Arree hawaa tu sun le sun le
Posted on: August 22, 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 confusingly titleed film-Anban-1944.
Hindi film titles are sometimes funny and sometimes confusing. Funny, we can understand but confusing titles can cause problems. I can understand the same titles for films. There are hundreds of such examples. Same titled films can be found from 2 to 7 films. Yes. Film title ” Insaaf’ was used for 7 films from 1937 to 1997 – one each in every decade !
When titles are similar but not exactly the same, they can still cause confusion. Here are some examples….. Aajkal and Aaj aur kal, Aarsi and Aarti, Shadi ke baad and Shadi se pehle, Agent 1-2-3, Agent 777 and Agent 999, Lagaan and Lagaam, Daanaa Paanee and Dana Pani etc etc.
Today’s film also falls in this category. There was a film called Aanbaan and this is Anban. For several years I was confused, but when I read in a Film magazine that this is Un-bun (discord or rift in English), my confusion was cleared. (Aanbaan means dignity or pride in English).
The year 1944 was a time when the world knew that the end of World War II was near, however, till that time the Raw Film shortage was troubling the film makers in India. Black money generated through Black marketing was disturbing the industry. The cost of filmmaking, which was about a Lakh or so in 1940, had escalated to 5 to 6 lakhs per film. Studio system was weakened due to individual production practices started by black money investors. Star salaries had inflated. Many stars worked on FreeLance basis. The law of war promotion movies was now forcefully implemented. Many producers made War propaganda movies to get the Raw Film at controlled rates. The Government had increased the Entertainment Taxes in Bombay, Madras, UP and CP areas, so the cost of Cinema tickets had increased. Prithvi Theatre was launched by Prithviraj Kapoor. Film artistes gathered under the leadership of EVR Naicker in Madras to form DMK party. M. Karunanidhi was a prominent leader.
In Spite of all this, some good Musical films were made in 1944. Saigal, who arrived in Bombay from Calcutta for good, made his second film in Bombay. New composers, New Heros and New heroines brought a variety of Genres of films made in 1944. Some of the major films of 1944 were….
Bhanwara – Second film by Saigal and Khemchand Prakash in Ranjit in Bombay. Made in just 9 days’ shooting for Saigal, by director Kidar Sharma. It was the second film for Monica Desai too (sister of Leela Desai and wife of Phani Mujumdar).
Bharthari – Last film in India by singer actress Jahan Ara Kajjan who sang her last 2 songs in it. She migrated to Pakistan in the wake of Partition. Very good songs in the film, especially ” Bhiksha de de maiya” by Amirbai and Surendra.
Chal Chal re Naujawan – First film from newly established Filmistan, by the deserters’ group from Bombay Talkies, led by S.Mukherjee and Ashok Kumar. Ashok Kumar sang 6 songs in it for the first and the last time for Ghulam Haider. His song ” Bolo Har Har Mahadev” was very melodious and popular.
Chand – Debut film of Husnlal-Bhagatram team. They were recommended by elder brother Pt. Amarnath, who was the first choice of D.D.Kashyap. After V.Shantaram and his team left Prabhat, this was an attempt by Prabhat to join the mainstream by opting for the first time Non Marathi star cast and Punjabi style musicians. 5 singers were used by H-B for 11 songs. A mild success film.
Daasi – it was a musical from Lahore by Pt. Amarnath- with his favourite Zeenat Begum.
Film Dost produced the evergreen Noorjehan song ” Badnam – muhabbat kaun karen” composed by Sajjad Hussain. This one song alone made them both immortal.
Draupadi – a feeble attempt by Baburao Patel to make a Heroine out of his secretary Sushila Rani.
Gaali – Another film by Sajjad, but with only 3 songs to him and 9 to Hanuman prasad.
Iraada – Pt.Amarnath brought Hemant Kumar as a Debutant singer.
Ismat – The first and the only film of the brothers Pt. H.P.Sharma and Pt. Govardhan pershad, as a composer team.
Jwar Bhata – Devika Rani’s discovery, Dilip Kumar’s first film. He was the side Hero and the Hero was Agha. Actress Mrudula also debuted as Dilip’s Heroine.
Krishna Bhakt Bodana – The only film of the Revolutionary Poet singer Master Vasant from Surat. Avinash Vyas, Shankar rao Vyas composed music, while S.N.Tripathi gave background music.
Musical film Lal Haveli – Only time when Noor Jehan and Surendra sang together under Mir Saheb.
Mann ki Jeet – W.Z.Ahmed brings new Heroine Neena, who sings in the voice of Debutante Sitara of Kanpur in all her films. Neena was a Non-Singer.
My Sister – Saigal goes back to Calcutta to complete a Musical film ” My Sister”. Pankaj Mullick gives excellent songs by Saigal and others.
There were two films ‘ Panchhi’ and ‘ O Panchhi’ with average songs.
Panna – A war propaganda film based on the ” Mata Hari” story, with a new Heroine Geeta Nizami. MD Amir Ali died before the film was released. The credits in the film dedicated the film to Late Amir Ali.
Perhaps the best music was by Vasant Desai to film ” Parbat pe apna dera”. Vanmala and Ulhas excel in acting in a story of sexual repression. All songs are excellent, especially Amirbai’s song ” Pareshan hoon main” is simply divine.
Lastly, the Best one. Record breaking musical ” Rattan” gave superlative songs by Naushad. Barring 2 songs by Manju, the other 8 songs were all Hits. Rattan gave 200% returns on the film and song records, to the Producer.
‘Anban’ (1944) was a Bharat Productions film. It was directed by Niren Lahiri. He was born on 17-7-1908 in Calcutta. He started his directorial activity with Bangla film ‘Mahakabi Kaalidas’ (1942). His Hindi films are ‘Anban’ (1944), ‘Ban Phool’ (1945), ‘Arabian Nights’ (1946), ‘Vijay Yatra’ (1948) and ‘Shobha’ (1954). Niren Lahiri died in 1972.
The cast of the film is listed as Nargis, Pahadi Sanyal, Shahnawaz, David, Mubarak, Shobhana Samarth, Jagirdar etc.
One of the cast members was Mubarak Merchant. Mubarak Khan was born in Bombay on 29-1-1909 in a Muslim family. He was from Afghan descent. His mother died after delivery and his building contractor father also died after Mubarak was around 2-3 year old. The Parsee partner-Mr. merchant- of his father brought up Mubarak and his sister. That is how he used the Parsee surname Merchant and was known as Mubarak Merchant.
He studied upto B.A. His English was very good and it came handy in his career later on. In those days educated persons or persons from respectable families looked down upon the Film industry and they were not ready to join it. His God Father,Mr. Merchant did not want him to work in films, but he was interested. Once Mubarak, who was almost 6 feet tall, fair in complexion and with a good physique, went for a party, he was noticed by Film Director Parshwanath Altekar, who was working in Chandulal Shah’s company-Ranjit Studios. He invited Mubarak to join films and he agreed. He joined Ranjit studios and did his first silent movie- Pati Patni-1929. Director was Chandulal Shah and the lead pair was Gohar Mamajiwala and Raja Sandow.
After doing about 10 silent films with Ranjit, Imperial and Navjeevan studios, Mubarak went to Calcutta and joined Indian National Theatre. He acted in many English dramas of Shakespeare. He met and became friendly with Prithwiraj Kapoor. When the Theatre company closed, Prithwiraj Kapoor stayed back and joined The New Theatres, but Mubarak returned to Bombay.
By that time the Talkie had started and he got a role in the film Noorjehan-1931. However, as he could not sing, after that film he joined Anderson Theatre company doing work in Dramas again. Bhappi Soni was instrumental in bringing him back to films. He made his debut in the film Veer Kunal-1932. Due to his attractive personality,he went on getting roles after roles.
In 1938 he acted opposite Durga Khote in a bilingual film Saathi ( Savangadi in Marathi),which he had also produced. Mubarak must have worked in more than 100 films. Some of the major films of Mubarak were Kangan, Tansen, Lalkaar, Manorama, Renuka, Kismet, Tadbir, Ujala, Jhansi ki Rani, Waqt, Hamraaz etc etc. His personality was suitable for roles of Kings and Maharajas. He played the role of Samrat Akbar in Tansen-43,Maharana Pratap-46 and Anarkali-53. In Samadhi-50 he was Ashok Kumar’s brother and in Nagin -54 he was the Tribal chief. He also did many villain roles. Due to his impressive personality, for most Historical Mughal films, he became a mandatory actor.
Mubarak directed one film Bahurani-1940. The film flopped so miserably that Mubarak vowed never to direct any other film. Mubarak’s English was very good. He wrote the story and screenplay of Raj Kapoor’s film ‘Phir subah hogi-58 ‘ along with director Ramesh Sehgal. The film was based on the Russian novel, ‘Crime and Punishment ‘ by Dostoevsky.
Mubarak had a heart attack first in 1961 and again in 1964. He retired from films. Once B R Chopra came to him and offered him a role in Waqt. He declined and then on Chopra’s repeated requests he did that role. An ambulance and a doctor were kept ready during his shooting. Such was his value to the knowledgeable. After that also, he did some films but he had lost interest in working in a changed atmosphere now. His last film,I think ,must be ‘Insaniyat’.-1974.
In his last days,he was financially very bad. He lived alone in a flat of his own, but survived on donations from friends and pension from the Filmfare fund and Cine Artistes Assn. He was a bachelor.
‘Anban’ (1944) film story was about king size ego and its side effects. The story of the film is summarized below.
Madhav Pandit (Jagirdar) and Pandey (Shahnawaz) are very good friends, though their thinking is different. Pandit is old fashioned and traditional, having pride for Indian customs etc. Pandey on the other hand is a liberal person accepting the good in western culture, but not having anything against our old traditions.
Madhav Pandit has a son Yadav and two daughters – Madhavi (Shobhana Samarth) and Malati (Nargis). Pandey has one son – Vijay (Pahadi Sanyal). While Yadav and Vijay are good friends, Vijay has a soft corner for Malati. Eventually, their love blooms. They, together open a school in their town to train the new generation.
The elders fix their marriage also. Pandey wants to donate some amount to the school and so he makes some suggestions to the children. Pandit resents the suggestions. He also declines the donation of Pande. Both Pandit and Pandey have a heated argument, then a quarrel and they stop talking to each other.
The marriage of Vijay and Malati is broken. In his anger, Pandit marries his elder daughter Madhavi to an older, drunkard person – Ranjan ( Mubarak), who hails from a noble family. This marriage takes place against the opposition of everybody.
Not only this, but Pandit also fixes Malati’s marriage with an old jagirdar widower. One day Pandit’s son-in-law, Ranjan is caught red handed by Vijay, when Ranjan is selling his wife’s (Madhavi’s) gold ornaments for his drinks. Vijay fires him. Ranjan, as a revenge, goes and tells false stories to Pandit about Vijay, thereby spoiling his impression.
On the day of marriage, when the baraat is to come, it is found that Malati is missing. Not only that, even Vijay is missing. Pandit is shocked and very much worried for his daughter. Afraid that she might commit suicide, he is scared.
Meanwhile baraat arrives and the groom angrily blames Pandit for doing injustice to his daughter, when her marriage was already fixed. Pandit repents, meanwhile Vijay and Malati arrive. They are married by a priest in a temple. Pandey comes there and gives a lecture on controlling anger and false ego. Pandit realises his mistake. He begs everyone’s pardon and Vijay and Malati are married in the same place. The groom for Malati is on her side already, convinced by Vijay about their love. All’s well that ends well.
Here is an 81 year old song, composed Gyan Dutt, written by Pt. Madhur and sung by a 38 year old Amirbai Karnataki. Enjoy….
Song- Arree hawa tu sun le sun le (Anban)(1944) Singer- Ameerbai Karnataki, Lyricist- Pt. Madhur, MD- Gyan Dutt
Lyrics
Aree hawa
tu sun le
sun le
main bhhee gaaatee hoon
arree hawaa aa
tu sun le
sun le
main bhhee gaatee hoon
arree hawaa aa
tu sun le
sun le
main bhhee gaatee hoon
??
chupke chupke apne man ka
saaz bajaatee hoon
chupke chupke apne man ka
saaz bajaatee hoon
arree hawaa aa aa
baadal bhaage bhaage jaate
aur hanste hain taare
baadal bhaage bhaage jaate
aur hanste hain taare
aaj chaandnee se badh kar hai
raaton ke andhiyaare
aaj chaandnee se badh kar hai
raaton ke andhiyaare
kitnee khush hoon apnee duniya
aap lutaatee hoon
kitnee khush hoon apnee duniya
aap lutaatee hoon
tu sun le
tu sun le
tu sun le sun le
main bhhee gaatee hoon
arree hawaa aa aa
aankhen dulhan see sharmaa kar
jhenpee
jhenpee
jhenpee jhenpee jaayen
aankhen dulhan see sharmaa kar
jhenpee jhenpee jaayen
dheere dheere duniya ko ye
man ka bhed bataayen
dheere dheere duniya ko ye
man ka bhed bataayen
preet bharee nadiya mein khud hee
doobee jaaatee hoon
preet bharee nadiya mein khud hee
doobee jaaatee hoon
tu sun le
tu sun le
tu sun le sun le
main bhee gaatee hoon
arree hawaa aa aa
main bhee gaaoon
man bhhee gaaye
aur gaaye sansaar
main bhee gaaoon
man bhhee gaaye
aur gaaye sansaar
itna sukh is paar mein hai to
kitna hai us paar
itna sukh is paar mein hai to
kitna hai us paar
ye geet hai baar baar main
jisko dohraatee hoon
ye geet hai baar baar main
jisko dohraatee hoon
tu sun le
tu sun le
tu sun le sun le
main bhhee gaatee hoon
arree hawaa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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