Kaanha sabko mohey mangal roop tumhaara
Posted by: Atul on: November 8, 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 an 87 year old film – Gopal Krishna-1938.
The film was made by Prabhat Film Company, Poona. It was directed by Vishnupant Damle and S.Fattelal. Master Krishna Rao Phulambrikar gave the music to all the 14 songs written by Kavi Anuj. The cast of the film included Ram Marathe, Shanta Apte, Parshuram, Pralhad, Ulhas and many others.
In the early era of Talkie films, the Film Companies which were well known were Imperial, New Theatres, British Dominion, Kohinoor, Krishna, Maharashtra, Ranjit, Saraswati, Sharada film co. etc. Most of these companies continued from the silent era. Slowly many film companies stopped or got merged with existing companies.But one name stood out even in those days and that was PRABHAT FILM COMPANY.
Prabhat was established in 1929 at Kolhapur by a group of dedicated professionals. It included V. Shantaram, Fatelal, Damle, Dhaiber(till 1937 and then it was Baburao Pai in his place), and S.B.Kulkarni-the financier. In 1933 Prabhat shifted to Poona and built an uptodate huge studio having 4 floors with 6 set capability. After V.Shantaram left in 1942 and Damle became very ill, Prabhat saw bad days. Around early 1950 it stopped working, was auctioned in 1952 and finally closed down formally on 13-10-1953.
Prabhat had made 6 silent films and 45 Talkie films in its time. Prabhat which had its glorious days in the 30s and 40s has given the world cinema some of the most renowned films of the early Talkie era.The significant factor of PF classics was the variety of genres in which its films were made. Never at the beginning of the Talkie era (not only in India, but worldwide too) had filmmakers tried to tackle such a variety of subjects to create social awareness.It is a matter of great pride for Indian Cinema to go down memory lane and acknowledge this fact.
At a time when Indian filmmakers were making Mythological and Historical films-which were based on similar plays-,Prabhat chose subjects which were sensitive,explosive and controversial for the society.These films dealt with subjects like abolition of human and Animal sacrifices, Untouchability, Women’s emancipation, Notions of Bhakti, Evil of forced marriages and eradication of prostitution, through films like, Amrit Manthan, Dharmatma, Amarjyoti, Sant Tukaram, Duniya Na Mane, Aadmi, Padosi, Ramshastri and others.
Prabhat was run by a team of dedicated artists,directors and technical staff.They were experts of world standards in their fields. This prompted Prabhat to make a film on an imaginary planet with a different type of story. Even there the humans had usual feelings and hence the film had an engrossing story. The film was “Wahan”- 1937. Remember, the Talkie was only 6 year old and making an experimental film was a challenge, but Prabhat did it.
They produced 6 silent films, Gopalkrishna-1929, Khooni Khanjar, Rani saheba and Udaykaal in 1930 and Zuloom and Chandrasena in 1931.
When Talkies started, Prabhat also jumped into the bandwagon and made “Ayodhya ka raja(Ayodhecha Raja in Marathi)-1932. As per Harmandir Singh Hamraz ji, 24 films were made in 1931. None of these are available now. ” Ayodhya ka Raja ‘-1932 is the oldest Talkie film available today in India. That way, barring 1 or 2, almost all Prabhat films are now available.
When Prabhat was to be established, the partners started thinking of a Logo/Emblem for the company. Use of TUTARI was agreed upon in it, by all. Tutari is a Blow wind instrument of music, which is typical in Maharashtra. Right from Shivaji’s times Tutari is used for all auspicious functions. It is also a symbol of valour. Even today all Government cultural programmes in Maharashtra start with blowing of Tutari first. Traditionally, this instrument, needing considerable lung power, is used by men only. Commensurate with Prabhat’s style of being different from others, it was decided to use a lady blowing Tutari-instead a man. Gulab Bai alias Kamaladevi,who was working with Maharashtra Film co. then, was selected for this and the shooting of the famous logo was completed.
This Gulabbai alias Kamala Devi started her career with silent film ‘Sairandhri’ in 1919,made by Maharashtra Film company. Later she did 15 silent films. After joining Prabhat, she married one of its partners-Shaikh Fatehlal.
Prabhat started its victory run by producing winners after winners. Ayodhyecha Raja, Jalti Nishani, Maya Machhindra, Sairandhri, Amrit Manthan, Chandrasena, Dharmatma, Rajput Ramani, Amar Jyoti, Wahaan, Duniya na Maane, Gopalkrishna, Aadmi, Sant Dnyaneshwar, Padosi etc etc…
In 1942, V.Shantaram left Prabhat to establish his own Rajkamal Chitra Mandir in 1943. Along with him, few of his near ones also left Prabhat. This was the beginning of Prabhat’s end.
Gopalkrishna-38 was a film made after successful films like Sant Tukaram and Duniya na maane and just before another masterpiece Aadmi. Normally Prabhat films were directed by Shantaram, but this film was directed by Vishnupant Damle and Fatehlal. By this time, Prabhat had already moved to Poona and had vast open spaces for shooting. The studio was situated in the Erandwane area which was uninhabited then. Wild animals like Foxes and wolves visited in the nights. Snakes and scorpions were common.
The film actually was a remake of Prabhat’s first silent film,” Gopal Krishna “-1929, which meant that the company was on safe grounds. Master Krishna Rao was the Music Director, who composed 14 songs for this film, sung by Shanta Hublikar, Shanta Apte, Ram Marathe and Parshuram.
In those days Prabhat Records were made specially with the Logo of Prabhat and the singer’s photo, along with singer’s and music Director’s names printed on the label. Because of this, Prabhat Records were distinguishable from the records of companies like HMV, Columbia, Young India, Twin etc.
The story of Gopalkrishna-38 was written in such a way that from the dialogues, at times,there was a message to Indian people to wake up against the Tyrants(the British). The film did not depend too much on Krishna’s miracles except a few major events. The story tried to describe and paint a positive picture of village life(probably,in consonance with Gandhiji’s views on Villages being Nation’s builders.), an all inclusive village population and the antics of naughty Krishna in his childhood.
The character of PENDYA,is to be found only in the Maharashtrian version of Krishna’s childhood. It is not found in any other languages as far as I know.The child actor Parshuram,who was adept in singing too, was Shantaram’s discovery. Later he had also left Prabhat after Shantaram and did a role in almost every Rajkamal film,till he spoiled and lost his life due to drinks.
Gopalkrishna depicted the childhood life of Krishna( Ram Marathe) in Gokul. The king of Mathura (maternal uncle of Krishna,in relation) Kansa-played by Ganapatrao- also ruled Gokul. He was the killer of the first 7 siblings of Krishna,after their births,while Vasudev and Devki were in his jail. He also wanted to kill Krishna (because he knew he would destroy Kansa one day),but all his efforts so far had been foiled.
The various incidents in the film are taken from Bhagwat Puran and Vishnu Puran. Once Kansa sends his Commander in chief Keshi Rakshasa -played by Haribhau- in disguise to capture and kill Krishna,but Krishna’s lame fast friend Pendya and others expose him and he is killed by Krishna. Angered by this, Kansa finally,with his magical powers,creates heavy rains and floods in Gokul so that all people and cattle die in it. Krishna however,lifts the mountain Gowardhan on his little finger of left hand to make it an umbrella for the people and cattle. This is how Krishna got his name ‘Gowardhan Giridhari’.
For various shots in the film Prabhat wanted hundreds of cows,which were not available in Poona. Here more buffaloes were available. The search team of Prabhat found several herds of cows in Dombivali, near Bombay. These cows were hired on a daily basis from their Tabelas (stables) and brought to Poona in a special train,for shooting. Such was the commitment of Prabhat in those days for reality in films.
With all the child pranks, melodious music and trick scenes, no wonder Gopalkrishna became a family favourite film in those days. (My thanks are due to Shri Rajan Parrikar, Dhunon ki yatra, Marathi Cinema in Retrospect, HFGK,LB,Dr.R K Verma’s book and my notes for information used here).
One of the directors of this film was Vishnupant Damle. VISHNU GOVIND DAMLE (14 October 1892 – 5 July 1945) was a production designer, cinematographer, film director and sound engineer for Marathi films. He was born in Pen, dist.Raigad,Maharashtra, on 14-10-1892. Being the son of a middle class family, he could not have much education. Seeing his interest in Painting, he was trained in that but he failed to pass the examination. Finally he was sent to Kolhapur to learn from Baburao Painter and his brother Anand Rao. He started assisting them in painting the Drama sets and posters etc.
When Baburao painter established Maharashtra Film Company in Kolhapur, Damle joined it as an assistant. Along with S.Fatelal, he worked as a Cameraman for 19 Silent films. He directed the silent film ” Maharathi karna”-1928 along with Fatelal.The film got rave reviews and was compared with Ben Hur also later on. This enhanced his confidence. Along with Fatelal, Shantaram and Dhaiber, he started Prabhat Film company. A Gold Jeweller of Kolhapur-Sitaram Kulkarni gave the capital.
Shantaram looked after Direction and Editing and Damle and Fatelal the other matters. Prabhat made 6 Silent films and a few Talkie films in Kolhapur. Damle did the Sound recording of all films including the first marathi talkie ” Ayodhyecha Raja”-1932. In 1933, Prabhat shifted to Poona and Damle looked after the setting up at the new place .
When Shantaram left Prabhat in 1942, it was Damle and Fatelal who handled Prabhat. A light film ” Daha Vajta ” (Dus Baje) was made with Raja Nene as a Director. Though Damle was not keeping good Health, they made a big budget film “Ram Shastri”-44, first with Raja Nene and then with Vishram Bedekar. After this film, Damle died after a prolonged illness on 5-7-1945.
As a director at Prabhat Film Company Damle, he and Fattelal created the “saints” films, such as Sant Tukaram (1936), which was declared one of the three top films at the Venice Film Festival and received a special mention. His last film was Sant Sakhu (1941).His 1937 film Sant Tukaram was the first Indian film to be screened at an international film festival. It won a “Special Recommendation” at the 5th Venice International Film Festival.
Film Ayodyecha Raja, produced by Prabhat Film Company, in 1932 had Damle as its sound recordist. This is the first available talkie film of the Indian film industry.
Damle- Fattelal duo had done cinematography for Prabhat’s following silent films
Gopal Krishna 1929
Khooni Khanjar 1930
Rani Sahiba aka Bajarbattu 1930
Udaykal 1930
Chandrasena 1931
Julum 1931
Damle had done sound recording of following films produced by Prabhat
Ayodhyecha Raja 1932
Agni Kankan – Jalti Nishani in Hindi 1932
Maya Machindra 1932
Sinhagad 1933
Sairandhri 1933
Amrit Manthan 1934
Chandrasena 1935
Dharmatma 1935
Films directed by Damle And Fattelal duo in Prabhat film company
Sant Tukaram year 1936
Sant Dyneshwar year 1940
Gopal Krishna year 1938
Ramshastri year 1944
Sant Sakhu year 1942
( information is culled from Rajkamal Archives, Wiki and HFGK, muVyz and my notes, all with thanks.)
Here is a song from this film, sung by Shanta Apte. Enjoy the old stage drama style singing….
Song- Kaanha sab ko mohey mangal roop tumhaara (Gopal Krishna)(1938) Singer- Shanta Apte, Lyricist- S.L.Shrivastav ‘Anuj’, MD- Master Krishna Rao Phulambrikar
Lyrics
Kaanha sabko mohey
Kaanha sabko mohey
mangal roop tumhaara re
mangal roop tumhaara
Kaanha sabko mohey
mangal roop tumhara re
mangal roop tumhaara
leelaadhar manhar ghanshyam
leelaadhar manhar ghanshyam
shambh niraamay tum saakaar
kusum kalee se bhee sukumar
kusum kalee se bhee sukumar
mukt hua man mera aa
mukt hua man mera aa
mangal roop tumhaara re
mangal roop tumhaara
Kaanha sabko mohey ae ae
mangal roop tumhaara re
mangal roop tumhaara
mangal roop tumhaara re
mangal roop tumhaara re
mangal roop tumhaara re
mangal roop tumhaara
kripa karo
paap haro
kripa karo
paap haro
vinashahu maaya
vinashahu maaya
vinashahu maaya
paawan kar jag saara re
paawan kar jag saara aa aa
paawan kar jag saara
Kaanha sabko mohey
Kaanha sabko mohey
Kaanha sabko mohey ae
mangal roop tumhaara re
mangal roop tumhaara
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