Mero dil chheen liyo re
Posted on: June 15, 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 89 year old Talkie film, Jeevan Lata-1936. This was the production of the then popular Sagar Movietone, Bombay. Sagar had introduced a new hero in the same year – Surendranath, who was promoted as a competition to Saigal from Calcutta’s giant New Theatres.
Film Jeevanlata-1936 featured Motilal and Sabita devi. Motilal was introduced by Sagar in 1934 – opposite Sabita Devi, for whom that was her 4th talkie film with the production house. Jeevanlata-1936 was the 5th film of Motilal and the 8th film of Sabita Devi.
The cast also included Susheela, Pandey, Sankatha Prasad, Bhudo Advani and others. The film was directed by Sarvottam badami and the music director was Pransukh Nayak. He was famous in Gujarati stage and films. This was his only 3rd Hindi film out of the 24 Hindi films for which he gave music in his career.
The first Talkie film came in 1931. The first year had just 24 films, but within a span of 3 years, the Talkie films crossed the century mark, with 121 films in 1934, 152 in 1935 and 134 in 1936. Making a film was a complicated process which needed a studio, the latest machinery and a lot of money. This was difficult for a single person and thus the Studio System got established. The studios ruled the industry and the film making. Films were sold on the names of the studios and the actors had secondary appeal to the audience.
There were three major film centres in 1936 – Bombay, Calcutta and Poona. In Bombay, studios like Imperial, Bombay Talkies, Sagar Movietone, Ranjit etc were big names. In Calcutta, New Theatres and East India Film Corporation were major players. Prabhat film company was famous from Poona. This was the position in 1936. Like any other industry, the film industry too needed an organisation of the big players, so that the workers had no upper hand on them. Accordingly, “Indian Motion Pictures Association” (IMPA) was established first in Bombay, followed by Bengal Motion Picture Association in Calcutta. Poona, being in the Bombay Presidency, did not have a separate organization.
1936 saw the formation of Huns Pictures by Master Vinayak and Baburao Pendharkar. The year was noteworthy for Prabhat Film company as one of its directors, Keshavrao Dhaibar had to leave the company, for marrying one of the company’s employee-actress Nalini Tarkhud and thus breaking the company’s rule not to marry an employee ! Much later, even V.Shantaram had to leave Prabhat when he married actress Jayashree, an employee of Prabhat !!
Let us now take a look at some important films of 1936….
The year was notable for the type of films it produced. The initial limitation of making films only on Mythologicals or folk stories slowly changed and gave way to social issues and problems. As such, due to British rule Indians had started following a lot of western manners, dressing patterns and our traditions were giving way to modern ways of developing countries like Europe or the America.
From Calcutta came 3 films of New Theatres, Manzil, Maaya and Karodpati. Manzil was a love story of a rich boy and a poor boy loving the same girl. Maya was a story of a rich wayward girl and an orphan girl in her house loving the same boy. Karodpati was a comedy enacted by Saigal and Molina Devi.
Bombay Talkies had 4 films, but only 2 were noteworthy. The first was Jeevan Naiya, which saw Ashok Kumar becoming a reluctant Hero (he was only a Lab-Technician) opposite Devika Rani. The other film was Achut Kanya – a film based on the ills of Untouchability.
The year 1936 was memorable because of films from Prabhat, which made the film Amar Jyoti, showing Durga Khote as a Lady Pirate. The film was made on Grand scale and in such a way that it was much ahead of its time !
The other important film was Sant Tukaram in Marathi. The film ran for one year in Bombay theatres. The role of the wife of Tukaram was done by an actress, who was a sweeper in the studio before this film, but she excelled in her role. Her name was Tanibai Davari. This was the first film to celebrate the Golden Jubilee at many places. It won the honour of ” One of the 3 Greatest films of the world” award at Venice Film Festival in 1937.
Sagar Movietone launched actor singer Surendra with the film Deccan Queen. The other film was Manmohan, which copied the film Devdas, by becoming a tragedy of a heart broken lover. Some other notable films were Sunehra Sansar by East India company, introducing Vijay Kumar from Shimla and K.N.Singh. K.N.Singh also debuted as a Hero in the only film Bandit of the Air from the same company. There were films like Jay Bharat from the Wadias, Passing Show from Prakash films and Said E Hawas from Minerva Movietone. Film Maa from Prafull Pictures used ” Vande Mataram” for the first time in a film. Film Shokh Dilruba had 150 kissing scenes (there was no restriction from Censors then). First Talkie Seeta Vivah from Orissa also came.
In the earliest era of Silent films, it was difficult to get Indian girls as actresses.It proved to be a Golden opportunity for Anglo-Indian and Jew girls to act in silent films. However, as the Talkie films started , the number of Anglo Indian Girls rapidly went down as most of them did not know Hindi nor could they sing.Only a few hard working Anglo Indian girls survived and progressed from silent to Talkie films,like Savita Devi (Iris Gasper)-who learnt Hindi/Urdu and singing,with efforts, Indira Devi(Effie Hippolet),Lalita Devi(Bonnie Bird),Seeta Devi(Renee Smith),Madhuri(Beryl Classen),Manorama(Winnie Stewart) etc. Since singing was an important requisite,the field was now open to singing girls from Kothas,Tawayafs and professional singers.Reasonably good looks and singing ability was what made them actresses. These girls,who came from Kothas and professional singer families used the suffix ” Bai” to their names to differentiate their speciality. Thus you had Jaddan bai,Amir bai,Johrabai,Rattan bai etc etc.
There were Jew actresses like Ruby Meyers (Sulochana), Rose Musleah (Miss Rose), Lilian Ezra (Lilian), Marcia Soloman(Vimla), Rachel Sofaer(Arti Devi), Esther Abraham (Pramila), Susan Soloman(Feroza Begum), Florence Ezekiel(Nadira) and many more. Among the males- David joseph Penkar wrote the story and dialogues of Alam Ara-1931, Actor David Cheulkar (David ), Ezekiel Penkar (Viju Penkar- Tarzan film Tarzan and the Cobra-88 and few more films) and Lily Ezekiel (Asha Bhende), Edvyn Meyers (Ezra Mir) and Pearl Padamsi are well known Jews. There were some male Jews in the Technical side also.
Many young singing girls found Cinema as a place where they could get (catch ? ) a good Husband from a better family background,earning respectability(forget religion). Many starlets married Producers,directors,Actors,Singers and Composers,left acting and settled as respectable housewives. Some girls got Husbands from Nawabs and the Royalties,as they were patrons of Arts. Some examples from early era can be cited in this connection like
Gulab bai alias kamla devi married S.Fatelal-Dir. in Prabhat Films.
Jaddanbai married a Medical student and a Jahagirdar-Uttamchand
Fatima bai(mother of Alam Ara fame Zubeida) married nawab of Sachin,Guajarat
Sultana married Yusuf Laljee,Businessman and chief of Bombay Municipal corpn.
actress Sarojini(Roshan) married Nanubhai Vakil-producer/Dir (Their daughter was actress AZRA)
actress Indurani (Ishrat)-sister of Sarojini- married Ramniklal Shah-Prod/Director
actress Shirin bai married Nanabhai Bhatt (Their sons are Mahesh Bhatt and Mukesh Bhatt)
actress Zubeida of Alam Ara married Raja Dhanrajgir of Hyderabad-deccan
the other actress Zubeida (on whose life, film Zubeida was made) married Maharaja Hanwant singh of Jodhpur etc.
This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now,one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz,Jyoti and Durrani,Nalini Jaywant and Virendra Desai,Noorjahan-Shaukat hussain rizvi,meenakumari,sardar Akhtar,Snehprabha Pradhan,Anil Biswas,Lalita Deulkar etc.
In recent era instances were Waheeda Rehman,Kishore kumar,Asha Bhosle,Hemant kumar,Manik verma,Premlata,Geeta Dutt,Rishi kapoor,rajesh khanna,Amitabh bachhan and Abhishek bachhan etc. Among all this,one melodious pair was that of JAGJIT KAUR, the Singer and KHAYYAM, the composer.
The real name of Sabita Devi was IRINA MAUDE GASPER. She was an Anglo-Indian,born in an affluent family of Calcutta, on 20-7-1914.
After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.
Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.
When the talkie came, she determinedly learnt Hindustani and Urdu and also Music. She was one of the very few actresses who continued successfully even in Talkie films, only because she learnt Hindi and music – the need of the times. Another such actress was Ruby Myers aka Sulochana.
She’s stated to have influenced P. C. Barua, who had joined the Board Of the British Dominion Film Company and acted in a few silent films, to start his own company. According to Chatterji, “He was inspired to become independent”. After his return to Calcutta from Paris, Barua set up the Barua Film Unit. The first film under this banner was Aparadhi (1931), directed by Debaki Bose, with Sabita cast as the heroine. The film went on to become a “critical success”.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33, then came Chandragupta-34. She shifted to Bombay for better opportunities. It is said that Chunilal Desai was responsible for her coming to Bombay. When he went to Calcutta for the distribution rights of films made by New Theatres, he contacted Sabita Devi and made an offer. In 1934,Sabita Devi acted in Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.
Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.
This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Films Ap Ki Marzi (1939) and Prarthana (1944).
She did many films. Her some films were- 300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films. She was a good Piano and Harmonium player.In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.
She was one of the earliest female artists to write about film acting as a decent profession for ladies from respectable families. In a letter to the Filmland English weekly, November 1931 issue, titled “Why Shouldn’t Respectable Ladies Join the Films”, she countered claims of immorality and low moral standards of producers and directors, raised by an anonymous actress in the September 1931 issue, “Should Respectable Ladies Join Films”. She stated that “the attitude a man takes towards a woman is governed by the latter’s own integrity, by her actions, words and manner”.She went on to state that people had a “mid-victorian conception” of women on stage and that “A Lady Artiste” was perhaps herself to blame for any unwanted advances.
She was the highest paid actress of the 1930s and the magnet of attracting audiences for the movies made by the Sagar Movietone. Lure of the City (1933), Phantom of the Hills (1934), Educated Wife (1934), Vengeance Is Mine (1934), Silver King (1935), Dr Madhurika or Modern Wife (1935),Lagna Bandhan or Forbidden Bride (1936), Village Girl (1936), The Creeper of Life or Jivan Lata (1936), Kokila (1937), Kulavadhu (1937), Three-hundred Days and After (1938), Ladies Only (1938) are the hit movies she made under the banner of the Sagar Movietone in most opposite Motilal. Sabita- Motilal became a finest and most romantic couple in mid 1930 s . In 1939 she started working in Sudama Pictures and produced movies Aap Ki Marzi (1939), Chingari (1940), Sajni (1940),and Holiday in Bombay (1941). Thereafter she did lead roles in Fashion (1943) , Prarthana (1943) and Amrapali (1945).
In 1946, she got married and left for England. She came back again only to die in Calcutta on 11-3-1965.
Film Jeevan lata-1936 was a failure at the Box Office. It might be due to a poor storyline or new actors or ordinary direction. Whatever. Here is an almost 90 year old song, sung by a mediocre 22 year old Anglo Indian actress- Sabita Devi…..
Song-Mero dil chhen liyo re (Jeevan Lata)(1936) Singer- Sabita Devi, Lyricist-Pt. Indra, MD- Pransukh Nayak
Lyrics
Mero dil chhen liyo re kamlee waale sanwariyaa
haan haan kamlee waale sanwariyaa
pyaare sanwariyaa
Krishn Kanhaiyya
pyaare sanwariyaa
Krishn Kanhaiyya
Brij ke basaiyya
Mero dil chhen liyo re kamlee waale sanwariyaa
haan haan re kamlee waale sanwariyaa
tumhaaree yaad mein har waqt hum to rote hain
aan aan aaan aan
bajaaye paaanee ke aansoo se munh ko dhote haain
ae ae na chain din ko hai
?? bhee hum na sote hain
tumhaaree yaad mein hum jaan apnee khote hain
pyaare sanwariyaa
Krishn Kanhaiyya
Brij ke basaiyya
?? re kamlee waale sanwariyaa
haan haan re kamlee waale sanwariyaa
nigaahen jab se sanam
aap kee do chaar huyee ee ee
usee ghadee tabeeyat hamaaree beqaraar huyee
ae ae tumhaare naam ke ??
lo ye sabar bhee ghazab hai
seene ke paar huyee
pyaare sanwariyaa
Krishn Kanhaiyya
Brij ke basaiyya
?? kamlee waale sanwariyaa
aa haa re kamlee waale sanwariyaa
mero dil chheen liyaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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