Hum bhee naye tum bhee naye
Posted by: Atul on: August 13, 2025
- In: Asha Bhonsle songs | Dance song | Guest posts | Kamal Barot songs | Lyrics by Prakashchandra | Lyrics contributed by readers | Manna Dey songs | Post by Arunkumar Deshmukh | Rafi songs | Raj darbaar song | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1965 | Synchronised dance | Yearwise breakup of songs
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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 Costume film Raaka-1965.
The film was directed by Kedar Kapoor. Music was by Dattaram- who had been a long time assistant to Shankar-Jaikishen pair and few others for some time. The cast of the film was Dara Singh, Mumtaz, K.N.Singh, Kamal Mehra, Shyam Kumar etc. I was surprised to see the name of K.N.Singh in the film’s cast. One would hardly find the name of this sophisticated villain in such a type of C grade film !
1936 film ‘Bandit Of The Air’ aka ‘Hawaai Daaku’. This film has an important distinction – that it is the only one film of actor KN Singh, in which he appeared as the hero opposite Ram Pyaari. 1st September is the birth anniversary of this ‘baddie’ cum character actor in Hindi films, with a long innings of over five decades, with more than 250 appearances on the silver screen to his credit.
A top hat, thick and bushy eyebrows – raised in a sinister question, a smoking pipe, and large menacing eyes – a hallmark appearance of this villain that lasted through many decades. His entry into the screen frame always prepared the viewers that someone is going to be bashed, or something evil is going to happen. In an interview, KN Singh recalls the following incident:-
AR Kardar’s ‘Baaghbaan’ (1938) had been released and KN Singh’s role as a villain had impressed one and all. KN Singh was now working on the sets of a film titled ‘Kaun Kisi Ka’ (1939). Yakub, who was then working with Sagar Movietone and was also a known villain actor, happened to come by the same studio. Seeing KN Singh, he greeted him as “Hello King”. KN Singh responded to his greeting and said that his name is ‘Singh’ and not ‘King’. Yakub replied, “हम तो तुम्हें किंग ही कहेंगे। हम तो बस यही कहने आए हैं कि हमने अब विलेन का काम करना छोड़ देना है। अब तो गोप के साथ कामेडी किया करेंगे। क्योंकि तुम्हारी तरह हम चल नहीं सकते। तुम्हारे चल के आने में ऐसा लगता है के मुसीबत आ रही है।” (“I will call you as King only. I just came by to say that I am now giving up playing villain roles, and will join Gope and do comedy. Because I can’t even walk like you. When you walk into a scene, it seems as if some calamity is arriving”).
KN Singh was the eldest of five siblings, children of Chandi Prasad Singh, a well known advocate in Dehradun. When he was born on 1st September 1908, his parents first named him ‘Niranjan’. Then, Chandi Prasad’s guruji came home to bless the child, and he said – “Krishn has come to your home”. So then the complete name of the child became Krishn Niranjan Singh – later to be abbreviated as KN Singh. He studied at La Martiniere and Cambridge Schools in Dehradun. His father wanted to send him to London to study law, because he wanted his son to follow in his footsteps. But then a certain event happened that changed the course of life for KN Singh. A murder case came to his father. The accused was a well known rich man of Dehradun. It was a crime of passion, and a lady had been put to death. Chandi Prasad Singh was successful in getting the accused acquitted, by producing some fake train tickets to establish that the accused was not in Dehradun when the crime was committed. This falsification affected KN Singh so much that he prayed to his father to relieve him of the promise of becoming a lawyer, because he would never be a party to such lying and deceit. There was a falling out and he left home and Dehradun.
With a friend he travelled to Lahore, and then to Gujranwala. There he set up a cloth printing workshop that put prints on khadi cloth. The work was good and he soon set up another print workshop in Lahore. Then, in collaboration with another friend, he established a coaching school for students in Roorkee – K&D Tutorial Institute. In 1930, he was asked to return to Dehradun, and his parents got him married. This first marriage did not last long, as his wife unfortunately passed away in 1932. KN Singh stayed on in Dehradun.
In 1935, he went to Calcutta to visit his sister, who had shifted to Calcutta after her marriage. Now, in Dehradun, KN Singh was friends with Nityanand Khanna, a person who turns out to be a cousin of Prithviraj Kapoor. This was the time that Prithviraj was working with New Theatres in Calcutta. So KN Singh met Prithviraj and they became good friends. At Prithviraj’s residence, one day KN Singh happened to meet Debaki Bose. Debaki Bose suggested to him to become an actor. KN Singh, at first, tried to let it go as an exchange in a lighter mood. He returned to Dehradun. But that suggestion kept sitting as a worm at the back of his mind. Sure enough, after a short while, he was back in Calcutta. With the help of Prithviraj, Debaki Bose cast him in the role of a doctor in the film ‘Sunehra Sansaar’ (1936). The film journey of KN Singh had started.
Very soon, word got around the Calcutta film circles about this handsome young man from Dehradun, who could speak Urdu very well. Modern India Talkies were looking for a new face to be the hero in their next venture – ‘Bandit Of The Air’ aka ‘Hawaai Daaku’. With the promise that he would not be required to sing or jump around the trees, KN Singh agreed to take on that role. That film was also released in 1936. Meanwhile, New Theatres again offered him a role in their film ‘Anaath Ashram’ (1937). This role was once again a villain’s role. Next came ‘Vidyapati’ and then ‘Milap’, both in 1937. Incidentally, ‘Milap’ was a production from Moti Mahal Theatres in Calcutta, and was produced and directed by AR Kardar himself.
His second marriage happened in 1937. He merrily describes the episode. The shooting for ‘Vidyapati’ was in progress, and he was summoned to Dehradun to get married. In the midst of the shooting schedule, he asked for a two days reprieve, went home, got married and promptly returned to the studios, as the sets were still in place and some scenes were waiting for his return. With good humor he explains, there is a scene in the film in which he is shown about to enter the royal court of Prithviraj Kapoor. After this scene is shot, he takes leave to go home for his marriage. Then returns after two days and completes the rest of the shot of the royal court. As he explains, just before entering the ‘darbaar’ he is an unmarried person, but in the very next scene as he is inside the ‘darbaar’ and present in front of Prithviraj Kapoor, he is a married man. None in the industry would have had such a swift wedding affair, he laughs.
His presence in the film industry was being noticed seriously. AR Kardar invited him to come over to Bombay, and take on the villain’s role in his upcoming ‘Baagbaan’ (1938). After the release and success of ‘Baagbaan’ – there really was no looking back. The film went on to celebrate a golden jubilee, and KN Singh was typecast as a villain forever.
After KN Singh moved to Bombay in 1938, slowly the exodus started from Calcutta in general, and New Theatres in particular. Majority of the film artists and film music makers also migrated slowly to Bombay. Impacted by the great famine in Bengal, the closing years of world war II, contributed to a general slowdown of the economy, and the film industry in Calcutta.
After coming to Bombay, KN Singh settled into his career as a villain cum character actor in the Bombay world of cinema. After the golden jubilee success of ‘Baaghbaan’, Ezra Mir cast him in ‘Sitaara’ (1939). Arriving in Bombay, he worked himself into the top bracket of the highest paid character actors in the industry. And with the coming of most of his old friends from Calcutta, he felt quite at home now in his flourishing career.
In Calcutta, while at New Theatres, KN Singh also became very good friends with KL Saigal. In an interview he once refreshed his old memories of the days when most of the cream of Bombay industry used to stay within a 20 to 30 minutes walking distance from each other in Central Bombay. The camaraderie within this group consisting of Prithviraj Kapoor, Shyam, Om Prakash, KN Singh, Bhagwan, Jairaj, Nargis, Kidar Sharma, KL Saigal, Madan Puri, Jagdish Sethi, Manmohan Krishan, PN Arora, Robin Chatterjee, Sitara Devi, Jayant, Anil Biswas, Dronacharya, Manna Dey, Phani Mazumdar, Brijrani, Dwarka Khosla, PN Khanna (these are the names he himself has mentioned in the interview) was of a very fond friendship. There would be frequent get-togethers and picnics, and friends would drop in unannounced, into each other’s homes, as well as at work in studios. He cites specifically the scene from ‘Awaara’ (1951), which is the final confrontation between Raj Kapoor and KN Singh, and in which the latter dies at the end of the scene. KN Singh is brandishing a knife, and it is supposed to fall out of his hands and come into Raj Kapoor’s possession. While the action steps were being discussed, Bhagwan Dada dropped in unannounced into the studio. Having been a stunt master earlier, he got involved into the discussion, and suggested how the scene should be executed. Raj Kapoor took that suggestion very sportingly and the scene was shot as suggested by Bhagwan Dada.
Another interesting anecdote he tells is about the film ‘Ishaara’ (1943). The lead pair was Prithviraj and Suraiya, and KN Singh was playing the role of the hero’s father. Now Prithviraj was three years elder to KN Singh. So, says KN Singh, that he formally asked for permission from Prithviraj to take on that role, because in this role he would be scolding and berating his elder cast member. The times, yes, they were different in that era.
Close to the end of 1946, an ailing KL Saigal left Bombay for the last time, proceeding to his hometown Jalandhar for treatment and recuperation. He was not destined to return. It is significantly noted in many articles and information pieces – there were only two people to see him off the Bombay station – one was his driver and the second person was KN Singh. The film ‘Parwaana’ (1947) was still under production and both Saigal Sb and KN Singh were working on it. Providentially, KN Singh is the last person of the film industry who would see Saigal Sb alive.
KN Singh’s inning in the film industry lasted well into the early nineties, a great run of more than five and half decades. The last released movie in which he appears is most likely, ‘Ajooba’ from 1991. He has worked with most actors – starting with Mazhar Khan, Prithviraj and KL Saigal, all the way upto Dharmendra, Amitabh, Rajesh Khanna, Jeetendra and Shashi Kapoor. In his later years he was troubled with failing eyesight, and was quite a bit on his own, alone and forgotten. Most of his old friends were gone by then. He passed away on 31st January, 2000.
A gentleman villain, as opposed to the angry gangster boss, his enduring image is that of a white collared villain, dressed in a fine suit and bow tie, smoking a pipe, with a menacing glance and a calm cold delivery. He was a stickler for discipline and punctuality. It is said in the industry that in his later years, like the 1970s and 1980s, producers would cast him in cameo roles, just so that other members of the cast would come to the studio on time, knowing that KN Singh is also part of the team. (Based on articles from Filmfare, jansatta and madhuri, supplied kindly by Harish Raghuwanshi ji, from Surat.Thanks.)
The story of Raaka-1965 was-
Baku bar is a jungle tribe which is deep in the jungle. The chief of the Tribe is Vishal. They are a peaceful community. They have a rule that no girl from Baku is allowed to marry outside the tribe. If this happens, the suitor has to fight with the father or guardian of the girl till one of them is killed. The wife of the chief Vishal had to leave the Tribe because two of her daughters had eloped with outsiders. With her small son and a well wisher-Sagar, she leaves the tribe. In due course the son – RAAKA (Dara Singh)- grows up. Badli, daughter of Sagar, loves Raaka, but Raaka has lost his heart to Kajri, the sister of Parbat, a very brave warrior of Baku.
As per the tradition of Baku, Raaka has to fight unto death with Parbat-Kajri’s brother. In the ensuing fight, Raaka defeats Parbat but spares his life as he does not believe in killing. The Tribe however decides to kill Parbat. Before they do so, Parbat kills himself. Kajri becomes an orphan, so she is brought to Dharti-Raaka’s mother. Dharti, meanwhile, has already promised Raaka’s marriage with Badli to her father Sagar.
The tribe decides to capture Raaka for stealing their girl without marrying her. They capture Raaka. Badli who loves Raaka, but knows he loves only Kajari, daringly saves Raaka’s life and sacrifices her own life. Meanwhile Dharti and Sagar reach there. Vishal, the Tribal chief recognises his wife and realises Raaka to be his son, thus a Baku. All unite again and since all are Baku, Raaka and Kajri get united safely.
Here is a quartet song, sung by Asha,Kamal Barot, Rafi and Manna Dey. Enjoy the song video….
Video
Song- Hum bhee naye tum bhee naye (Raaka)(1965) Singers- Asha Bhonsle, Kamal Barot, Rafi, Manna Dey, Lyricist-Asad Bhopali, MD- Dattaram
Asha Bhonsle + Kamal Barot
Rafi + Manna Dey
Lyrics(Provided by Prakashchandra)
hum bhee naye
tum bhee naye
dekho sambhalnaa
achcha naheen dil ke liye
aise machalnaa aaa
hum bhee naye
tum bhee naye
dekho sambhalnaa
achcha naheen dil ke liye
aise machalnaa aa
chalo hato
zid na karo
duniyaa se tum kuchch to daro
itnee bhee kya jaldee thehro zaraa
aaa aaa aaa aaa
hum bhee naye tum bhee naye
dekho sambhalnaa aa
achcha naheen dil ke liye
aise machalnaa aa
hum bhee naye tum bhee naye
dekho sambhalnaa aaan
achcha naheen dil ke liye
aisey machalnaa aaa
duniya kee mat parwaah karo
apnee qasam ruko ruko
hamne to dil tumko
de bhee diyaa
aaa aaa aaa aaa
dillagee eee
chhodo bhee
jaao jee
ja aa aa o o
jhoothey tum ho harjaayee eee
apnaa dil..ll
kyun dein hum
hogee jee
ho o ogee
galiyon galiyon ruswaayee
apnaa dil kyun dein hum
hogee jee hogee
galiyon galiyon ruswaayee ee
ho o ho o ho o
maan bhee jaao
haayye
ho o ho o
maan bhee jaao
jee na jalaao
sochaa hai kyaa
aaa aaa aaa aaa aaa
hum bhee naye
tum bhee naye
dekho sambhalnaa
achcha naheen dil ke liye
aisey machalnaa
chalo hato
zid na karo
duniyaa se tum kuchch to daro
itnee bhee kya jaldee
thehro zaraa
aaa aaa aaa aaa aaa
tum pe hum…m m
marte hain
haayye rey ae ae
haa aayye ae ae
kaisee baatein kartee ho o
apnon se ae ae
kaisee sharam
aao naa
aa aao o
milney se kyun dartee ho o o
apnon se kaisee sharam
aao naa aao
milney se kyun dartee ho o
ho o ho o o
tum jaison kaa
haayye ae
ho o ho o
tum jaison kaa
kaisey bharosaa
kar lein bhalaa
aa aa aa aa
hum bhee naye
tum bhee naye
dekho sambhalnaa aaa
achcha naheen dil ke liye
aise machalnaa aaa
duniya kee mat parwaah karo
apnee qasam ruko ruko
hamne to dil tumko
de bhee diyaa
aaa aaa aaa aaa aaa
sach hai kyaa aaa
kyaa hai galat
bolo jee
bo o olo o o
hum ye kaisey jaanengey
hamse tum m m
ley lo qasam maano naa
maano o o
hum tum ko hee chaahenge ae
ho o ho o o
kasmein khaa ke haayye ae
ho o ho o
kasmein khaa ke
tumne nibhaanaa
seekhaa hai kyaa
aaa aaa aaa aaa aaa
hum bhee naye
tum bhee naye
dekho sambhalnaa aa
achcha naheen dil ke liye
aise machalnaa aaa
duniya kee mat parwaah karo
apnee qasam ruko ruko
hamne to dil tumko
de bhee diyaa aaaa
aaa aaa aaa aaaa aaaa
hum bhi naye tum bhee naye
dekho sambhalnaa aaa
achcha naheen dil ke liye
aise machalnaa aaa
chalo hato
zid na karo
duniyaa se tum kuchch to daro
itnee bhee kya jaldee thehro zaraa aaaa
aa aaa aaa aaa
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