Raam Raaja Raam parja Raam ka sansaar hai
Posted by: Atul on: October 10, 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 the last song from the film Prabhu Ki Maya-1955 to feature here, making the film Yippeed !
This film was made by the well known Filmistan studios. It was directed by Vithaldas Panchotiya and the Music Director was Ravi Shankar, for whom it was his only second movie as an independent composer. He went on to do 112 Hindi films composing 796 songs. He also sang 21 songs in 18 films and in addition wrote 66 songs in 21 films as a Lyricist. So, what remained was Acting and Directing a film, which he never tried ! He also had a stint as an MD in Malayalam Films with the name ” Bombay Ravi “.
The cast of the film consisted of Prem Adib, Vithaldas Panchotia, Mubarak, P.Kailash, Kanu Roy, Master Rajkumar, Ram Avatar, Chaman Puri, Parshuram, Uma Devi and many others.
Fundamentally, Indian people are simple people who are God fearing and God loving. Indian public never gets tired of the routine.Films on Love Triangle are being made since 1931 till today though by repackaging them differently in keeping with the changing times. Though the final outcome is predictable and very well known to the viewers, these films still celebrate jubilees in the Theatres !
Similarly, all Mythological films are based on the principle of ” Satyamev jayate” or “Victory of good over the Evil”, each film presents it in different ‘dressing’ and different routes. The fights of the Gods and the Rakshasas are very interesting, because of lot of firework(literally and figuratively), Trick scenes and unimaginable get-ups of the Rakshasas ( like only one eye on the forehead, or half animal body or simply an ugly looking Giant etc ). In olden days, I remember that there used to be loud rants of “Jai Shri Ram ” or ” Har Har Mahadev” or ” Jai Krishna” within the theatre at the end of the movie- depending on who the main God of the film was.
But then, who are these Asurs, daityas or the Rakshasas ?
Their literary origins can be traced to Vedic sources through Hymn 87 of the tenth mandala of the Rig Veda. Here they are classified amongst the Yatudhanas, demonic creatures who consume the flesh of humans. It is said that Rakshasas were created from the breath of Brahma when he was asleep at the end of the Satya Yuga. As soon as they were created, they were so filled with bloodlust that they started eating Brahma himself. Brahma shouted “Rakshami!” (Sanskrit for “protect me!”) and Vishnu came to his aid, banishing to Earth all Rakshasas (thus named after Brahma’s cry for help).
The tracing back to Kashyapa is not necessarily a later edit, but is not mentioned in the dense Hymns of the Vedas because of poetic choice. The knowledge of the Rakshasa lineage traceable to Kashyapa may have been known at the time of the compilation of the Vedas, but lineages are altogether foreign from the style of the Vedas and thus would have appeared out of place. That is why the Puranas and Epics elaborate on lineages, but Vedas do not.
Kashyapa was married to the thirteen daughters of Daksha, among them were Aditi, Diti and Danu.
His sons with Danu are the Danavas
His sons with Diti are the Daityas
His sons with Aditi are the Adityas, who are considered Devas and are also called Suras.
Rakshasa were most often depicted as ugly, fierce-looking and enormous creatures with two fangs protruding down from the top of the mouth as well as sharp, claw-like fingernails. They are shown as being mean, growling like beasts and as insatiable cannibals who could smell the scent of flesh. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood with their palms or from a human skull (similar to vampires in later Western mythology). Generally they could fly, vanish, and had Mayaawi shakti (magical powers of illusion), which enabled them to change size at will and assume the form of any creature.
Aside from its treatment of unnamed rank-and-file Rakshasas, the epic tells the stories of certain members of the race who rose to prominence, some of them as heroes, most of them as villains. In the world of the Ramayana and Mahabharata, Rakshasas were a populous race of supernatural humanoids. There were both good and evil rakshasas, and as warriors they fought alongside the armies of both good and evil. They were powerful warriors, expert magicians and illusionists. As shape-changers, they could assume various physical forms, and it was not always clear whether they had a true or natural form. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the rakshasas were said to be man-eaters, and made their gleeful appearance when the slaughter on the battlefield was at its worst. Occasionally they serve as rank-and-file soldiers in the service of one or the other warlord.
Today’s film is a Religious film mixing a little of Mythology. The story of the film ” Prabhu Ki Maya” (1955) was…..
A landlord is weeping as his son has died of Snake Bite. By coincidence, Swami Atmanand is passing by. Seeing the plight of the father, he revives his son and advises the landlord not to get involved in worldly affairs and lead a detached life like Shukdev. Upon asking about the story, Swami tells the story.
Instigated and coaxed by Narada, Parvati goes to Shiv ji and requests to learn the secret of Amaratva (immortality),so that she can become Amar too. Shivji,in a good mood then, narrates the Tatva to her, but in the long discourse Parvati falls asleep and the rest of the tatva is heard by a small bird-Shukdev. When Shiv ji learns about this, he wants to destroy Shukdev. Terrified, Shukdev enters the open mouth of Vyas Muni’s wife, when she is yawning. Once inside ,he remains safe for 12 years.It takes a birth and immediately flies away in search of Bramhagyan.
Narada takes him to Vyas Muni,who teaches him and then takes him to King Janaka. While in transit Shukdev sees a Lion, killed by king Parikshit get salvation by listening to Shrimad Bhagwat. A thirsty King Parikshit goes to Shyamak muni’s ashram and asks for water. Since the Muni is in samadhi, he does not respond,so irritated, king Parikshit puts a dead snake in his neck. This is seen by Muni’s son and he curses Parikshit. To get rid of the curse he goes to Ganga maiya who sends him to Shuk Dev. After listening to Shrimad Bhagwat from Shukdev, King Parikshit goes to heaven freed from the curse.
In the cast, there are two names who caused Same Name Confusion. They are Rajkumar-the child artiste and Kanu Roy. I have written about them here as well as in my books. Then there is actor Mubarak about whom not much is written. Here is some information on him….
Mubarak Khan was born in Bombay on 29-1-1909 in a Muslim family. He was from Afghan descent. His mother died after delivery and his building contractor father also died after Mubarak was around 2-3 year old. The Parsee partner-Mr. merchant- of his father brought up Mubarak and his sister. That is how he used the Parsee surname Merchant and was known as Mubarak Merchant.
He studied upto B.A. His English was very good and it came handy in his career later on. In those days educated persons or persons from respectable families looked down upon the Film industry and they were not ready to join it. His God Father,Mr. Merchant did not want him to work in films, but he was interested. Once Mubarak, who was almost 6 feet tall, fair in complexion and with a good physique, went for a party, he was noticed by Film Director Parshwanath Altekar, who was working in Chandulal Shah’s company-Ranjit Studios. He invited Mubarak to join films and he agreed. He joined Ranjit studios and did his first silent movie- Pati Patni-1929. Director was Chandulal Shah and the lead pair was Gohar Mamajiwala and Raja Sandow.
After doing about 10 silent films with Ranjit, Imperial and Navjeevan studios, Mubarak went to Calcutta and joined Indian National Theatre. He acted in many English dramas of Shakespeare. He met and became friendly with Prithviraj Kapoor. When the Theatre company closed, Prithviraj Kapoor stayed back and joined The New Theatres, but Mubarak returned to Bombay.
By that time the Talkie had started and he got a role in the film Noorjehan-1931. However, as he could not sing, after that film he joined Anderson Theatre company doing work in Dramas again. Bhappi Soni was instrumental in bringing him back to films. He made his debut in the film Veer Kunal-1932. Due to his attractive personality,he went on getting roles after roles.
In 1938 he acted opposite Durga Khote in a bilingual film Saathi ( Savangadi in Marathi),which he had also produced. Mubarak must have worked in more than 100 films. Some of the major films of Mubarak were Kangan, Tansen, Lalkaar, Manorama, Renuka, Kismet, Tadbir, Ujala, Jhansi ki Rani, Waqt, Hamraaz etc etc. His personality was suitable for roles of Kings and Maharajas. He played the role of Samrat Akbar in Tansen-43,Maharana Pratap-46 and Anarkali-53. In Samadhi-50 he was Ashok Kumar’s brother and in Nagin -54 he was the Tribal chief. He also did many villain roles. Due to his impressive personality, for most Historical Mughal films, he became a mandatory actor.
Mubarak directed one film Bahurani-1940. The film flopped so miserably that Mubarak vowed never to direct any other film. Mubarak’s English was very good. He wrote the story and screenplay of Raj Kapoor’s film ‘Phir subah hogi-58 ‘ along with director Ramesh Sehgal. The film was based on the Russian novel, ‘Crime and Punishment ‘ by Dostoevsky.
Mubarak had a heart attack first in 1961 and again in 1964. He retired from films. Once B R Chopra came to him and offered him a role in Waqt. He declined and then on Chopra’s repeated requests he did that role. An ambulance and a doctor were kept ready during his shooting. Such was his value to the knowledgeable. After that also, he did some films but he had lost interest in working in a changed atmosphere now. His last film,I think ,must be ‘Insaniyat’.-1974.
In his last days, he was financially very bad. He lived alone in a flat of his own, but survived on donations from friends and pension from the Filmfare fund and Cine Artistes Assn. He was a bachelor. His sister had died long back. He breathed his last on 26-7-1985, at Bombay.
Today’s song is a very short one, about 2+ minutes only. It is sung by Hemant Kumar and chorus. There were 9 songs in this film, shared by Hemant Kumar- 5 solos and Asha Bhosle- 3 solos. One was their duet with the chorus. With this all songs of this film are covered and the film gets YIPPEED ! Enjoy the video song….
Song- Ram Raja Ram parja Ram ka sansaar hai (Prabhu Ki Maaya)(1955) Singer- Hemant Kumar, Lyricist- Pt. Madhur, MD- Ravi
Chorus
Raam raaja Raam parja
Raam ka sansaar hai
yatho nagaree tatho raaja
dharm par upkaar hai
Raam raaja Raam parja
Raam ka sansaar hai
yatho nagaree tatho raaja
dharm par upkaar hai
man ka panchhee tan ko pinjra chhod kar ud jaayega
man ka panchhee tan ko pinjra chhod kar ud jaayega
khet chug jaayengee chidiyaan
aur tu pachhtaayega
khet chug jaayengee chidiyaan
aur tu pachhtaayega
Raam jap le
Raam rat le
zindagee din chaar hain
bheed mein kho jaayega
Raam Raaja Raam parja
Raam ka sansaar hai
yatho nagree tatho raaja
dharm par upkaar hai
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