Gul e tasveer mein boo baas meree jaan kahaan
Posted on: October 1, 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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6284 | Post No. : | 19448 |
Today’s song is from an almost 90 year old film, Manzil-1936.
For a long time, I was searching for a song from this film, but none were available. Finally, I wrote to Shri Syed Jafer Shah ji and enquired if he has any song of this film, other than those already posted here. Promptly, he sent me today’s song- no.7 as per HFGK list. HFGK showed the singer’s name as Harimati, but the song sent by Jafer Bhai was sung by K.C.Dey. I pointed out this to him. He sent me the photo of the record No. 6764, which was tallying with the no. in HFGK. The film name was correct and the singer’s name was K.C.Dey. Obviously the song was correct. It seems that Harimati sang it in the film, but the record was in the voice of K.C.Dey. Or the HFGK had made a mistake in the singer’s name. Whatever it is, the song was correct as per the record number and details on it. So, no problem. Then our friend Sadanand ji Kamath uploaded it for me. Thanks to Jafer Bhai and Kamath ji.
There are various categories of films, based on the source of their story.They can be 1) Mythological 2)Historical 3) Fantasy 4)stories cooked up by the ‘story Department’
5)Films copied from/remade from other languages and 6) Films based on famous Novels,Plays or Epics written by well known authors.
The 30s belonged to 1,2 and 3 categories;the 40s and 50s to 3rd and 5th categories and 60 onwards most films based on the 4th category.
Luckily there were films from the 6th category in almost every decade(the least number from the 30s and the most from the 60s and 70s).
While there were films based on stories by authors from many languages, most such films were based on works from Bengal.
The reasons were simple. The filmmakers from and in Bengal were educated and secondly, those filmmakers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal.
One name stands out, whose works outnumber all other authors on whose novels Hindi films were made and that name is SHARAT CHANDRA CHATTOPADHYAYA(Chatterjee)-1876-1938.
Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers, friends, relatives etc. and ended with happy events. These were entertaining, surely.Some of his novels on which films were made are…
1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
13.Sabyasachi-48 (Pather Dabi)
14. Wasiyatnama-45 (Vaikunther will)
( This list is only indicative and not exhaustive)
Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).
The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.
To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be uptodate with modern times.
Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.
One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.
Manzil-36 was a story of this conflict. MAHIM (Pramathesh Barua) is a poor but educated young man.His friend Suresh(Prithviraj Kapoor) is a rich playboy.ACHALA( Jamuna ) is brought up in a modern Bramho family,who has the liberty to choose her own life partner.Both Suresh and Mahim love Achala.She chooses Mahim,impressed with his intellectual power and education,though she is also impressed with the riches of Suresh. After marriage,both move to another town.In a short time Achala gets disillusioned about Mahim,due to his poverty. She remembers Suresh.Once Mahim gets this doubt and they fight.Their relations become tense.Mahim falls ill seriously.Meanwhile Suresh arrives in that town and meets Achala.While treating and nursing Mahim,Achala is in two minds.
one day she elopes with Suresh,but in a month’s time she realises her blunder.She sees the playboy ways of Suresh and realises that he is not loving her truly.With remorse, she shows the courage to return to her husband Mahim. He also, with great magnanimity,forgives her and accepts her.Thus the traditional principles have won over the modern outlook.
Prithviraj Kapoor had done a major role in this film. Let us know more about him, because he last acted over 50 years ago. Almost 2 Generations have gone after that and so most readers may not be knowing much about his life, work and career in Indian Cinema. Prithviraj Kapoor (born Prithvinath Kapoor; 3 November 1906 – 29 May 1972) was an actor, film producer, writer, and film director, who is also considered to be one of the founding figures of Hindi cinema. He was associated with IPTA as one of its founding members and established the Prithvi Theatres in 1944 as a travelling theatre company based in Bombay.
He was the patriarch of the Kapoor family of Hindi films, four generations of which, beginning with him, have played active roles in the Hindi film industry, with the youngest generation still active in Bollywood. His father, Basheshwar Nath Kapoor, also played a short role in his movie Awara. The Government of India honoured him with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971 for his contributions towards Indian cinema.
Kapoor was born on November 3, 1906 in Samundri, Lyallpur District, Punjab into a Punjabi Hindu Khatri family. His father, Basheshwarnath Kapoor, served as a police officer in the Indian Imperial Police in the city of Peshawar, North West Frontier Province while his grandfather, Keshavmal Kapoor, was a Tehsildar in Samundri.Kapoor’s childhood was largely spent in Lyallpur, Punjab, where his grandparents and extended family lived. Later, his father was transferred to Peshawar, North West Frontier Province, and after and later at Edwardes College Peshawar in Peshawar.
Kapoor began his acting career in the theatres of Lyallpur and Peshawar. In 1928, he moved to Bombay, Bombay Presidency with a loan from an aunt. There he joined the Imperial Films Company and started acting in minor roles in movies. In 1928, he made his acting debut as an extra in his first film, Be Dhari Talwar. He went on to earn a lead role in his third film, titled Cinema Girl, which was released in 1929. After featuring in nine silent films, including Be Dhari Talwar, Cinema Girl, Sher-e-Arab and Prince Vijaykumar, Kapoor did a supporting role in India’s first film talkie, Alam Ara (1931).
In 1931 his two sons died accidentally. He left films and joined Grant Anderson Theatre company. In 1932 when they were at Calcutta, on tour, the company closed down and Kapoor decided to try luck in Calcutta. He joined New Theatres and acted in more than 12 films. He became friends with K N Singh and Kidar Sharma as well as K L Saigal. In 1939, he realised that Bengalees were preferred for roles, he left Calcutta and came back to Bombay joining Ranjit. After sometime he became a Freelancer and worked in films of Minerva, Prakash, Wadia and with Shantaram. He did Historical, Mythological, Social and Stunt films equally. After Raj Kapoor became a producer and director he acted in his films. He developed a reputation as a very fine and versatile actor on both stage and screen.
By 1944, Kapoor had the wherewithal and standing to found his own theatre group, Prithvi Theatres, whose première performance was Kalidasa’s Abhijñānaśākuntalam in 1942. His eldest son, Raj Kapoor, by 1946, had struck out on his own; the films he produced had been successful and this was also an enabling factor. Prithviraj invested in Prithvi Theatres, which staged memorable productions across India. The plays were highly influential and inspired young people to participate in the Indian independence movement and the Quit India Movement. In over 16 years of existence, the theatre staged some 2,662 performances. Prithviraj starred as the lead actor in every single show. One of his popular plays was called Pathan (1947), which was performed on stage nearly 600 times in Mumbai. It opened on 13 April 1947, and is a story of a Muslim and his Hindu friend.
As Kapoor progressed into the 50s, he gradually ceased theatre activities and accepted occasional offers from film-makers, including his own sons. He appeared with his son Raj in the 1951 film Awara as a stern judge who had thrown his own wife out of his house. Later, under his son, Shashi Kapoor, and daughter in law Jennifer Kendal, Prithvi Theatre merged with the Indian Shakespeare theatre company, “Shakespeareana”, and the company got a permanent home, with the inauguration of the Prithvi Theatre in Mumbai on 5 November 1978.
In 1996, the Golden Jubilee year of the founding of Prithvi Theatre, India Post, issued a special two Rupee commemorative postage stamp. It featured the logo of the theatre, the dates 1945–1995, and an image of Kapoor. The first day cover, (stamped 15-1-95), showed an illustration of a performance of a travelling theatre in progress, on a stage that seems fit for a travelling theatre, as Prithvi theatre was for sixteen years, till 1960. On the occasion of 100 years of the Indian cinema, another postage stamp, bearing his likeness, was released by India Post on 3 May 2013.
His filmography of this period includes Mughal-e-Azam (1960), where he gave his most memorable performance as the Mughal emperor Akbar, Harishchandra Taramati (1963) in which he played the lead role, an unforgettable performance as Porus in Sikandar-e-Azam (1965), and the stentorian grandfather in Kal Aaj Aur Kal (1971), in which he appeared with his son Raj Kapoor and grandson Randhir Kapoor. He did 95 films in Hindi. He directed one film Paisa-1957. He had also sung a song in the film Dagabaz Ashiq-1932.Kapoor starred in the legendary Punjabi film Nanak Naam Jahaz Hai (1969), a film so revered in Punjab that there were lines many kilometres long to purchase tickets.
He also starred in the Punjabi films Nanak Dukhiya Sab Sansar (1970) and Mele Mittran De (1972).
He also acted in the Kannada movie Sakshatkara (1971), directed by Kannada director Puttanna Kanagal. He acted as Rajkumar’s father in that movie.
In 1954, he was awarded the Sangeet Natak Akademi Fellowship, and in 1969, the Padma Bhushan by the Government of India. He remained a Nominated Rajya Sabha Member for eight years.
He was posthumously awarded the Dadasaheb Phalke Award for the year 1971. He was the third recipient of that award, the highest accolade in Indian cinema.
1954: Sangeet Natak Akademi Fellowship by the Sangeet Natak Akademi
1956: Sangeet Natak Akademi Award by the Sangeet Natak Akademi
1969: Padma Bhushan by the Government of India
1972: Dadasaheb Phalke Award (Posthumous) for the year 1971, for his immense contribution to Indian theatre and cinema.
Kapoor was aged 17 when he was married to 15-year-old Ramsarni Mehra, a lady of his own community and similar background, in a match arranged by their parents in the usual Indian way. The marriage was harmonious and conventional and lasted all their lives. In fact, the wedding had been held even earlier, a few years prior to this, and it was the gauna ceremony (farewell) which was celebrated when Ramsarni reached the age of 15 and became old enough to leave her parents and reside with her husband and in-laws. Ramsarni’s brother, Jugal Kishore Mehra, would later enter films.
The couple’s eldest child, Raj Kapoor, was born the following year in Peshawar, North West Frontier Province, on 14th December, 1924; making Prithviraj a father at age 18. The couple went on to have three more children: sons Shamsher Raj (Shammi) and Balbir Raj (Shashi) (who were to become famous actors and filmmakers in their own right), and daughter, Urmila Sial.
After his retirement, Prithviraj settled in a cottage called Prithvi Jhonpra near Juhu Beach, West Bombay. The property was on lease, which was bought by Shashi Kapoor, and later converted into a small, experimental theatre, the Prithvi Theatre. Both Prithviraj and Ramsarni had cancer and died about a fortnight apart. Prithviraj died on 29 May 1972. (Thanks to information from wiki, Encyclopedia of Indian Cinema and the book Beete kal ke sitare by shriram Tamrakar).
Here is the much discussed song, sung by a 32 year old blind singer K.C.Dey. Enjoy….
Song-Gul e tasveer mein boo baas meree jaan kahaan (Manzil)(1936) Singer-K C Dey, Lyricist-Arzoo Lucknowi, MD-R C Boral
Lyrics
haan aan
aan aaa
aa aa aa
haan
aa aa
haan
gul e tasweer mein aen
boo baas meree jaan kahaan
aan aan aan aan aan aan
naam ko to bahut insaan
magar insaan kahaan
haan aan
gul e tasweer mein aen
boo baas meree jaan kahaan
aan aan aan aan aan
naam ko to bahut insaan
magar insaan kahaan
aise hee hai ke jaley
ek ka ghar rikta(??) se
aise hee hai ke jaley
ae ae ae ae
aise hee hai ke jaley
ek ka ghar rikta(??) se
jo lagee aag bujha de
wo hai insaan kahaan
jo lagee aag bujha de
wo hai insaan kahaan
haan aan aan
Aarzoo sab se bura
aa aa aa aa
aa aa aa aa
Aarzoo sab se bura
aap baney maan liya
Aarzoo sab se bura
aap baney maan liya aa
aakhiri kaam to wo bhee hai
ye hai dhyaan kahaan
aakhiri kaam to we bhee hai
ye hai dhyaaan kahaaan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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