Aaj hoga wahee tum samajh lo sahee
Posted by: Atul on: September 5, 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 Mythological film – Sakshi Gopal-1957.
Those who write on films of the 1950’s decade can not escape religious films, because maximum Mythological and Religious films were made in this decade. I, particularly, have been attracted to ‘Dharmik’ films since childhood and have been writing on such films from the beginning. In fact, my first ever post on this Blog was on a Mythological film – ” Savitri”-1937. I do hope that even my last post, whenever it takes place, will also be on a religious film !
These days there is a feeling that Religion is restricted to only old people. I feel extremely pained at the apathy shown by the younger generation towards our own religion. Most of them have nombasic knowledge also and they don’t care. Look at the other major religions – Muslim children are taught about Islam from their childhood, either at a Madarasa or at home by a Maulavi. Christians take their young children to the Church every Sunday and the Bible is read daily at homes. But our children are neither taught about religion nor they show any interest in it . Anyway, this is a topic of long discussion and a Blog is not a right place for it, but the point is we are missing something important in the life of our youngsters.
Talking about today’s film, it was produced by a pair – Vikram Bhai and Lallu Bhai, it was directed by a pair – B.Shukla and R. Vaidya, music was provided by Chitragupta and his assistant Dilip Dhlakia and to top it all, there were two brother pairs in the cast of the film – Madan Puri and Chaman Puri and Seetaram- Teekaram. A strange coincidence indeed !
The cast included Bharat Bhushan, Nanda ( first film where she was not credited as Baby Nanda and only Kumari Nanda), Umakant, Niranjan Sharma, Achala Sachdeva, Narbada Shankar, 4 names mentioned earlier and many smaller actors.
Today’s song is sung by Mohd. Rafi. There are 3 singers who I like very much – Rafi, Durrani and Kishore Kumar…..without ranking. Out of all male singers in the Hindi films, there was no singer as versatile as Rafi. he was also very humble, religious, friendly and jolly.
The other day, I was reading a book ” Rafinama”- by Isak Mujawar, the film historian. In different chapters he has described his statistics. I have collated them as follows for your reading pleasure….
Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing-after considerable hard work and struggle- one by one, he replaced the old singers who sang in the films.
Ashok Kumar’s singing spree stopped when Rafi sang for him in the film Saajan-47.
Ishwarlal stopped singing when Rafi sang for him in film Sharbati Aankhen-45
Shahu Modak stopped after Chakradhari-54
W.M.Khan after Aalam Ara-56
Master Nissar after Boot polish-54
G.M.Durrani after Lal Pathar-71
Karan Dewan after Duniya-49
N M Charlie after Zameen ke Tare-60
Balak Ram after Shri Ram Bharat Milan-65
Moti Sagar after Paak Daman-57
Man Mohan Krishna after Basant bahar-56
Mohd. Rafi even sang for some composers who used to sing in films
S N Tripathi -Pawanputra hanuman-57
Snehal Bhatkar-Bawre Nain-50 ( he was doing a Beggar’s role) and
Sudhir Sen- Saat Phere-70
Rafi was the only male playback singer who sang with 3 major singer actresses
Noorjehan-Jugnu-47
Khursheed- Aage Badho-47 and
Suraiya- many (13) films.
Coming from a very humble beginning and after hard work and struggle, Rafi had his ups and downs in his career. Like any other big and popular star, he too had his critics,detractors and people who tried to use him. Though he understood their game, he never reacted adversely and always acted very professionally. Ace composer Anil Biswas never liked Rafi’s singing and he had openly passed a remark to that effect ( which,of course, he denied later). However whenever Anil ji called him to sing for him, Rafi always did it professionally, without indicating anything else. Similarly, C.Ramchandra, Roshan, Salil Chaudhari and R D Burman were also not amongst his fans, but he sang for them all, whenever called to do so.
Mohd. Rafi, on his part, had no enemies. He had a clash with leading singer Lata on two counts. One when Lata raised the Royalty issue and two, when Lata’s name came in the Guinness Book for 25000 songs. He however, patched up readily, when interested composers intervened, because his nature was not vengeful basically.
Rafi understood how a small singer would feel and he never refused or hesitated to sing with less known or small time singers( unlike Lata ). Thus Rafi sang with singers like Gandhari (Rane), Razia Begum (sister of actress Suraiya Zulfi), Chandbala, Chand Burke, Kumudini Dikshit, Malti Pandey, Paro Devi, Laxmi Roy ( Geeta Dutt’s sister and Pramod Chakravarty’s wife), Laxmi Shankar, Pramodini Desai Patkar,Nirmala devi, Ramola, Uma Devi, Meena Kapoor, Pushpa Huns etc etc. Some of these became well known later on.
Rafi had sung with old timers like Rajkumari (she was the first female playback singer to sing with him in his career), Zohrabai, Hameeda bano,Lalita Deulkar, Mohantara Ajinkya etc etc. However when these old timers eclipsed, he sang with the remaining major singers like Asha Bhosle ( 806 songs), Lata ( 344 songs ), Shamshad Begum ( 160 songs ), Suman kalyanpur ( 141 songs ) and also Geeta Dutt, Mubarak Begum, Sudha Malhotra, Usha Mangeshkar etc etc.
Rafi probably was the only male singer who sang for maximum number of 2 generation actors, like
Raj Kapoor- Randhir/Rishi Kapoor
Arun-Govinda
Mumtaz ali-Mehmood
Jayant- Amjad
Premnath-Prem Kishen
Balraj-Parikshit
Agha- Jalal Agha
Jeevan- Kiran Kumar etc etc
During his career Rafi saw many child stars graduating to adult Heroes. He sang for such actors as Suresh, Anant Marathe, Jagdeep,Vinod Mehra, Sachin, Mahesh Kumar, Sudhir Kumar etc .
Among Heroes, he sang maximum songs for Shammi Kapoor-183 songs. In the film Basant, he sang 8 songs and in Kashmir ki kali, he sang 7 songs for Shammi Kapoor. Rafi sang many songs for Dev and Dilip. For a long time Mukesh and Manna Dey were considered Raj Kapoor’s voices. Rafi sang 31 songs for Raj Kapoor – 7 solos and 24 duets. When Rafi first sang in the film “Deedar” for Dilip Kumar, Mehboob Khan told Dilip, ” This is your voice. Hereafter sing only in this voice.” Dilip followed the advice till he was lured by Kishore’s voice later on.
As far as MDs are concerned, Rafi sang maximum songs for Laxmikant Pyarelal, 369-186 solos, followed by Shankar Jaikishan, 341-216 solos. Surprisingly third number is Chitragupta with 247 songs, Ravi-235, R D Burman-222, O P Nayyar-197-57 solos, Naushad- 149-81 solos and Usha Khanna-114 songs.
Mohd. Rafi respected Chitragupta very much and had always given priority to his recordings. Rafi had said that he truly enjoyed singing Chitragupta’s songs due to their melody.
Of all the singers ( including Saigal) who sang Hindi songs, I consider Rafi a complete, versatile and perfect singer. He was, additionally, a very religious, honest, simple and kind person.(based on the book Rafinama by Isak Mujawar ).
Coming back to today’s film Sakshi Gopal- 1957, I had seen this film in Hyderabad. Later on I read about this story in detail and decided to visit the temple in Orissa sometime. After my retirement, when I went on a sightseeing tour of East India, with my wife, we went to Bhubaneshwar . We not only visited the Jagannath Temple at Puri, but also visited and saw the Sakshi Gopal Temple which is at a distance of about 10 Kms. from Puri.
The edited story of this film is….
It is said that a poor young man of the village- Vidyanagar, later named Sakshigopal, fell in love with the daughter of the village headman. However, being of a higher economic status, the headman opposed marriage between this young man and his daughter. The villagers, including the headman and the young man, went on a pilgrimage to Vrindavan. The village headman fell ill and was abandoned by fellow villagers. The young man tended to him so well that he soon got well, and, in gratitude, promised his daughter in marriage to the young man, in front of the Gopal Temple in Vrindavan. As soon as they returned to the village, the headman went back on his promise, asking the young man to produce a witness in support of his claim.
Lord Gopala, impressed by the young man’s devotion, agreed to come and be a witness to the promise on one condition: that the young man lead the way, and he would follow. But the young man must never look back. He led the way to the village, passing a mound of sand. As they passed, the man could not hear the Lord’s footsteps and turned back. Immediately the Lord turned into a statue of stone rooted to the spot. The villagers were still so impressed that God (Gopal) himself came to be a witness (Sakshi) and to back the young man’s claim, that the youngsters were married off; they were later appointed as the first priests of the temple built in Lord Gopala’s honour who came to bear witness. Hence the name SAKSHI GOPAL.
Here is a 68 year old song sung by a 33 year old Mohd. Rafi. It’s a coincidence that my favourite singer and favourite Music Director are involved in this song. Enjoy the melodious song…
Song- Aaj hoga wahee tum samajh lo sahee (Sakshi Gopal)(1957) Singer- Mohd. Rafi, Lyricist- Bharat Vyas, MD-Chitragupta
Lyrics
aaj hoga wahee tum samajh lo sahee ee
meree bhakti se bhagwan ulajhna naheen
meri bhakti se bhagwan ulajhna naheen
jo lagaate tumhe bhog bin bhaav se
aise bhakton mein humko samajhna naheen
meree bhakti se bhagwan ulajhna naheen
shaakh dekha vidhur ka to lalcha gaye
ber jhoothe bhee shabree ke tum kha gaye
shaakh dekha vidhur ka to lalcha gaye
ber jhoothe bhee shabree ke tum kha gaye
bhog sabke chakhe baat sabkee rakhee
meree baaree jo aayee to sharma gaye
meree aankhen hain soorat kee pyaasee inhen aen aen
teree moorat se aata bahalna naheen
teree moorat se aata bahalna naheen
aaj hoga wahi tum samajh lo sahee
meree bhakti se bhagwan ulajhna naheen
meree bhakti se bhagwan ulajhna naheen
tum chhupe ho arre ban ke yoon beraham
aise zid mein naheen hum bhee utarenge kam
tum chhupe ho arre ban ke yoon beraham
aise zid mein naheen hum bhee utarenge kam
ab to baazee lagee bhakt bhagwan kee
dekhna aaj rahta hai kiska aham
ab na khaayenge tumko khilaaye bina aa aa
humen aata hai rasta badalna naheen
hume aata hai rasta badalna naheen
aaj hoga waheei tum samajh lo sahee
meree bhakti se bhagwan ulajhna naheen
meree bhakti se bhagwan ulajhna naheen
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4 Responses to "Aaj hoga wahee tum samajh lo sahee"
September 25, 2025 at 1:21 pm
Good Afternoon Arunkumar Ji,
This is a very interesting article written by you and shared with us.
We are all very much interested and enthusiastic to know about those golden days of Hindi movies’, not only of Hindi but in all other vernaculars.
Thanks and regards,
Uma
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 5, 2025 at 11:58 am
what a surprise!!! A full post on the legendary Mohd Rafi from our own encyclopedia. With so many statistics.
Thank you Guruji
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September 6, 2025 at 7:18 am
Thank you.
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