Main to chaloon rumjhum
Posted on: July 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 the Mythological film Navratri-1955.
Made by Bhagyodaya Pictures, Bombay, it was directed by Raman B. Desai. It was produced by R.U.Patel and Natwar Shyam. The music was by the king of Melody – Chitragupt, ably assisted by Dilip Dholakia. The cast of the film was Nirupa Roy, Manahar desai, Sapru, S.N.Tripathi, Lalita Pawar, Kumkum etc. Songs were by G.S.Nepali (6) and Bharat Vyas (2).
Two major actors, who featured in many religious films in Hindi were Manhar Desai and Shahu Modak. You may be surprised to know that both were Christians. Actors who were not Hindus and doing Hindu Gods’ roles in Hindi films, is not new. I remember, there was an actor, Syed Hasan Ali Zaidi aka Mijjan Miyan, with New Theatres, Calcutta. He did the role of Bhakta Pooran in a film with this title in 1933. Just before the release of the film, there were communal riots in Calcutta.
New Theatres was in a dilemma. If the film was released with a Muslim actor doing the role of Bhakta Pooran, there was every possibility of riots resuming, because the Hindus may be offended. The film’s director Debki Kumar Bose got an idea and he changed the actor’s name to “Kumar”. Thus the film was safely released. In the subsequent period actor Kumar did many films (80). Some of you may remember him as the actor who sang the song,” Zindabad,Zindabad, aye mohabbat zindabad” in the film ‘ Mughal E Azam’-1960. He had married the yesteryear actress pramila. However, he left her and migrated to Pakistan in 1967. Another case of a Muslim doing Hindu Gods’ roles, was actor master Khaleel, but he never changed his name. He did 25 films.
The year 1955 gave us some really meaningful and entertaining films. Raj Kapoor’s ‘Shri 420’ tried to bring in limelight, as usual, the hypocrisy of elite society. It was a great film with a message, good direction and everlasting music by Shankar-Jaikishan, the three specialities of an RK film. From this film onwards, “Raju” became the favourite name of Raj Kapoor’s Heroes.( Like ‘Shanker’ was Shammi Kapoor’s lucky name in early films. Similarly ‘Vijay’ was the favourite film name of Amitabh Bachhan in 20 films, of Jeetendra in 18 films and of Mithun Chakravarti in 16 films.).
Guru Dutt’s film Mr.and Mrs.55 was perhaps his last light comedy movie, which has peppy music by O P Nayyar. Later he made serious films like Pyaasa-57, Kagaz ke phool-59 and Sahib, Bibi aur Ghulam-62, for which he will be known forever. Sunil Dutt made his Debut with Railway Platform. V.Shantaram’s Jhanak Jhanak Payal Baaje was an example of how an art film devoted to Dance can also become a commercial success. The film being in color also helped. Seema and Devdas were serious films. Pather Panchali hit the Indian screens. Azaad, Insaniyat, Munimji, Udan Khatola and Baradari were entertainers with very good music.
Children’s film society was established in 1955. Shammi Kapoor and Geeta Bali got married. New Theatres of Calcutta made its last film Bakul and downed its shutters forever.
The story of the film Navratri-1955 was….
Mahishasur, the mighty Demon-King had spread a reign of terror in every nook and corner of the world. Blood of innocent people flowed like water. There was no safety of person or property. Religion and chastity of women were in jeopardy, every moment, at the hands of the vulture-like Rakshasas. People were cowed down, as the hands of the beastly tyrant had crushed all opposition. All the vanquished Kings and Princes cowardly accepted his slavery to save their lives.
Prince Shatrughna was the only exception. For not accepting his sovereignty he was ordered to be killed by throwing down from a hill-top. But he escaped bravely. Saranyu, the beautiful and daring daughter of Mahamuni Twashta had undertaken the task of spreading the spirit of revolt against the oppressive rule of Mahish. But as fate would have it, Mahish happened to see her one day and her charming beauty captured his heart. He proposed to make her his queen and on her declining that offer, tried to molest her. Luckily, however, Prince Shatrughna arrived at the nick of time and saved her honour.
Cupid’s dart struck the young hearts of Saranyu and Shatrughna. But they preferred to dedicate their lives to the service of the people and some how bring about the destruction of Mahish. The fragrance of saranyus beauty had reached even the celestial heights of Swarga-lok. And Devraj Indra, personally went to Mahamuni Twashta to request for her hand. But the splendour and riches of even Indra-lok had no attraction for Saranyu. She rejected Indra’s offer too. Mahish sent his soldiers to abduct Saranyu forcibly, But before they could succeed, Indra took her away.
This enraged Mahish so much that he ordered to invade Swarga, immediately. But Narad Muni advised him to first acquire superior strength than Indra, by performing Tapasya. When Saranyu refused to marry him, Indra tried to fulfil his desire by force-but Shachidevi, Indra’s wife, interrupted him and sent her back to her father’s Ashram. Mahish pleased Brahma by his penance, and obtained a boon of virtual immortality from him viz. No one, except a woman, could kill him in the three worlds.
Intoxicated by this boon, he proclaimed himself as God-issued a fiat to worship none but him and mercilessly persecuted and put to death thousands of devotees who persisted in worshipping Lord vishnu, shanker and Goddess Adya Shakti, in defiance of his orders. Suloma, the kind-hearted queen of Mahishasur several times tried to persuade and prevent Mahish from the path of sin-but to no purpose. He invaded Swarga-lok also, defeated Indra in a war and humiliated him as well as Indrani, by inhuman tortures.
In the meantime, Mahamuni Twashta had married Saranyu to prince Shatrughna. But Mahish had, still, not forgotten Saranyu. He got her kidnapped just on her wedding night. When Saranyu did not yield to his several tactics-mahish blinded Mahamuni Twashtas eyes with hot iron bars, in her presence and also killed her husband, before her eyes. But the true Sati, as she was, Saranyu remained firm in her pious resolve. Then from the Lights of all the Gods-Goddess Durga was born. Bhagwati Durga Mata kills the proud Mahishasur, she revives Sati Saranya’s husband to life, the blind Mahamuni Twashta regains his lost eyesight and Suloma sacrifices her life for a just and noble cause.
Director of this film was Raman Desai. There were 2 directors with the same name and usually caused ‘Same name Confusion. Let us see who were they.
RAMAN (Bhimbhai) DESAI
Raman B Desai was born in Bilimora,Gujarat,on 28-4-1918. At the age of 20 years, he joined Wadia Movietone as an assistant Director. He assisted Director Chaturbhuj Doshi for quite some time.
He became an independent Director with Pehli Pehchan in 1947. Then came Narad Muni-49, Raja Harishchandra-52, Hari Darshan-53, Naag Panchami-53, Chakradhari-54, Rajyogi Bharthari-54, Navaratri-55, Vaman Avatar-55, Ram navami-56, Naag Mani-57, Chandi Pooja-57, Grihalaxmi-59 (he also produced it) and Amar jyoti-1965. He also directed 6 Gujarati films.Due to his expertise in religious films,he was known as ” King of Mythological Films”.
Raman B Desai expired on 22-12-1997. ( He should not be mistaken for another director Ramanlal Desai,who operated in the same period and directed films like Aab-e-Hayaat-55 and Sangeeta-50 etc).
The other one was….
RAMAN (Lalbhai) DESAI
Ramanlal Lalbhai Desai was born on 6-9-1915 at Ahmedabad . His father was a Station master in the BBCI Railway ( Bombay-Baroda and Central India Railway). He was educated in Bombay and he studied upto Inter-Arts. He soon left his studies to work as an assistant cameraman and assistant Director, in Paramount Pictures for Thief of Baghdad-34. In 1935 he shifted to Ganesh Movietone but came back to Paramount. He was assistant director in Fairy of the flute-36, Guru Ghantal-37 ,Black ghost-37, Burqawali-36, Aladdin-33, Vagabond lover-38, Madhur bansari-39 etc. He co-directed films like Patriot-37, Darpan-41 and Mere Saajan-41, in Rex Pictures. He was a good editor and a musician.
He became a full fledged Director with Daughter of the jungle-42, Muhabbat ki jeet-43, Circus girl-43, Bhagta Bhoot-43, Rangeela Dost-44, Aadhar-45, Kismat ka Dhani-46, Jadui putali-46, Tiger man-47, Naqali Heera-48, Dhanwale-48, Dilwale-48, Roshni-49,Sangeeta-50, Aab e Hayaat-55, Hum bhi kuch kam nahin -58, Minister-59 and Zalim tera jawab nahin-60. He turned to Gujarati films and directed Sole saaj singar-77 and Kul deepak-78.
He was working as a Production supervisor for the film Nastik-54 (credited).
(Thanks to Shri. Harish Raghuwanshi ji for some info used here along with my notes).
At a later stage their names were mentioned with their father’s name, to avoid confusion.
Here is a 70 year old song from this film, sung by a 22 year old Asha Bhosale with Chorus. Enjoy….
Song- Main to chaloon rumjhum (Navratri)(1955) Singer- Asha Bhosle, Lyricist-G S Nepali, MD-Chitragupta
chorus
Lyrics
main to chaloon rumjhum
paayal boley chhum chhum
main to chaloon rumjhum
paayal boley chhum chhum
ban thhan ke aaun mere ban jaao tum
naheen tadpaao tum
tum
main to chaloon rumjhum
paayal boley chhum chhum
main to chaloon rumjhum
paayal boley chhum chhum
jhilmil basant kee main pahli saugaat hoon jee
poonam kee raat hoon
poonam kee raat hoon jee
poonam kee raat hoon
jhilmil basant kee main pahlee saugaat hoon jee
poonam kee raat hoon
kaanon mein kahee jaaye
aisee main baat hoon
jee nainon kee ghaat hoon
ho o o o
ho o o o
pyaar kee hoon kumkum
paayal boley chhum chhum
pyar kee hoon kumkum
paayal boley chhum chhum
ban thhan ke aaun
mere ban jaao tum
nahee tadapao tum
tum
main to chaloon rumjhum
paayal boley chhum chhum
jitna hai zor piya aandhee toofan mein jee
koyal ke taan mein
koyal kee taan mein jee
koyal ke taan mein
jitna hai zor piya aandhee toofaan mein jee
koyal kee taan mein
utna hai jaadoo meree chhotee see jaan mein jee
chitvan ke baan mein
ho o o
ho o o
mil ke rahe gumsum
paayal boley chhum chhum
mil ke rahe gumsum
paayal boley chhum chhum
ban thhan ke aaun
mere ban jaao tum
naheen tadpaao tum
tum
main to chaloon rumjhum
paayal boley chhum chhum
abhimaanee nain mere bhookhe hain pyaar ke jee
pyaase dular ke
pyaase dulaar ke jee
pyaase dulaar ke
abhimaanee nain mere bhookhe hain pyaar ke jee
pyaase dulaar ke
teree rahoongee raja
tan man main vaar ke jee
dekho pukaar ke
teree rahoongee raja tan man main vaar ke
jee dekho pukaar ke
ho o o o
ho o o
aaun jaaun thhum thhum
paayal boley chhum chhum
aaun aaun thhum thhum
paayal boley chhum chhum
ban thhan ke aaun
mere ban jaao tum
naheen tadpaao tum
tum
main to chaloon rumjhum
paayal boley chhum chhum
main to chaloon rumjhum
paayal boley chhum chhum
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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