Comrades)(1939) Singer- Surendra, Lyricist- Zia Sarhadi, MD- Anil Biswas
Lyrics
Hamen hua hai desh nikaala
hamen hua hai desh nikaala
hamen hua hai desh nikaala
hamen hua hai desh nikaala
dagar dagar hum dolenge
nagar nagar hum dolenge
dagar dagar hum dolenge
nagar nagar hum dolenge
safar kee gathhdee kaandhe pe hogee
safar kee gathhdee kaandhe pe hogee
hathh mein mad ka pyaalaa
hamen hua hai desh nikaala
hamen hua hai desh nikaala
ghar waalon ka ek hee ghar
begharon ke ghar do laakh
begharon ke ghar do laakh
ghar waalon ka ek hee ghar
begharon ke ghar do laakh
so jaayen hum jahaan bhee chaahen
so jaayen hum jahaan bhee chaahen
ghar to ye gharwaalaa
hamen hua hai desh nikaala
hamen hua hai desh nikaala
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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