Main to jaaoongee haan haan jaaoongee
Posted by: Atul on: September 23, 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 84 year old film Charnon ki Dasi-1941.
1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artists who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.
In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 1940s, one more major change in the film industry took place due to Partition. Let us see some important films.
JBH Wadfia became Chairman of the Film Advisory Board. He produced the First Sindhi film of the United India- ‘Ekta’-1940. His film Court Dancer was also in English.
Asra- Debut of actor director N A Ansari.
Behan- Mehboob directed this film having an incest suggestive story.
Beti- 8 songs of Khursheed in this film. She was on top in the early 1940.
Chandan- Debut of S N Tripathi as an MD.
Chitralekha- First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora- Actor comedian Charlie directed the only film.
Doctor- Pankaj Mullick gave excellent songs. First popular song with woof beats-‘ Chale pawan ki chaal ‘.
Jhoola- One of the most successful films like kangan and bandhan, starring Ashok kunmar and Leela Chitnis.
Kanchan- First composed song of Naushad-” Bata do koi”.
Khazanchi- A milestone in musical revolution with Punjabi Theka, by Ghulam Haider. Debut of Shamshad Begum in Hindi films.
Lagan- Saigal, as usual, gives good songs.
Mala- was remade as ‘ Amar-55’ with music again by Naushad only.
Naya Sansar- Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !
Nirdosh- Mukesh sings his first song.
Padosi- Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” is a popular chorus song.
Pardesi- Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’.
Radhika- Debut of Nalini Jaywant.
Raj Nartaki- Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.
Sangam- Amritlal nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar- A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.
Taj mahal- Debut of Baby Suraiya as an actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered Hindi films only with the film Khandan-1942 at Lahore.
Film Charnon ki Dasi-1941 was made in Marathi (पायाची दासी ) and Hindi simultaneously, by Atre Pictures, Bombay.
The owner of the banner was Acharya Prahlad Keshav Atre, a famous name in Maharashtra later on as a Producer, Director, Studio owner, Writer, Lyricist, Dramatist, Novelist, a great Teacher, a journalist,a Newspaper owner, a well known public speaker and a popular leader and M.P., who successfully led the “Samyukta Maharashtra” agitation at the end of the decade of 1950’s.
The film was directed by Gajanan Jagirdar, B.A;- a famous actor and director of that time. The cast of the film was Durga Khote, Vanmala B.A., B.T., Gajanan Jagirdar, Master Avinash, Kusum Deshpande and many others. The 8 songs of this film were written by Pt. Anand Kumar and the Music Director was Annasaheb Mainkar – a well known Classical Music Teacher. In the Hindi film industry Music field, there were only three people who were called ” Anna Saheb”. One was Annasaheb Mainkar, the other was K.Datta aka Datta Korgaonkar and the third was C.Ramchandra aka Ramchandra Narhar Chitalkar.
These were the times when people from good, respectable families and highly educated persons were still a rarity and a welcome matter for films. Director Nanubhai Vakil who was really a B.A., LL.B and Dr. S.D. Narang who was B.Sc.,M.B.B.S., Ph.D were among the highly educated in the industry at one time. In those days, therefore, educated people used to flaunt their degrees and insisted on inclusion in the film credits. Like the Producer Acharya Atre, the film’s Heroine Vanmala was also B.A. B.T.
The lure of the films was so great that from the time Talkie films started, it attracted many famous and expert musicians of the Vocal and instrumental variety. In the early period, it was almost an unwritten rule to have a film’s Music Director with a classical background. Many were dragged into films and many came on their own.
Thus you had experts like Pransukh Nayak, Govindrao Tembe, Keshavrao Bhole, Ustad Zande Khan, Meer sahib, Annasaheb Mainkar, Dada Chandekar, Ustad Mushtaq Hussain, Firoze Dastoor, Suresh babu Mane, Hirabai Badodekar, Manik Verma, Saraswati Rane, Master Krishnarao, Shridhar Parsekar, Pt.Ganpat Rao, Pt.Jagannath Prasad, Krishnarao Phulambrikar and many others who made their contributions to film music.
During the subsequent periods, some more like Ghantasala, Pt. Amarnath (of Garam coat), Pt.Motiram, Shankarrao Vyas, Prabhakar Jog, Ustad Amir Ali, ustad Bade Ghulam Ali Khan, Bhaskar Chandavarkar, Shobha Gurtu, Kishori Amonkar, Sharang Dev, Ustad Dilawar Khan, Ustad Ghulam Mustafa Khan, Balmurli Krishna etc also made their presence felt in the Film music.
Not only Classical Vocalists, but also some famous Instrumentalists like Bismilla Khan, Pannalal Ghosh, Pt.Ravi Shankar,Ram Prasad, Ali Akbar Khan, Hariprasad Chaurasiya, Pt.Shivkumar Sharma, ustad Vilayat Khan etc also contributed to HFM.
Like Musicians, stage actors too were attracted towards films and many of the famous and not so famous stage artistes vied with each other to get into films. Stage dramas were very popular in Maharashtra, and Bombay being the major film centre, it was natural that many Marathi stage actors came into Marathi and Hindi films. The problem was speaking Hindi dialogues. Many Marathi artistes could not pass this test and those who did pass, had a tough time speaking long Hindi dialogues. Thus very few stage artists remained in the film industry. Popular stage actors like Master Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash or even the famous Bal Gandharva tried their hand at films, but none could sustain their careers in the Hindi films, for whatever reasons-mainly diction problem, I guess.
One of these popular stage artists was Master Avinash. Ganpatrao Laxmanrao Mohite aka Master Avinash was also a tall figure in Natya Sangeet. Master Avinash (1909-2009) was trained in music by Deenanath Mangeshkar and was trained in acting by Chintamanrao Kolhatkar- a great Marathi stage actor.
Avinash was one of those, who were with Balwant Sangeet Mandali, since its inception in 1918. This drama company was established by Master Deenanath Mangeshkar along with Chintamanrao Kolhatkar and Krishnarao Kolhapure. From the beginning, Avinash used to do female roles and his name was taken along with Bal Gandharva, in this respect. Due to his singing skill, he was quite a popular actor on the stage. Several of his Natya Geet records came into the market and sold very well.
Master Avinash was simply ”Ganu Mama” to the Mangeshkar family. Though the patriarch of the Mangeshkar family expired in 1942, Avinash survived almost 70 years (67 to be exact) after him. They were very close, hence a respected person for the M-family. He could, till his end, tell them his experiences with Deenanath and many others of that era. He taught some songs to baby Lata, when she was so small. Surprisingly, till he died in 2009, at the age of 101, his memory and health was very good.
He acted in most dramas written by Acharya Atre (P.K.Atre of Navyug Films and Atre Pictures) as well as all his Marathi films. However, Avinash worked only in one Hindi film-Charnon ki Dasi-41, which was a remake of Marathi film, Paayachi Daasi. By the time he appeared in this film in 1941, his singing and acting style was becoming outdated, for the Hindi audience. New styles of Music and young new actors had entered Hindi films. In any case, he was very successful on the Marathi stage, so he did not bother to work in Hindi films.
As per an article on him, in The Times of India of 16-5-2002, he was a good cricketer, a wrestler, actor, singer and Music Director. Daily exercises must have kept him going healthy till the last. He remembered many anecdotes of old times, actors and especially of Deenanath Mangeshkar. He had a good collection of old photos and cuttings to show to the TOI reporter, who took his interview. In most Marathi films, he worked as a Hero opposite Vanmala. In the film Charnon ki Dasi also they were the lead pair. Acharya Atre gave him the name Avinash for the stage. His popularity made his name a rage and many new born children were given his name in those years. The film’s lead pair- Master Avinash and Vanmala acted in several stage dramas and Marathi films together and individually.
Film’s lyricist Pt.Anand Kumar was born in Delhi on 4-9-1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father.
When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit Marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
This was a social film, stressing the need for the cordial relationship between the Daughter in law and the Mother in law. In simpler words, the story was about the “Saas- Bahu” conflict. The story was……
The story of the film was a typical Marathi reform social film consisting of the age-old friction of ”Saas-Bahu“. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.
Here is a song from this film, a duet sung by Saraswati Rane and master Avinash. Vanmala herself was not a trained singer and most of her songs were sung by Saraswati Rane (and few songs by other singers), though on the records and in HFGK, Vanmala’s name is given as singer, as per the system of those times. Enjoy the song….
Song-Main to jaanoongee haan haan jaanoongee(Charnon Ki Daasi)(1941) Singers- Saraswati Rane, Master Avinash, Lyricist- Pt. Anand Kumar, MD- Annasaheb Mainkar
Lyrics
main to jaanoongee
haan haan jaanoongee
main to jaanoongee
haan haan jaanoongee
chhuo chunree ka chhor jab jaanoongee
chhuo chunree ka chhor jab jaanoongee
jaanoongee
jaanoongee
main to jaanoongee
jaanoongee
aana Jamuna kee oar
aana Jamuna kee oar
dekhoon chunree ka chhor
dekhoon chunree ka chhor
cheer har loon to kunjon mein mat karna shor
main to aaoongee
cheer har loon to kunjon mein mat karna shor
main to aaoongee
main to aaoongee
raat mein aaoongee
main to aaoongee
raat mein aaoongee
chhoona chunree ka chhor main to aaoongee
chhoona chunree ka chhor main to aaoongee
aaoongee
aaoongee
main to aaoongee
aaoongee
sakhee goonj uthhaa dekho nandan ban
sakhee goonj uthhaa dekho nandan ban
sun preet kee raag mein bansee kee dhun
haan
goonj uthha dekho nandan ban
sun preet kee raag mein bansee kee dhun
piya bansee kee dhun sun naachaa hai man
piya bansee kee dhun sun naachaa hai man
naachoongee
haan haan naachoongee
main to naachoongee
haan haan naachoongee
main to naachoongee
haan haan naachoongee
jiya teree hee nachaayee
jiya teree hee nachaayee
main to naachoongee
naachoongee
naachoongee
main to naachoongee
naachoongee
naachoongee
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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