Koi naheen hai gair baaba
Posted on: September 2, 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.
|
Blog Day : |
6255 | Post No. : | 19345 |
Today’s song is from a Costume film- Jai Bharat-1936.
It was a Wadia Movietone film. It was produced by JBH Wadia and directed by his brother, Homi Wadia who also wrote the story and screenplay. The dialogues were written by Munshi Sarfarash. Music was by Master Mohammed, who also acted in this film. There were just 6 songs in this film, much less compared to the average of 9 songs per film for the period 1931 to 1940. 5 songs were written by Pt. Gyan Chander and today’s song was by Azeem. Gyan Chander mostly wrote for Wadia films. From 1936 to 1940, he wrote about 30 songs in 15 films.
Wadias were always famous for their stunt and action films. Once they got Fearless Nadia as a star, they became monopolists of Stunt films. It is said that Nasir Hussain and Manmohan Desai had only ONE story and they made a dozen films on that one story only. What was astonishing was most of these films became Hits and popular too. No one complained about the stories. Actually, one can safely say that this had started much earlier and the Pioneer in this was Wadia Movietone. Their story department had no work. They made films on just ONE story. The skeleton story was – a cruel king or a cruel Prime Minister, punished by a masked ” Do Gooder” – a friend of the poor and the oppressed janata and lot of daredevil stunts on Horse, Lion, Elephant, Tiger, on moving carriages, with cars and MotorCycles etc. This was more than enough masala to make a Wadia stunt film of Nadia !
Like good businessmen, Wadias never depended only on Nadia, but kept a back up of stunt actresses in reserve. These were used alternatively to make films. The stock consisted of Radha Rani, Sona Chatterjee, Miss Gulshan, Husn Banu and Noorjehan Sr. to name a few. Likewise in males too they had Jal Khambata, Jal Merchant, John Cavas, Prakash, Billimoria brothers-Eddie and Dinshaw, Boman Shroff etc to act in their films whenever needed.
Similarly, they had a battery of side actors, villains and comedians, who invariably featured in almost all movies of Wadia. Some of them were Atish Sayani, Minoo Cooper, Sardar Mansoor, Dalpat, Bismilla, Master Chhotu, Manchi Thooti, Master Chhotu, Basheer, Jamshed ji etc. Master Mohammed was an actor, singer and Music Director in many films.
Besides Wadias, there were others like Ramniklal Shah, Nanabhai Bhatt, Harishchandra Rao, Chandra Rao,Imperial and many smaller film makers, who also made stunt films. Thus in totality and in comparative number, there was a sizable group of artistes specialised in action films. By the middle of the 40’s, Master Bhagwan entered this Genre, with his Jagriti Films and contributed substantially. Almost all of Bhagwan’s films had only ONE story – a rich seth, a villain extorting money from him, seth employing 2 youths as his bodyguards (Bhagwan and Baburao Pehelwan), who fall in love with seth ji’s daughter and her maid and also destroy the villain.
The first Talkie film came in 1931. The first year had just 24 films, but within a span of 3 years, the Talkie films crossed the century mark, with 121 films in 1934, 152 in 1935 and 134 in 1936. Making a film was a complicated process which needed a studio, the latest machinery and a lot of money. This was difficult for a single person and thus the Studio System got established. The studios ruled the industry and the film making. Films were sold on the names of the studios and the actors had secondary appeal to the audience.
There were three major film centres in 1936 – Bombay, Calcutta and Poona. In Bombay, studios like Imperial, Bombay Talkies, Sagar Movietone, Ranjit etc were big names. In Calcutta, New Theatres and East India Film Corporation were major players. Prabhat film company was famous from Poona. This was the position in 1936. Like any other industry, the film industry too needed an organisation of the big players, so that the workers had no upper hand on them. Accordingly, “Indian Motion Pictures Association” (IMPA) was established first in Bombay, followed by Bengal Motion Picture Association in Calcutta. Poona, being in the Bombay Presidency, did not have a separate organization.
1936 saw the formation of Huns Pictures by Master Vinayak and Baburao Pendharkar. The year was noteworthy for Prabhat Film company as one of its directors, Keshavrao Dhaibar had to leave the company, for marrying one of the company’s employee-actress Nalini Tarkhud and thus breaking the company’s rule not to marry an employee ! Much later, even V.Shantaram had to leave Prabhat when he married actress Jayashree, an employee of Prabhat !!
Let us now take a look at some important films of 1936….
The year was notable for the type of films it produced. The initial limitation of making films only on Mythologicals or folk stories slowly changed over to social issues and problems. As such, due to British rule Indians had started following a lot of western manners, dressing patterns and our traditions were giving way to modern ways of developing countries like Europe or the America.
From Calcutta came 3 films of New Theatres, Manzil, Maaya and Karodpati. Manzil was a love story of a rich boy and a poor boy loving the same girl. Maya was a story of a rich wayward girl and an orphan girl in her house loving the same boy. Karodpati was a comedy enacted by Saigal and Molina Devi.
Bombay Talkies had 4 films, but only 2 were noteworthy. The first was Jeevan Naiya, which saw Ashok Kumar becoming a reluctant Hero (he was only a Lab-Technician) opposite Devika Rani. The other film was Achut Kanya – a film based on the ills of Untouchability.
The year 1936 was memorable because of films from Prabhat, which made the film Amar Jyoti, showing Durga Khote as a Lady Pirate. The film was made on Grand scale and in such a way that it was much ahead of its time !
The other important film was Sant Tukaram in Marathi. The film ran for one year in Bombay theatres. The role of the wife of Tukaram was done by an actress, who was a sweeper in the studio before this film, but she excelled in her role. Her name was Tanibai Davari. This was the first film to celebrate the Golden Jubilee at many places. It won the honour of ” One of the 3 Greatest films of the world” award at Venice Film Festival in 1937.
Sagar Movietone launched actor singer Surendra with the film Deccan Queen. The other film was Manmohan, which copied the film Devdas, by becoming a tragedy of a heart broken lover. Some other notable films were Sunehra Sansar by East India company, introducing Vijay Kumar from Shimla and K.N.Singh. K.N.Singh also debuted as a Hero in the only film Bandit of the Air from the same company. There were films like Jay Bharat from the Wadias, Passing Show from Prakash films and Said E Hawas from Minerva Movietone. Film Maa from Prafull Pictures used ” Vande Mataram” for the first time in a film. Film Shokh Dilruba had 150 kissing scenes (there was no restriction from Censors then). First Talkie Seeta Vivah from Orissa also came.
Master Mohammed acted in this film and also gave music to today’s film. Master Mohammed started his career as an actor and composer in Krishnatone’s ” Harishchandra”-1931-one of the earliest Talkie films in the first year itself. He composed 20 songs in ” Seeta swayamvar”-1933. Same year he acted and composed music for India’s First Talkie Fantasy film “Lal E Yaman”-33. He used to sing songs in his films. He was MD of many films of Fearless Nadia, from her First big film ” Hunterwali ” -1935 to ” Sher E Baghdad”-46. He gave music to 24 films, composing 217 songs and sang 41 songs in 18 films. He also acted in 23 films.
His specialty was patriotic songs in his films. Some of his famous songs were, Hum watan ke-jai Bharat-36 and Zanda uncha rahe hamara-Lutaru Lalna-38. Another song from his film, “Jagat ka sapna” was based on Hindu-Muslim Unity. In every film, there used to be a patriotic song.
His last film as an actor was ” Flying Prince “-1946. His last film as a composer was Sati Seeta-46.
Coming to today’s film, it was a period Costume film having the usual story of a king,evil PM,loyal General etc. The story was….
The wicked PM Ajit Singh wants to kill the Boy Prince,but the Loyal General Ashraf Khan saves him and hands over to him to young Capt.Ranjit,who rides on Punjab ka Beta and takes the prince away to be trained by an ustad in the jungle.The Princes refuses to marry the PM.While in Jungle,Changoo and Mangoo come there in a Motor Car,drawn by 2 Donkeys,as there is no petrol.They join the prince. Punjab ka beta (Horse) saves the prince and Ranjit many times from enemy attack.
Here Ajit Singh forces the king to sentence the death penalty to Gen Ashraf Khan.The entire army rebels. That time Ranjit,the Prince and their followers attack the PM.Ranjit Singh meets the princess and loves her.
The PM is killed,the Prince is installed as a King and Ranjit and Princess marry each other. The leading actors of this film were Husn bano and Jal Khambata.
Here is an 89 year old song from today’s film. It is sung by Pearu Qawwal. Enjoy the old qawwali style song….
Song- Koi naheen hai gair baaba (Jai Bharat)(1936) Singer-Pearu Qawwal, Lyricist- Azeem, MD- Master Muhammed
Lyrics
aa aa aa aa
Koi naheen hai gair baba
koi naheen hai gair
Koi naheen hai gair baba
koi naheen hai gair
Hindu Muslim Sikh Isaai
dekho sab hai Bhai Bhai
sabne Hind mein Parvarish Paayee
Bharat Mata sabkee maayee
naahak ka hai bair
naahak ka hai bair
haan naahak ka hai bair
Koi naheen hai gair baba
koi naheen
Bharat ke sab rahne waale
kaise gorey kaise kaaley
chhoot achhoot ke jhagdey paaley
pad gaye jispe jaan ke laaley
phir kaahe ka bair
haan phir kaahe ka bair baba
phir kaahe ka bair
Koi naheen hai gair baba
Koi naheen hai gair
Ram samajh Rahman samajh le
Dharam kund Imaan samajh le
Masjid kaisee Mandar kaisa
Iswar ka sthaan samajh le
kar dono kee sair
haan kar donon kee sair
kar donon kee sair baaba
kar donon kee sair
haan Koi naheen hai gair baba
Koi naheen hai gair
aap hee masjid aap hee mullah
aap hee baang pukaaraaa
aap hee pandit
aap hee pathhraa
aap hee baidhh pujara
aap hee Raja
aap hee parja
aap hee Rajkumara
aap hee seenche
aap hee boye
aap hee phir rakhwaala
Thakurdwaare waaman poojen
Math ke antar shaikha (?)
kahat Kabeer suno bhai saadhu
har jaise ko taisa
phir kaahe ka bair
haan phir kaahe ka bair baba
Koi naheen hai gair
Koi naheen hai gair baba
Koi naheen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment