Ae ho dhoye Mahobe ghaat
Posted on: September 30, 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 Pukar-1939.
The film was made by Minerva Movietone, Bombay. It was directed by the owner of the banner, Sohrab Modi himself. The lyricist was Syed Amir Hyder Kamaal Amrohi or simply Kamaal Amrohi, who became famous as a producer, director and a poet in later years. One of the points of his fame was that he had married Meena kumari. His surname was actually Naqvi which he never used and opted for highlighting his home town Amroha. he was also a screenplay writer, a Dialogue and storywriter. His famous films were Mahal-1949 and Pakeezah-1972. Meena Kumari- his 3rd wife died soon after the film Pakeezah was made. They had already separated in 1964 after 12 years of married life.
The Music Director was Meer Sahib. Meer Sahib joined Minerva in 1937 and gave music to its first film ‘Atma Tarang’ (1937). Though this film was a flop, he was continued to give music to few more Minerva films like ‘Vaasanti’, ‘Jailor’ and ‘Divorce’ in 1938, ‘Pukar’ (1939), ‘Main Haari’ (1940), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942), and ‘Patharon Ka Saudagar’ (1944), either solely or with other MDs.
When Meer Sahib was giving music to an outside film ‘Bahadur Kisan’ (1938), his assistant was C Ramchandra during this period. He became very friendly with Master Bhagwan who was the film’s director, hero and a singer too. Meer Sahib was an expert in classical music, but he used to forget tunes.
The cast of the film included Sohrab Modi, Chandra Mohan, Naseem bano, Sheela, Sardar Akhtar, Sadiq Ali, Zillobai, Ram apte and others. Film PUKAR-1939 was an iconic film. It had the most beautiful heroine Naseem Bano, the most handsome Hero Chandramohan and the master of Dialogues Sohrab Modi. Set in a Mughal background it was a tale of Love, Revenge, Justice and Compromise. Modi became famous for his long and solid dialogues from this film and later he ensured that he got only those roles which had ample scope for Dialoguebazi which was his strength. In those days, like many others, we used to see Minerva films only for Modi’s solid dialogue delivery. I saw Pukar in the late-almost end of the 40s and was terribly impressed with Modi’s dialogues rather than the beauty of Naseem Bano !
Sohrab Modi was a very strong person mentally. One can know how to learn lessons from failures and still be successful. At the same time, from his bio one learns that if you do not change as per the need of the times, you can not continue being successful. Being strong is very good, but one must also be flexible to adapt to new situations, lest he fails.
Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For a few years he stayed in the Parsi community in Bombay. Sohrab Modi’s childhood was spent with a lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and a few times he was also hospitalized. Due to which he looked tall but he was thin. But later he was very active. In school he was an average student, he never got hooked on History. Many times a teacher complained to his parents for his lagging behind in history subjects. His parents turned all the stones to make him study but it all went in waste. But Sohrab was good at sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.
At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.
In the beginning, Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as a Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jehangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.
In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one hand, ‘Alam Ara’ was a big leap for Bollywood. But on the other hand, the introduction of sound in movies created a very big crack in the theatre business. People started getting interested in watching movies rather than watching theatre plays. To save theatre art, the Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.
Sohrab Modi’s talents soon reached the ears of ‘Dadasaheb Phalke’. Though Sohrab Modi had worked in a few silent movies before, Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the Great’.
Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.
Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi from acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.
Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films, did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.
Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramakrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.
This gave a lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.
His early films at Minerva dealt with contemporary social issues such as alcoholism in Meetha Zaher (1938) and the right of Hindu women to divorce in Divorce (1938). Though the films did well, what attracted Modi was the historic genre. Minerva Movietone is now famous for it’s trilogy of historical spectaculars that were to follow – Pukar (1939), Sikandar (1941) and Prithvi Vallabh (1943), wherein Modi made the most of his gift for grandiloquence to encapsulate all that is grand about Indian History.
Pukar was set in the court of the Mughal Emperor Jehangir and is based on an incident, which is perhaps historically untrue, to highlight Jehangir’s fair sense of justice. Many of the key scenes were staged in the magnificent courts and palaces of the Mughals that gave the film an authenticity that studio built sets could never achieve. The charisma of its stars Chandramohan and Naseem Banu and the oratory dialogue by Kamal Amrohi with its literary flourish and innate grace ensured the film’s popularity.
Perhaps Modi’s greatest film was Sikandar which immortalized Prithviraj Kapoor playing the title role. This epic film was set in 326 BC when Alexander the Great, having conquered Persia and the Kabul Valley, descends to the Indian border at Jhelum and encounters Porus (Modi) who stops the advance with his troops. Sikander’s lavish mounting, huge sets and production values equalled the Best of Hollywood then particularly for its rousing and spectacular battle scenes.
Its dramatic, declamatory dialogues gave both Prithviraj Kapoor and Sohrab Modi free reign to their histrionic proclivities. Its appeal to nationalism was so great and direct that it remained popular for years. It was revived in Delhi in 1961 during the Indian March into Goa.
Prithvi Vallabh was based on KM Munshi’s novel of the same name published in 1920. The film’s major highlights were the confrontations between Modi and Durga Khote, the haughty queen Mrinalvati who tries to humiliate him publicly but then falls in love with him.
In 1946 after his relationship with Naseem had run its course (though she still worked with him in Sheesh Mahal (1950) and Nausherwan-e-Adil (1957)), he married actress Mehtab who was 20 years younger than him and whom he directed in Parakh (1944) and India’s first film in technicolour, Jhansi ki Rani (1953). Sadly, the film failed to connect with the audience and was a costly misfire for Modi as it crashed at the box-office.
Modi however bounced back with Mirza Ghalib (1954). The film, based on the life of the great Indian poet who lived during the reign of Bahadur Shah Zafar, the last of the Mughal Emperors, won the President’s Gold Medal for Best Feature Film of 1954. The film beautifully captured the mood of the period, its hedonistic pursuits and the fading magnificence of the court of the last Mughal where poets like Zauq, Momin, Tishna, Shefta and Ghalib assembled to recite their verse. Mirza Ghalib also saw Suraiya’s finest dramatic performance as she made alive and vivid the role of the married Ghalib’s lover, a courtesan. Ghalib also saw some of her finest singing – Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Hamari Kismat etc. Her singing is till date regarded as the definitive Ghalibin Hindi cinema. In fact India’s then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her she had brought Mirza Ghalib to life. (Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya).
Though Kundan (1955), Nausherwan-e-Adil and Jailor (1958) had their moments, particularly the latter where Modi gave a chilling portrayal of a rational man turned into a tyrant, Modi’s decline had begun. The slide proved irreversible.
Renowned for big budget historical films, Minerva benefited from the Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.
In 1944, Central Studio signed Mehtab for their film “Parakh”. Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film “Ek Din Ka Sultan” opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.
Mehtab did few films after marriage like “Behram Khan” (1946), “Saathi” (1946), Shama (1946). Her last major film was “Jhansi Ki Rani” (1953). (She did a small role in the film Samay Bada Balwan-69.) Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in a total of 40 films. Sohrab Modi acted in 32 films. First was Hamlet-35 and the last was Razia Sultan–83.He directed 27 films. First was Hamlet-35 and the last was Meena Kumari ki Amar Kahani-81.
Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuffe Parade, Mumbai till her death. She died on 8-4-1997. ( I thank Upperstall for some information used herein, and the book ‘ Hero ‘ Vol 1 by Ashok Raj and my notes.)
The story of PUKAR-1939 was-
The story of Pukar was based on two separate phantasmagorias, set in the harsh Mughal Emperor Jehangir’s court (Jehangir’s role was played by Chandra Mohan). The first involved Mangal Singh (Sadiq Ali) and Kanwar (Sheela) in which a violent feud raged between their families, and the second related to Emperor Jehangir and the Empress Noor Jehan (Naseem Bano). History also tells us that as Prince Saleem, Jehangir manoeuvred the murder of Sher Afghan, the Governor of Bengal in Mughal India to allow him to marry his beautiful widow. History also reveals that the Emperor Akbar, after coming to know of his son’s deep interest in Noor Jehan had her hastily married to Sher Afghan to keep her away from Prince Saleem. This aspect of history was totally ignored by the producer/director Sohrab Modi and his scriptwriter Kamal Amrohi.
As the story develops in the film, Mangal kills the brother and father of his lover. Mangal’s father, the loyal Rajput chieftain Sangram Singh (played by Modi) captures his son, presenting him before Emperor Jehangir, who condemns him to death. Jehangir’s claim that the law knew no distinction of class is put to test when a washerwoman (Sardar Akhter) accuses Queen Noor Jehan of having inadvertently killed her husband during a hunt. Emperor Jehangir offers his own life but the washerwoman magnanimously forgives him. The Empress and the Emperor in turn pardon Mangal Singh, thus unwittingly proving that class position did count after all. Their acts also obliquely suggest that the death penalty should never have been applied. The film became known mainly for its spectacular scenes of palace grandeur and the bewitching beauty of Naseem Bano.
Here is a 86 year old video song from this film, sung by Sardar Akhtar, an unknown male voice and chorus. It is filmed on her and others on the screen. Enjoy….
Song-Ae ho dhoye mahobe ghat (Pukaar)(1939) Singer-Sardar Akhtar, unknown male voice, Lyricist-Kamaal Amrohi, MD-Meer Saheb
Chorus
Lyrics
ae ho
dhoye mahobe ghaat
ae ho
dhoye mahobe ghaat
dhobiya re dhobiya
kahaan tumhaaro yaunan kaunan
kahaan tumharo ghaat
ae ho kahaan tumhaaro ghaat
ae ho kahaan tumhaaro ghaat
mirzapur mein aunan kaunan
wahin hamaaro ghaat
ae ho
wahin hamaaro ghaat
ae ho
wahin hamaaro ghaat
siyo ram siyo ram siyo ram
siyo ram siyo ram siyo ram
dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
ho chaandee kee nadiya mein dhoban ki angiya
chandi ki nadiya mein dhoban kee angiya
dhoye re dhoye re mal-mal dhobiya
dhoye re dhoye re mal-mal dhobiya
cham-cham chamkegee angiya pahin ke
cham-cham chamkegee angiya pahin ke
barsenge chundree pe taare gagan ke
barsenge chundree pe taare gagan ke
dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
sundree re sundree
sajo tumhaaro pyaaro joban
sajo tumhaaro thaat
ae ho sajo tumhaaro thhaat
ae ho sajo tumhaaro thhaat
hamra tumhra bandhe re baandhan
hamra tumhra bandhe re baandhan
chale niraale ghaat
ae ho chale niraale ghaat
ae ho chale niraale ghaat
siyo ram siyo ram siyo ram
siyo ram siyo ram siyo ram
dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
ho more dhobiya ki pagdee puraanee
ho more dhobiya ki pagdee puraanee
pagdee puraanee ko dhoye maharaanee
pagdee puraanee ko dhoye maharaanee
pagdee kee chunnat mein angiya lipat gayee
pagdee kee chunnat mein angiya lipat gayee
dhobiya kee godee mein raanee simat gayee
dhobiya kee godi mein raanee simat gayee
dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
ae ho dhoye mahobe ghaat
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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