Marne se kya darna
Posted on: October 7, 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 a complicated film-Bindiya-1946.
There were 3 films with this title. I fail to understand why film titles are repeated so often, as if there is an acute shortage of titles. There are hundreds of such titles which are repeated from two to as many as 7 times. I have never found such repetition in Hollywood films. If at all there are any, they may be very rare cases.
Bindiya was made in 1946, 1955 and 1960. I remember writing a post on a song from the film Bindiya-1960, in which actor Om Prakash had sung a song. This was in my series of ” songs by non singers”, somewhere in the end of 2012.
I called today’s film ‘complicated’, as its storywriter seems to have combined half a dozen film themes in one film, thinking probably that it will attract the audience. I have not seen this film, but I have read the film’s review by Baburao Patel in the Film India magazine issue of August 1946. In this, as usual Baburao has fired the director, story writer and others for making such a film. Normally, I don’t like his reviews, but in this case, I tended to agree with him, after I read the lengthy review of this film after I read the story. Here is the story of the film, as condensed by our friend Shri Sadanand Kamath ji, in his post on this film in 2017.
Raja Ganesh Prasad disappears leaving his wife, a little son and a huge property to his manager, Jagdish. Over a period of time, Jagdish misappropriated the property and expelled the mother and the child. He now takes a new title, Raja Jagdish Prasad. He has a new manager, Prakash (E Billimoria) who is an ambitious and a greedy person. He has an eye over the huge property and Jyoti (Ragini), the daughter of Raja Jagdish Prasad.
As the years passed, the mother, Saraswati and the grown up son, Niranjan (Amar) devoted their time for the services of the villagers. Prakash makes the first move towards his goal by arresting a cashier of the firm on a false charge. This brings Niranjan in the direct confrontation with Prakash. After the intervention of Raja Jagdish Prasad, the cashier is let off.
During the course of the negotiation for releasing the cashier, Niranjan introduces himself as the son of Raja Ganesh Prasad which makes Raja Jagdish Prasad uncomfortable. He gets a heart attack. He decides that the property which he had misappropriated from Raja Ganesh Prasad should be given back to Niranjan. But this is not to the liking of Prakash who now plans to frame Niranjan. He also starts blackmailing Raja Jagsidh Prasad of his wrong doings.
Meanwhile Jyoti, who is now in college, suddenly finds one sadhu giving astrological predictions and tells Jyoti that she is destined to become a widow on the day of her marriage. He also gives a prediction to Prakash that he would have the blood of his father on his hand and tells another person that soon police will put chains around his wrists. This was all the handiwork of Prakash as he wanted to frame Niranjan. However, instead of Niranjan, another person is arrested by the police and chained on his wrists. So the first of Sadhu’s predictions has become true by design.Jyoti loves Prakash and is about to get married. But Prakash backs out when he comes to know that Raja Jagdish Prakash would not give him the gold during the marriage. The story now takes an unusual turn. Jyoti gets married to Nirnajan under a tree in a forest and at that very time the lightning strikes Niranajan who is deemed killed. Jyoti becomes a widow on the day of her marriage as predicted by the sadhu.
After some crying and wailing followed by singing of a song over her loss, a group of sanyasi finds Niranjan very much alive. The hero and the heroine are united. Prakash, the villain, has a change of heart thanks to the group of sanyasis, the head of which is none other than Raja Ganesh Prasad. The film ends with a happy note.
The film cast included Ragini, Amar, E.Billimoria, Pratima Devi, Leela Mishra and many others. The redeeming factor of this film was its music. The Music Director was Kamal Dasgupta- one of the best MDs Indian Cinema and the NFS field had. His contribution to the spread of and the popularity of NFS in India remains uncontested. I bow to him for this. His life story is a little depressing as he never got the fame and respect that he actually deserved. A failed marriage, migration, conversion and a sad end sums up his misfortune.
After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financiers were concerned, almost all producers and filmmakers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. The Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.
The film industry in Pakistan was never an organised one. Moreover the often changing Governments did not do anything to protect, sustain, help or develop the infrastructure of the Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.
By 2010, the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !
While Indian films were distributed in over 90 countries, there was no International market for Pakistani films.
All studios in Pakistan were in ruins and Theatres had been demolished.
Can you believe, In the entire Islamabad city, there was ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )
We heard about the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today let us talk about a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta.
It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.
Kamal Prasanna Dasgupta was born on 28-7-1912 in village Narail,Jessore district in East Bengal. He matriculated in 1928 and did his B.Com. Then he earned a doctorate in music from the Banaras Hindu University. His father Tara Prasanna died early. Kamal, his brother Subal and sister Sudhira were brought up by the eldest brother Bimal Dasgupta.
In 1935, he joined HMV as a Music Director. Here he met Kazi Nazrul Islam, who was also employed there. Kamal was a singer himself and sang many songs in Hindi, Bangla and also Tamil. He tuned almost 400 songs written by Kazi as Nazrul Geeti. It was here that he met and developed the talents of singer Juthika Roy and Jagmohan. The modern songs tuned in Rabindra and a mixed ghazal style were labelled as ” HINDUSTANI SONG ” and soon became popular all over the country. Lyricist Faiyaz Hashmi was the third person in the team of Kazi, Kamal and Faiyaz. Besides Jagmohan, Kamal Dasgupta also helped Talat Mehmood and Hemant Kumar to get established with NFS in Hindi and Bangla. His close ties with Juthika Roy were ‘special’. She wanted to marry him, but when it was clear that it was not possible, she chose not to marry at all and remained a spinster throughout her life.
He gave music in 16 Hindi films like Jawab-42, Hospital-43, Rani-43, Meghdoot-45, Arabian Nights-46, Bindiya-46, Krishna Leela-46, Pehchan-46, Zameen Aasmaan-46, Faisla-47, Giribala-47, Manmaani-47, Chandrashekhar-47, Vijay yatra-48, Iran ki ek raat-49 and Fulwari-51. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.
Kamal was a chain smoker and suffered from Gall Bladder stones. Instead of an operation, he started taking Morphine injection for pain relief, but then he became an addict. His elder brother died and all the family responsibility fell on his shoulders. He had earned a lot, but all his money was lost when his bank went bankrupt. In Calcutta, the New Theatre was almost on the verge of closing down. Arrival of new blood in the music field took focus away from him and he felt neglected. He became a depressed person. Around 1958 he migrated to Dhaka-East Pakistan. He converted to Islam, changing his name to Kamal Islam. He also married singer Firoza Begum, a convert from Jew. The got 3 sons and a daughter.
After the emergence of BanglaDesh, the Government tried to help him, but it was too late by then as he had become disillusioned and depressed. In frustration he wrote to a friend “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”
He was not on good terms with his wife. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !
The film was directed by Chimalal M. Luhar. This was his last film as a director. Today’s song is a very good song. I liked it. It was sung by the actor-singer and hero of the film – Amar.
Amar was an occasional singer. The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films,he got a major break in film Sanyasi-45,in which he sang 5 duets and 1 solo. His solo song,’ Tooti hui kashti’ became very popular.
In 1946,he was the Hero of film Bindiya, where Ragini ( who later migrated to Pakistan) was his Heroine. MD was Kamal Dasgupta, who gave him 3 songs.
Then he was Hero of Suraiya in Natak-47. He sang 1 duet with her and 2 solos. Later he did films like Maang, Lalaji, Vijay, Shukriya, Keemat etc. After 1950 he was doing character roles till 1970. He acted in 89 films and sang 18 songs in 8 films. He died in 1980.
Enjoy this good song….
Song- Marne se kya darnaaa (Bindiya)(1946) Singer- Amar, Lyricist-Pt. Madhur, MD- Kamal Dasgupta
Lyrics
marne se kya darnaaa
marne se kya darnaaa
marne se kya darna
mardon kee yahee shaan hai ke maut se ladna
mardon kee yahee shan hai ke maut se ladna
marne se kya darnaaa
kaanta ho ya kalee
ghar ho ya jhonpdi
gham ho ya ho khushee
humko hai ek see
hum khel samjhte hain aman aag pe jalna
hum khel samjhte hain aman aag pe jalna aa aa aa aa aa aa
mardon ki yahee shaan hai ke maut se ladna
marne se kya darnaaa
saagar ko sukha den
dhartee ko hila den
saagar ko sukha den
dhartee ko hila den
aakaash jala den
patthar ko rula den
aakash jala den
patthar ko rula de
hum jaante hain
hum jaante hain
duniya ke nakshe ko badalna
mardon kee yahee shaan hai ke maut se ladna
marne se kya darnaaa
jahaaan beej naheen prem ka hum ped laga de
nafrat ko muhabbat ka taraana bhee sikha den
jahaan beej naheen prem ka hum ped laga den
nafrat ko muhabbat ka taraana bhee sikha den
veeron ka yahee dharm hai
hinsa ko kuchalna
bhaarat ka yahee dharm hai
hinsa ko kuchalna
bhaarat ka yahee dharm hai
hinsa ko kuchalna
marne se kya darnaa
marne se kya darnaa
mardon kee yahee shaan hai ke maut se ladna
marne se kya darnaaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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