Shabaab aane se pahle…nazar bhar raama taka bhee na jaaye
Posted on: September 26, 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 the film Karigar-1958. The film was produced and directed by Vasant Joglekar, for his own banner Panchdeep Chitra, Bombay. Music was by C.Ramchandra. 7 songs were by Rajendra krishna and 1 song was written by Bharat Vyas. The cast of the film included Ashok Kumar, Nirupa Roy, Om Prakash, Lalita Pawar, Jahagirdar, Sumati Gupte (wife of director Vasant Joglekar), Nana Palshikar, Helen, Minu Mumtaz, Madhu Apte etc. Guest artist was Agha.
The prominent films of 1958 were Madhumati, Chalti ka naam gaadi, Yahudi, Phir subah hogi, Sadhna, Fagun, Parvarish, kala Pani, Howrah Bridge, Dilli ka thug, Al Hilal, Aji bas shukriya, Jailor, Lala Rukh, Light House, Mausi, Mujrim, Panchayat, Post box 999, Ragini, Samrat Chandragupta, Sitaron se aagey, Sone ki Chididya, Suvarna Sundari and Zimbo.
All Major actors Raj Kapoor, Dev Anand and Dilip Kumar, Ashok Kumar, Rajendra Kumar, Kishore Kumar etc had their jubilee films in this year.
Some notable films were Sadhana-which had taken inspiration from Shantaram’s film Aadmi-1939, Al Hilal- a C grade film which became immortal due to one qawali ”Hamen to loot liya”, Jailor-Sohrab Modi’s remake of his own film Jailor of 1938 and Yahudi- based on the Parsee costume drama of Agha Hashr Kashmiri, which was filmed in 1933 earlier. Like this one, Bimal Rai had also remade New Theatre’s ‘Devdas’-35 also in 1955. Usually remakes are not successful, but these two remakes by Bimal Roy became popular, just like Mehboobs remake of ‘Aurat’-42 in ‘Mother India’-57.
Bimal Roy’s film on Rebirth or Reincarnation,’ Madhumati’ Was yet another Blockbuster. Incidentally, in both films, Dilip Kumar was the lead actor. The Neo- Socialists, some with IPTA background, came with a bang with “Phir subah hogi”. It was based on the Russian novel Crime and Punishment By Dostoyevsky. The combination of Khayyam, Sahir, Mukesh and Raj Kapoor provided excellent meaningful lyrics and songs. Raj Khosla established himself with Dev Anand’s ‘Kala Pani’. The team of Dev, S D Burman, Rafi and Majrooh was a perfect match in music for ‘Phir subah hogi’.
Entertainers like Parvarish, Ghar sansar, Dilli ka Thug and Howrah Bridge along with the all time hilarious hit ‘Chalti ka naam gaadi’ made the year almost a carry forward of 1957 with equal vigour and variety. 1958 also marked the death of old timer Yakub. Shashi kapoor and Jeniffer got married on 2nd july this year.
Film karigar was not considered as a successful film of 1958, but it was also not a flop. In those days Ashok Kumar was a hot favourite. This was one of the films where Ashok Kumar had completely overshadowed all other actors of the film. This film was made in the days when special scripts were written for Ashok Kumar and he used to work in as many as 30 films at a time !
Ashok Kumar was a very clever actor. He was also a fine survivor. Every time there was a change in the external circumstances, he shifted to a different Role type to survive. That is the reason he could remain on the Silver screen from 1936 to 1997-a cool period of 61 years !.
During the period of 33 years, from 1956 to 1989 he co-starred with Nirupa Roy in 21 films-the highest with one Heroine, for Ashok Kumar.
In the 1960’s decade, he turned to serious elderly roles from Kanoon onwards. Some of his films were Kalpana, Dharmaputra, Aarti, Bandini, Yeh raaste hain pyar ke, Grihasthi etc.
In the phase of 70s, he did light comedy roles in films like Victoria No.203, Chhoti si Baat, Khoobsurat etc. from Sambandh-82, he fully shifted to senior citizen roles like in Shakti, Farishta, Duniya, Shatru etc.
In all, he acted in more than 300 films and produced 4 films. He was very fond of good food, Homeopathy, Astrology and poultry farming ( He owned a few poultry farms on Bombay-Poona road in those days).
Somewhere in 1982, I had the opportunity to meet Ashok Kumar personally, along with his close friend writer/lyricist Madhup Sharma. I too was an Astrology enthusiast, having completed the ‘Jyotish praveen’ Diploma from Poona, so we had a lot of discussions on Astrology, cinema and poultry. He hosted lunch for us that day. My photographs with him are my valued treasures.
1958 was a very bad year for the film’s music director C.Ramchandra. It was in this year that he lost a good friend of 15 years- Rajendra krishna, due to a misunderstanding and they never worked together thereafter. In addition, Rajendra Krishna tried to wean away South producers from calling C.Ramchandra for music direction. His relationship with Lata Mangeshkar also came to an end this year and she stopped singing for him. They both had different stories for their split. God knows the truth ! Anyway, from this year he stopped getting any film from the south as well as less films in Bombay. He got only B and C grade films. He also depended upon his stage shows in India and abroad.
One interesting actor in this film was Nana Palshikar. Nana Palshikar aka Narayan Balwant Palshikar (20-5-1908 – 1 June 1984) was a film actor who appeared in over 125 Hindi films. He made his film debut in 1935 with Dhuandhar, and went on to play character roles in both Hindi mainstream and New wave films. He was also cast in small parts in a few international productions such as Maya (1966), The Guru (1969) and Gandhi (1982). Palshikar was awarded the Filmfare Award for Best Supporting Actor twice, in 1962 and 1965. He was recognised with an award in the same category by the Bengal Film Journalists’ Association in 1965.
Palshikar made his first film appearance in 1935 along with Leela Chitnis in Sukumar Chatterjee’s Dhuandhar. He appeared in two more films in this decade, Kangan and Durga (1939), both of which were produced at the Bombay Talkies production house and were the two final films directed by German director Franz Osten.
After a long break of 14 years, during which he appeared only in two films Bahurani (1940) and Maali-44, he returned to the screen in Bimal Roy’s 1953 picture Do Bigha Zamin (Two Acres of Land), in which he played Dhangu Maheto, alongside actors such as Balraj Sahni and Nirupa Roy. The film was a major critical success and won several national and international honours. He followed it with supporting roles in other successful films of this decade, such as V. Shantaram’s Jhanak Jhanak Payal Baaje, Bimal Roy’s Devdas, Raj Kapoor’s Shree 420, Sombhu Mitra’s Jagte Raho and Hrishikesh Mukherjee’s Anari.
In 1960, Palshikar appeared in Kanoon, a courtroom drama involving a murder case. Directed by B. R. Chopra, the film saw Palshikar playing Kaalia, a petty thief who is caught and charged with murder for no fault of his own. Palshikar’s performance earned him his first Filmfare Award for Best Supporting Actor. In a retrospective review in 2009, The Hindu noted: “the star of the second half is Nana Palshikar, who slips into the role of a petty thief with a commanding performance.”
In 1963, Palshikar appeared in Khwaja Ahmad Abbas’s Shehar Aur Sapna (The City and The Dreams). It is a social film which portrays the struggle of pavement dwellers in the backdrop of rapid industrialisation. The film, a love story that takes place in a drain pipe, received the President’s Gold Medal Award and the National Film Award for Best Feature Film. Palshikar’s performance as Johnny earned him his second Filmfare Award for Best Supporting Actor, and he was acknowledged as Best Supporting Actor (Hindi) by the Bengal Film Journalists’ Association.
John Berry’s Maya (1966) saw Palshikar playing Sajid Khan’s father. In 1969, James Ivory cast him in the foreign co-production The Guru. Ivory said: “I didn’t know a great deal about him when we cast him… He was said to be a very good actor, which I took on faith.” Judith Crist from the New York Magazine described his small part of “The Guru’s Guru” in the film as “an unforgettable cameo”.
In the 1970s, Palshikar continued to portray father figures or authoritative characters such as judges. For instance, he played a father in many films such as B. R. Chopra’s Dhund, based on Agatha Christie’s play The Unexpected Guest in 1973 and Yaaron Ka Yaar in 1977. However, these roles were generally relatively minor and he was often uncredited for his performances, such as his role as a judge in Jwar Bhata in 1972.
He continued playing a father into the 1980s, appearing in Aakrosh (1980), playing Om Puri’s dad. His last major film was in the epic film Gandhi in 1982, a Richard Attenborough directed biographical film based on the life of Mohandas Gandhi, who led the nonviolent resistance movement against British colonial rule in India during the first half of the 20th century. However, his role was very minor, playing a villager. His last appearance was in the film Kanoon Kya Karega, again playing a parent.
Nana Palshikar acted in 126 films in all. Not many people know that he had written a song in the film Maali-1944.
He died on 1 June 1984 in Bombay, aged 77. ( Thanks to Cinerang by Isak Mujawar for this post along with muVyz, wiki and my notes.)
The story of this film was….
The story and screenplay was by G.D.Madgulkar-a noted Marathi writer/poet/actor known as GADIMA (his initials) in the cine circle and general public.His first film as a writer was Matwala Shayar Ramjoshi-1947 and he did write about 20 films including some landmark films like Do aankhen Baara haath,Toofan aur Diya,mausi,Vardan,Apna Hath jagannath,Chacha Chaudhary etc.The dialogue were by Sarshar Sailani(real name Bhimsain).
KAREEGAR was a melodrama depicting the troubles of Shankar (Ashok Kumar), a skilled Carpenter who has no job. One by one he sells everything in the house. His wife Parvati(Nirupa Roy) does Maid work at a Seth’s house and son does Boot Polish. He has to sell off all his tools too. When finally he does get a job, he is asked to bring his tools. He sells his wife’s ‘Mangalsutra” to get his tools.
After the first day, he gets 7 rupees and happily spends time with his son, but the Tool bag is lost. Both try to find it day and night. Shankar gets the bag, but the Police arrest him as the Bag he found contains not his Tools, but stolen jewellery and cash.
Shankar goes to prison but his son, with the help of other street urchins, traces the real thief and Shankar is released-Ba ijjat.
Today’s song is sung by one mrs. Chaand Agrawal, who seems to have sung only this song in Hindi films. No information about her is available. The song was filmed on Minu Mumtaz. Enjoy….
Song-Shabaab aane se pahle..Nazar bhar raama taka bhee na jaaye (Kaareegar)(1958) Singer-Shrimati Chand Agarwal, Lyricist- Rajinder Krishan, MD- C Ramchandra
Lyrics
shabaab aane se pahle
unka aalam aur hee kuchh thha
ada mein saadgee thhee
aur tabassum aur hee kuchh tha
hamare dekhte hee dekhte
kya inqalaab aaya
shabab aaya magar
mat poochhiye
kaisa shabaab aaya
waah waah waah
subhan Allah waah
haan aaan aan
nazar bhar raama taka bhee na jaaye
nazar bhar raama taka bhee na jaaye
ghunghatwa jo khole karejwa hilaaye
ghunghatwa jo khole karejwa hilaaye
nazar bhar raama taka bhee na jaaye
nazar bhar rama
aa aa aa
zamaane mein kahaan ab rah gaya
koi jawaab unka
subhan allah kya jawaab hai
ke ab to saamana
kartaa naheen hai ae ae
aftaab unka
aai aai o
ganeemat hai ke parde se
wo baahar kam nikalte hain aen
nikalte hain to us din
aashiqon ke dam nikalte hain
are su boliyo pising ji
haan aa aa
nazar bhar raama taka bhee na jaaye
nazar bhar raama taka bhee na jaaye
ghunghatwa jo khole karejwa hilaaye
ghunghatwa jo khole karejwa hilaaye
nazar bhar raama taka bhee na jaaye
nazar bhar raama
miyaan ye tabla to achcha bajaata hai yaar
hansee honthon pe
aankhon mein sharaarat
hamne dekhee hai
subhan allah kya sher hain
qayaamat kee kasam zinda qayaamat
hamne dekhee hai
are kya qayaamat hai
zameen ke rahne waalon ke to dil
aksar ruke honge ae ae
fariston ne jo dekha hai
to phir
wo bhee jhuke honge
arre waah waah ke bhai
maaroon takle re baaba
haan aan aan
nazar bhar raama taka bhee na jaaye
nazar bhar raama taka bhee na jaaye
ghunghatwa jo khole karejwa hilaaye
ghunghatwa jo khole karejwa hilaaye
nazar bhar raama taka bhee na jaaye
nazar bhar raama
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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