Teree nazar ne maaraa
Posted on: September 13, 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 obscure film of the Golden Era – Sahil-1959.
Personally, I had never heard of this film. Though after Tumsa Nahi Dekha-1957, Shammi Kapoor had changed his looks – by removing his mustache, which never suited him – and style of acting, somehow this film never appealed to the viewers. I don’t even remember when it was in the theatres ! While going through the HFGK, I found the reason. It seems the film was made in 1955/56 and even the songs were recorded in 1954/55. For unknown reasons the film was censored on 8-4-1959 and was finally released in October 1959.
Since this film belonged to the period of Shammi Kapoor’s old style- with mustache – and by 1959-60 he was on a success ride, no one wanted to see this film. As such there was nothing notable in this film. The story was weak,the starcast was ordinary and the songs were not good enough to attract the audience. So the film flopped and disappeared from the theatres quickly.
As such 1959 was a period when the Hindi films were drastically changing in terms of entertainment type and values. We had come near the end of the decade with the year 1959. It was about 12 years since the upheaval in the film industry with the mass migration of film artistes from India to Pakistan, post Partition. Even after that some movements were still going on with late goers. Fortunately normalcy had returned to the industry by that time, much faster than was expected by the world watchers. Unlike Pakistan-who had to build a fresh new industry in their country- our infrastructure was intact, the base was wide and solid and vacancies were filled up promptly, by artistes waiting in the wings.
However, now the social atmosphere was different. People were not yet used to the sentiments of “we”and “they”. This necessitated changing topics for films being made. Big guns like Mehboob and B R Chopra did not touch on “sensitive” issues. Instead,their stress was on entertainment and minor current social issues.
While entertainers like Dil Deke Dekho, Anadi, Love marriage, Bazigar,Bank manager, Bhai behan, Chhoti behen, Black cat, C I D Girl, Chacha Zindabad, Chandrasena, Circus queen, Commander, Didi, Do Gunde, Do Ustaad, Dr. Z, Fashionable wife, Guest house, Jaal saaz, Kali topi laal rumaal, Kanhaiya, Paigham, Qaidi No.911, Satta Bazar, School master, Shararat, came to entertain people, some specialised films too were made. Historicals like Tipu Sultan and Samrat Prithwiraj Chauhan were made. As usual, mythology was there too.
V. Shantaram, after 5 years, once again tried his hand successfully at making a film based on Dancing. Navrang not only had excellent Dances, but C.Ramchandra created his magic- albeit sans Lata-this time with Asha Bhosale. Guru Dutt’s dream film “Kagaz ke Phool” was a failure, just like Raj Kapoor’s dream film “Mera Naam Joker” a few years hence. Both films were prestigious films for these ace film makers and they had staked their own for these movies. The failure of these movies at the box office shattered their makers to the core. But such is the fickleness of the Indian audience !
Bimal Roy had his special touch in Sujata and Hrishikesh Mukherjee equalled his mentor with Anadi. B R Chopra made Dhool ka Phool discussing premarital pregnancy and the upbringing of a Hindu baby by a kind Muslim family. ( This same theme was stretched to another level, by him, 2 years later with Dharmaputra-61).
Social issues were touched in Paigham( owner vs. workers), Heera Moti (farmer’s problems), Satta Bazar ( ills of gambling). Khwaja Ahmed Abbas showed his ‘never say die’ spirit by making “chaar dil char rahen”, which as expected flopped despite good cast. S Mukherjee, Usha Khanna and Shammi Kpoor weaved magic with Dil Deke Dekho, which became a trend setter for Nasir Hussain and directors of his ilk, in the coming years. Goonj Uthhi Shehnai had music by the old stalwart Vasant Desai who proved to be as good as new !
The film was produced and directed by K.B.Agrawal for his own banner- Filmnagar Studios, Bombay. Music was provided by 2 MDs. One was the pair of Suresh – Talwar and the other was D.C.Dutt, a relic from the bygone era.
D.C Dutt’s name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts to get into Playback singing in Hindi films. In her early struggle, 3 Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a Playback song for his film Aapki sewa mein-47. The second was K.Datta or Datta Korgaonkar, who, after his favourite singer Noorjehan left India, took Lata under his wings and gave her songs. The third Dutta was this-D.C.Dutt. No information is available about him whatsoever , except what is printed in HFGK and its duplication in Pankaj Raag’s book “Dhunon ki Yatra”. Thanks to this, we know that his debut was through the film Sona Chandi-1946. Out of 12 songs of the film, only two were his and one of them was by Lata Mangeshkar.
This Lata song has a history. Film Sona Chandi was censored first on 19-7-46 and released. That time these 2 songs of D.C.Dutt were not there. In January 1948,when Gandhi’s death took place, many songs on Gandhi were recorded by many singers and composers. One of the most famous,popular and successful songs was “Suno suno aye duniya walo, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composer Husnalal-Bhagatram. In this spate, even D.C.Dutt also recorded a Gandhi song by Lata in 1948. producers of film Sona Chandi got this and one more song ( by Saroj Borkar) included in the film and the film was recensored on 9-4-48. Thus one of the early songs of Lata was in a film of 1946, because of D.C.Dutt.
D.C.Dutt later did some more films like, Sarai ke bahar-47, Dil ki Awaz-48, Anjana-48 ( he even acted in this film), Ram Darshan-50, Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after the film Sona Chandi-46, Lata did not sing a single song in any of his films. After 48-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers; we all know that she did not sing even in Madan Mohan’s debut film Aankhen-50, just because he was new. It is said that Lata had also not sung for Music Director Khurshid Anwar, when she learnt that he could not play any musical instrument.
Though there were 2 MDs in this film there were as many as 7 lyricists for 10 songs of the film. Most were the first timers and whose names were not heard after this film. The cast of the film was Shammi Kapoor, Chitra, Murad, Sapru, Amar, Janaki das, Kuldeep kaur and others. I found it very difficult to get the film’s story details despite tapping all my sources. Finally, I wrote to Shri Harmandir Singh ji of Kanpur and requested him for a photo of the film’s storyline from the film’s booklet. He sent it to me within just one hour. I was pleasantly surprised by his quick response. But then, he is a very kind, humble and helpful person. He always responded positively to my requests. Thank you Har mandir Singh ji for your generosity and helpfulness. God Bless You !
Here is the film story, copied from the booklet….
Sahil is the story of an imaginary Island. Bikram, the chief of a few thousand people living in that island, was a strict follower of the rules and regulations their forefathers had made. His two daughters, Tara and Paro, were sisters, but were entirely different in their nature. Tara was clever and intelligent and Paro was simple and innocent.
By chance a few hunters happened to reach this island and were sheltered as guests till one of their members Raju, who had taken sick, would recover. Raju, who was just posing sick, saw Paro and from their first look at each other their hearts felt an awakening of an eternal love for each other. The more they were drawn close, Tara tried to separate them. Tara knew the ultimate result of their love and she never wished her young and dear sister to meet death. She tried to keep her sister away from Raju.
Not only that, she tried to show her false love with Raju, but Paro did not realise it.She even tried to destroy Raju once for all, but Paro’s true love brought him back.
Their father at last came to know of this love. But he was not only the chief but a father as well. He tried to hide it. He tried to be strict with Paro, but Haria, his old enemy, was always at work.
Did Biram punish his own daughter, did Haria succeed in taking his revenge, did Paro win her love ? You can solve all your questions if you see Sahil, the most Romantic, Musical, Hilarious and Dramatic presentation.
Here is a 66 year old duet sung by Rafi, Asha and Chorus. This is certainly one of the better songs of Suresh-Talwar in this film. Enjoy….
Song- Teree nazar ne maara (Saahil)(1959) Singers- Rafi, Asha Bhonsle, Lyricist- Jeet, MD- Suresh-Talwar
Chorus
Lyrics
hey
hey goree ee aha
huba huba luba luba
duba duba guba guba
maan ya na maan
humen jaan ya na jaan humen
hum hain deewaane tere
hum hain mastaane tere
saathi hai puraane tere
zara pehchaan humen ho o
teree nazar ne maara
toone mujhe pukaara
ab na mukhda chhupa aa
phirta hoon maara maara
aaya saajan tumhaara
goree kaahe ko sharma
kaahe lajaao goree
aankhen churaao goree
dil mein chhupa ke humen
munh na churaao goree
phirta hoon maara maara
dil to hua tumhaara
ab na aur sata aa aa
teree nazar ne maara
toone mujhe pukaara
ab na mukhda chhupa
aa aa aa
aa aa aa
aa aa aa
mujhse ye baat raaja
phir se na kehna
phir se na kehna
laaj to hai raaja naaree ka gehna
naari ka gehna
apna banaa ke dil mein sama ke
kariyo na humpe ghaat ho
ho raja ho raja ho
ho o o o
aayee milan kee raat raaja
aayee milan kee raat ho
ho raja ho raja ho
hey
hey goree aa
meree baat sun ja
meree baat maan ja
idhar to aaja
ankhiyaan mila ja
ek do teen chaar ek baar kar lo pyaar
paanch chhe saath aath
dekho mere baanke??
tinak tinak tin dha
tinak tinak tin dha
tinak tinak tin dha ha
ab tohey chhod ke goree na jaaoonga
aaye hazaar toofaan thokar lagaaoonga
ab tohey chhod ke goree na jaaoonga
aaye hazaar toofaan thokar lagaaoonga
tera jo ho ishaara
laaoon main chaand pyaara
nazron se nazren mila aa aa
chaahoon na chaand pyaara
mujhko tera sahaara
dena na humko daga
hey ha ha
ho raja ho raja ho
ho raja ho raja ho
heh heh heh
heh hey heh haa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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