Horee aayee re Kaanha braj ke basiyaa
Posted by: Atul on: August 30, 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 an 88 year old film Jeevan Prabhat-1937.
In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known filmmakers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.
This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !
Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screenplay was by Niranjan Pal- Himanshu Rai’s friend from their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not written much good about this film. He, in fact, criticised both the Debutantes, for their acting, calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.
Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !
The Debut making actress Renuka Devi was one of a kind. I was not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “. The book, besides giving a detailed life story of Renuka Devi ( which has appeared earlier on this Blog), describes many interesting anecdotes.
In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of the Bombay film industry. Here are some excerpts from her book, for you…
1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.
2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.
3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance. ( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).
The story of the film Jeewan Prabhat-37 was……..
In this film Uma (Devika Rani) is born in a high caste Brahmin family, but falls in love with a boy of Kumhar caste(Potters). Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj Kapoor), a Brahmin boy and Ramu accepts the reality.
The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha), because Uma is a ‘baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant, but Nandlal doubts her fidelity. At the end Padma herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this, she also convinces Nandlal about Uma’s purity.
Finally, Nandlal and Uma begin a new life as Jeevan Prabhat.
A few words about Kishore Sahu, who made his debut with this film. Kishore Sahu was an actor, film director, screenWriter, and Producer by profession. Sahu was born on November 22, 1915 in Raigarh district in Rajnandangaon, Chhattisgarh, India. There was a king known as Raja of Raigarh, so his father was the Prime Minister under the kingship of Raja of Raigarh. He continuously took part in the Indian freedom struggle in his early days. He studied with the University of Nagpur that is in Nagpur, Maharashtra. He completed his education in the year 1937, after that he started the writing of stories, short stories. He was married to Preeti, who is a Kumauni Brahman. He had four children named as Mamta Sahu, Vimal Sahu, Naina Sahu, and Rohit Sahu. This writing interest brought him to the cinema industry.
Then he thought about joining cinema and here he joined cinema and started his career as an actor. He participated in the cinema after completing his education from 1937 to 1982. He married Snehprabha Pradhan, but when she came to know that he was already married, she divorced him. He directed around 20 films in a row between 1972 and 1947. He has successively acted in 30 movies. He directed the film ‘Kuwara Baap’ which was the biggest blockbuster at that time. In addition, this move made him the awardee for the BFJA-Best Indian Film Award in the category of best film for 1943. He was very famous for pouring the artistic way and skills into the films. As a director, Raja marked what remains a milestone of art and skills in the Motion Picture. His film Veer Kunal met with huge box office success. He directed the all-time favorite film ‘Nadiya Ke Paar’ with Dilip Kumar and Kamini Kaushal. It became the sixth highest grossing film in India in 1948.
His film ‘Mayurpankh’ – 1954 entered into the ‘Cannes Film Festival’ in the year 1954. This film was also nominated for the Grand Prize of the Festival. In this film, Kishore played the role of Ranjit Singh. He wrote Teen Bahuraniyan in 1968, Dil Apna Aur Preet Parai in 1960, and story, Dialogue, and screenplay for Hare Kanch Ki Chooriyan in 1967. He was also known for giving the break to Meena Kumari in the film ‘Dil Apna Aur Preet Parai’ in the year 1960.’ As a producer, he produced the film Pushpanjali in 1970, Poonam Ki Raat in 1965, Kaalighata in 1951, Sawan Aaya Rein 1949, and Bahurani in 1940.
His daughter Naina Sahu acted as a child artiste in the film Hamari Duniya-52. Kishore Sahu tried to make her a heroine in film Hare kaanch ki Choodiyan-1967, but she failed. Her second film was Pushpanjali, which too was a flop. Then she left films, got married and settled. He died on August 22 and the year of 1980 at the age of 64 in Bangkok, Thailand.
Not much is known about writer Niranjan Pal and his work in the film industry. I found this note on him in The Encyclopedia of Indian Cinema…..
(1889-1959) Director and scenarist born in Calcutta. Son of nationalist leader Bipin Chandra Pal. Participated marginally in early youth in terrorist action around Calcutta (1908). Sent to Marseilles and to London where he lived until 1929. Met Veer Savarkar, leader of the extreme right-wing Hindu Mahasabha, and was linked with the assassination of William Hutt Curzon Wyllie (achieved at the Imperial Institute in London on 1 July 1909). In London, worked with the Natural Color Kinematograph Co. (1913); wrote short stories, plays and sold several scripts such as Faith of a Child (F. Martin Thornton, 1915) and A Gentleman of Paris (Sinclair Hill, 1931), based on his own novel His Honour the Judge. Started Indian Players group and staged plays like Bluebottle and The Goddess. Met Himansu Rai, an actor in The Goddess, and discussed making Prem Sanyas (1925). Pal claims in his unpublished memoirs, Such is Life, that the film was his idea as well as his script. Collaborated as scenarist on all Himansu Rai’s silent productions (Shiraz, 1928; Prapancha Pash, 1929). Revived Indian Players and The Goddess on stage in Calcutta with participation of Premankur Atorthy, Modhu Bose and Charu Roy. His play Zarina, staged by Bose’s Calcutta Amateur Players, was later filmed by Ezra Mir (1932). Made promotional films for a French motor car company and Imperial Tobacco, exhibited with Chaplin films in tent shows around Calcutta (1930-3). Made newsreels for Aurora called Aurora Screen News (1938-42) and occasional features for Aurora, including the children’s film Hatekhori. Rejoined Rai at Bombay Talkies (1934-7) as chief scenarist and wrote some of the studio’s biggest hits (Jeevan Naiya and Achhut Kanya, both 1936; Izzat and Savitri, both 1937). Made documentaries for the Punjab government and worked in the Film Advisory Board as chief scriptwriter (1942). Also wrote the story of Modhu Bose’s Khyber Falcon (1932) and Jayant Desai’s Qatil Katari (1931).
Filmography
1929: Prapancha Pash, 1930: Naseeb Ni Balihari (Director), 1931: Pardesia (Director), Pujari (Director), Sui Ka Naka (Director), 1932: Dardi (Director), 1935: Jawani Ki Hawa (Writer, Story), 1936: Achhut Kanya (Writer, Story, Screenplay), Janmabhoomi (Writer, Screenplay), Jeevan Naiya, 1937: Izzat (Writer, Screenplay), Jeevan Prabhat, Prem Kahani, Savitri, 1939: Amma (Director), Hatekhari (Director), 1940: Ditiya Path (Director), Suktara (Director), 1941: Brahman Kanya (Director), Chitthi (Director), Rashpurnima (Director), 1942: Community Manners (Screenplay), 1943: Black Diamonds (Screenplay), 1944: Save for the Future (Screenplay), 1951: Bodhodaya (Director), 1969: Jyoti
Here is an 88 year old song from the film Jeevan Prabhat-1937, sung by a young 25 year old Sarswati Devi…. Enjoy the old style song…..
Song- Horee aayee re Kaanha braj ke basiya (Jeevan Prabhat)(1937) Singer- Saraswati devi, Lyricist-J S Kashyap, MD-Saraswati Devi
Unknown male voice
All chorus
Female chorus
Male chorus
Lyrics
horee aai re Kaanha braj ke basiya
horee aai re Kaanha braj ke basiya
horee aai re Kaanha braj ke basiya
horee aai re Kaanha braj ke basiya
apne apne ghar ?? lagi
koi saanwaree koi goree
apne apne ghar ?? lagi
koi saanwaree koi goree
aaye achaanak Krishn muraaree
?? barjoree
aaye achaanak krishn muraari
?? barjoree
jaay kahe hum nand baba se
kaanha karat barjori
jaay kahe hum nand baba se
kaanh karat barjori
sugadh naar kartee pukaar
kaahe niksee khelan horee
sugadh naar kartee pukaar
kaahe niksee khelan horee
horee khelan chalee re braj ki banita
horee khelan chalee braj ki banita
horee khelan chalee braj ki banita
hori aai re Kaanha braj ke basiya
hori aai re Kaanha braj ke basiya
khud se nikasee kunwari Radhika
haath gulaal pitaaree
khud se nikasee kunwari Radhika
haath gulaal pitaaree
?? aaye Krishan Kanhai
bhar daare pichkaaree
?? aaye Krishan Kanhai
bhar daare pichkaaree
abeer gulaal ke baadar chhaaye
aankh bharee rasnaari
abeer gulaal ke baadar chhaaye
aankh bharee rasnaari
bhar bhar pichkaaree chhitak phuhaaree
bhayee shobha jaa kee nyaaree
bhar bhar pichkaaree chhitak phuhaaree
bhayee shobha jaa kee nyaaree
rang ghor gayee rang se rasiya
rang ghor daalee rang se rasiya
rang ghor gayee rang se rasiya
horee aai re Kaanha braj ke basiya
horee aai re Kaanha braj ke basiya
Holee aayee holee aayee
holee aayee holee aayee
Holee aayee holee aayee
holee aayee holee aayee
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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