Bichchoo dank maaree gayo re beech bajariyaa
Posted on: August 20, 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 Taara-1949.
Made by New Bombay Theatres, Bombay, the film was directed by R.D.Parinja. He started his career as a Cinematographer in Bombay Talkies in its heyday.
He filmed Izzat, Prem kahani, Jeevan Prabhat,and Savitri-all 37 films, and then Kangan,Azaad,Jhoola, Bandhan,Naya sansar and Kismet.
When he was in Bombay Talkies, the German pair of Director Franz Osten and Cinematographer Joseph Wirsching were also there. He must have learnt a lot from them(or did he ?).
When Parinja left Bombay Talkies in its waning bad times he tried to produce and Direct films on his own. First it was Sona Chandi-46 and then it was Tara-49. After Tara, the film and the producer/Director disappeared into obscurity forever.
The cast of the film included, Jawahar Kaul, Shyama, Kuldeep Kaur, Majnu, Nayantara etc.
The film’s 12 songs were written by Aziz Kashmiri. The Music Director was Vinod, who was yet to compose songs for his epoch-making film ‘Ek thi Ladki’-1949. For 12 songs of the film he had used as many as 7 singers. Vinod was known to introduce new singers in Hindi films. Singers like Geeta Gandhari (Rane), Vinata Amladi, Premlata, Uma Devi, Meenal Wagh and Satish Batra were some singers he used in his films. However, except Uma Devi- to some extent- none of his finds were successful in later years. Uma Devi also could not go very far and she opted to become a comedy actress, with the name Tun Tun, for a longer time.
Though Vinod’s music was good in Taara-1949, the year itself was of a different type. It gave extraordinary musical films which were far, far superior to Taraa’s music. So, the film did not have any advantages.
What a year 1949 was ! It not only gave superlative quality musical films but also was an eventful year for the industry setting Benchmarks for various activities. Aptly,1949 can be called a “True First year of the ‘GOLDEN ERA’ ” of Hindi film music.
Andaz and Barsat were the 2 films which set standards for such films in the future. Andaz was Mehboob’s 3 rd film after Anmol Ghadi-46 and Anokhi Ada-48 where films were based on Love triangles. The only film of Raj and Dilip together,Andaz had songs which create the same magic even today..
Barsat established RK Banner,gave it a Monogram (DP in today’s Lingo) in the pose by Raj and Nargis from the film,and launched several artistes for a successful career like, Shankar-jaikishen,Shailendra,hasrat jaipuri,Ramanand Sagar and Nimmi for whom all, this was a debut film. Andaz gave introduction to Platonic love and Barsat gave prestige to Love stories in films.
Mahal-First film of Kamaal Amrohi as a Director,established Madhubala as a Star,started a trend for Mystery based films and made Lata an All India Phenomenon !
In 1949, South and East productions also contributed substantially. After the stunning success of Chandralekha, S S Vasan of Gemini Films, Madras brought his second Blockbuster in Hindi,Telugu and Tamil ( Chandralekha was made in Hindi,Tamil,Telugu and Simhali,all 4 were superhits). NISHAN-49 had Ranjan and P. Bhanumathy in the lead,even in Hindi edition. Ranjan (Ramanarayana Venkataramana Sarma) a multi-talented internationally known artiste was a popular Hero. Vasan used him in his 3 rd Hindi/Tamil/Telugu film ‘Mangala-50’.
From Calcutta came Shanta Apte’s ‘Swayamsidha’-49- a story of a strong woman. Many films were made on this story almost every decade later on. Chhota Bhai-also from Calcutta in the same year represented India in a Canada Film Festival.
Ek thi Ladki-49 made “Lara Lappa” a National song. Meena Shorey was known as the “Lara Lappa Girl ” till she died in poverty unsung and unknown in Pakistan. Badi Behen (Husnlal-Bhagatram), Dillagi and Dulari (Naushad Ali), Baazaar( Shyamsunder) and Patanga (C Ramchandra) were the other hit musicals in 1949.
In 1949, the Censor Board started the “A ” category, Films division was established, India’s First luxury Theatre “Liberty” was opened in Bombay, Navketan Productions of Dev Anand was established and ‘Movie Times ‘ magazine started publishing film news.
By 1949, Naushad Ali and C Ramchandra were competing with each other for the No. 1 slot. Both respected each other. Next few years,their competition gave superlative music to Indian music lovers. This was everybody’s gain. The Playback singers’ group was coming to a final shape with Lata,Asha,Geeta,Shamshad and all others in that order,for female singers. For males, it was Mohd. Rafi,Mukesh,Kishore,Talat and Manna Dey and all others in that order. Very shortly,the first 3 in each group were the survivors for a longer run, the rest remaining on the scene without any consequence !
Out of the Music Directors,those who debuted or excelled in the late 40s only survived and prospered. Naushad,Shankar-Jaikishen,S D Burman,Roshan, C.Ramchandra,Husnlal- Bhagatram and all others in that order. In due course, the first few proved to be long distance runners. By late 70s this generation of composers was slowly getting replaced by the next generation composers.
TARA-1949 was truly an obscure film,because when it was released,for unknown reasons,it went off the theatres within a week’s time and never came for even a second run,like other movies.
All my efforts to see this film came to nought. I was keen to see this film, as its MD was VINOD, who had become popular due to the immortal Lara Lappa song from EK THI LADKI-49.
Music Director Vinod’s real name was Eric Roberts, but for the film industry he chose a more familiar and shorter name “Vinod”. This was revealed by one of his sons-in-law Kelly Mistry, who is married to his daughter Veera Roberts. His other daughter’s name is Veena Roberts (after marriage, Veena Solomon).
According to Vonod’s son-in-law Kelly Mistry, Vinod was born on May 28, 1922. Vinod hailed from a Christian family of Lahore, who were converted from Hindus. Vinod had his family tree connected to Gurdaspur and Amritsar. As a child Vinod was fascinated by the band music which was prominently played during Lahore’s colorful Hindu weddings. Vinod also listened carefully for hours to the Rababi musicians performing “Shabad Kirtan” at Gurdwara Dera Sahib Lahore and other shrines. Vinod became a student of Lahore’s famous music director Pandit Amar Nath and learnt the fundamentals of ragas and tune making with the help of a harmonium from the great maestro.
He started making tunes while being inLahore prior to 1947 and after the death of Pandit Amar Nath, he got the contract of composing the music for a number of films including Punjabi film “Chaman”. But the film could not be taken up due to the tense communal atmosphere in Lahore . It was made much later on in India after 1947. Pushpa Hans and Shamshad Begum lent their voices to the songs in this film. Lata Mangeshkar was a new find, looking for work and Vinod gave her three songs to sing. Incidentally Lata’s all three numbers became landmark songs not only for this film, but for other Punjabi films to follow. Those were the days of extreme communal tension on both sides of the Radcliffe line in Punjab , as a consequence after its release the film did not do well in Pakistani Punjab. But the selling of its music even in Pakistan did quite a decent business.
According to some historians Vinod’s mentor Pandit Amar Nath died in 1946. Some other historians say that Pandit Amar Nath died in February of 1947. But by 1944 most of the Lahore based music directors like Khurshid Anwar (in 1941), Shyam Sunder (in 1943), Hans Raj Behl(in 1944), Rashid Atre, Feroze Nizami, Ghulam Haider, Pandit Husna Lal Bhagat Ram shifted their base to Bombay. Pandit Amar Nath and Pandit Gobind Ram were the only ones left in Lahore. After Pandit Amar Nath’s health deteriorated in 1946, Vinod inherited some of his contracts. “Khamosh Nigahein”, “Paraye Bas Main” and “Kamini” were some of the movies which fell into Vinod’s kitty. None of these 1946 movies did well at the box office and Vinod did not get any mileage from them either.
Vinod got the best break in his career in 1949, when he got the contract to compose the music for Hindi film “Ek Thi Ladki”. The film became a hit and its Lata song “Lara lappa lara lappa layi rakhda, addi tappa addi tappa layi rakhda” became a nation-wide hit. The tune of this song was based on an old Pahadi Punjabi folk tune of Kangra district. While listening to his other songs for this film, a similarity with the tunes of film “Mirza Sahiban” composed by his mentor Pandit Amar Nath could be clearly established. This goes to prove that Vinod, in letter and spirit, learnt the art of tune making from his teacher. This earned him a contract for another Punjabi film “Bhaiya Ji” made in 1950. Lata sang several memorable songs for this movie. One of its sad songs “Ajj mera mahi naal tutt gaya pyar ve akhiyan na maar ve” was acclaimed to be a landmark song. Even Sardul Kwatra had great admiration for this song. This song later on inspired the tunes of several Hindi songs. In 1949 Vinod composed music for another Hindi film “Taara”, which did not create any waves.
Talat Mahmood and Mohammad Rafi were the favourite male singers of Vinod, who always did full justice to his tunes. According to Sardul Kwatra Vinod had no God-father like Shanker and Jaikishan had in producer actor Raj Kapoor and producer Amiya Chakravarty and Naushad had in a very popular producer Mehboob Khan. Roop K. Shori, who gave Vinod music composition contracts for his films, somehow did not belong to the big league of Bombay based film producers like Sohrab Modi, K.A. Abbas, V. Shantaram, Mehboob Khan, Raj Kapoor etc.
Roop K. Shori of course was a very famous film producer in Lahore, who while moving to Bombay , took his entire team with him. Music director Vinod and lyricist Aziz Kashmiri were members of his group. Vinod composed the music for most of Roop K. Shori films. In all Vinod composed music for 27 Hindi films, out of which he shared music with other music directors for at least six films. Some of his films were not completed and some were not released even after completion. Among some of Vinod’s best known creations were the musical compositions of films “Anmol Rattan” (1950), “Wafaa” (1950) “Sabaz Bagh” (1951) “Aag ka Dariya” (1953), “Laadla” (1954) and “Makhi Choos” (1956). For a while Roop K. Shori got Vinod a salaried job as a music director in “Filmistan Studios”. One characteristic of Vinod was that in Punjabi films he inserted Hindi songs and in Hindi film songs he inserted some Punjabi wording. This trend was discontinued later on, but since the nineties once again Punjabi songs are becoming a part of most Hindi films and these songs are proving big hits.
Vinod was doing one or two successful films on an average per year from 1948 to 1957, but one or two hit films in a year are not enough to ensure a decent standard of living in a city like Bombay. HusnLal Bhagat Ram gave the music for 19 films in 1949 and 1950 and Shanker Jaikishan were composing music in 3 to 4 hit films every year during the fifties and sixties. Such busy schedules made both duos financially quite well off. O.P. Nayyar was also doing 3 to 4 successful films a year during the fifties, but somehow he did not manage his finances well.
On the other hand Naushad was professionally quite creative and he always managed his finances well and lived in comfort.
Both Shyam Sunder and Vinod, in spite of being thoroughly professional in their field, were never financially well off. They both died during the fifties. After Vinod’s untimely death at a young age of thirty seven on December 25, 1959, his wife Sheela had great difficulty in bringing up his children.
Vinod loved his childhood city of Lahore and did not want to leave that great cultural centre, but the unfortunate partition of Punjab and the resultant bloodshed and its trauma left him with no option of going back to Lahore. Vinod was every inch a Punjabi and he longed to compose music for the Punjabi films, but after 1951 mostly two music directors ended up getting all the music direction contracts. They were Master Hans Raj Behl and Sardul Kwatra.
Vinod composed music for only five Punjabi movies. These are “Chaman” (1948), “Bhaiya Jee” (1950), “Mitiar” (1950), “Ashtalli” (1954) and “Nikki” (1958). Vinod died a frustrated man, who’s professional genius was always shortchanged.
Although Vinod composed music for thirty two films, most of these films were under small banners and the music of most of them were let down by the film’s poor showing at the box office. Vinod died in Bombay on 25-12-1959. (Adapted from an article by H..Aujla.Thanks).
Here is a 76 year old song, sung by Premlata and Satish Batra. Enjoy….
Song-Bichchoo dank maaree gayo re beech bajariyaa (Taara)(1949) Singers- Premlata, Satish Batra, Lyricist- Aziz Kashmiri, MD- Vinod
Both
Lyrics
o o o o o
arre re re re re re re re
beech bajariya
arre re re re re re re re
beech bajariya
bichchoo dank maaree gayo re
bichchoo dank maaree gayo re
maaree gayo re ae ae ae ae
ho o
maaree gayo re
beech bajariya
dank maar mohe bichchiyaa bhaagee
tan mein bharee gayee aag
tan mein bharee gayee aag
saaree raat main jaagee re daiyya
aa aa aa
jaagee saaree raa aat
jaagee saaree raat
tadpe jaise machhariyaa
ho
tadpe jaise machhariyaa
haaye beech bajariya
bichchoo dank maaree gayo re
maaree gayo re ae ae ae ae
ho o
maaree gayo re
beech bajariya
hum door gaaon ke guniyaan
hum door gaaon ke guniyaan
hum ko saaree baat bataao
hum ko saaree baat bataao
jaane humko saaree duniya aa aa aa
humse na ghabraao
humse na ghabraao
o zara humse milaao najariyaa
ho najariyaa
o zara humse milaao najariyaa
o o o beech bajariya
bichchoo dank maaree gayo re
maaree gayo re ae ae ae ae
ho o
maaree gayo re
beech bajariya
bichchiyaa bulaaye
guniyaa ghulaaye(?) ae ae
bichchiyaa bulaaye
guniyaa ghulaaye(?) ae ae
?? ke tanike ?? na aaye ae ae
ho kaanboo(?) na aa ye
kari gayee ??
saajan kee najariyaa
haan
?? ?jariya
bichchoo dank
maaree gayo re
maaree gayo re ae ae ae
ho o
maaree gayo re
beech bajariya
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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