Aag ke saathh hawaa
Posted on: November 25, 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 Jwala-1938.
The film was made by Producer/Director Master Vinayak for his banner, Huns Pictures. Going out of his tradition, he had made a different type of film. Additionally, he continued to give the music responsibility of this film also to Classical musician – Dhamman khan, who had earlier done music for the film Chhaya-1936.
Dhamman Khan was one of those giants of classical music who had developed an urge (call it itch) to try their hand at composing film music, do a film or two and return to their own comfort zone again. Some such other examples are Bhurji Khan(Kurukshetra-33), Ameer saab(Nirdosh abla-35), Nawab Khan(Mirza sahiban-35), Wamanrao Sadolikar(Naganand-35…this is C.Ramchandra’s First film as a Hero. The film ran for just ONE day !), Abdul Kareem Khan (Maut ka Toofan-35 and Voh kaun-35), Master Giyasuddin (Typist girl-35) etc etc.
Dhamman Khan was a renowned name in classical music. Master Vinayak made him Music Director of Film Chhaya-36. Dhamman khan was impressed with Ratnaprabha and gave her 6 songs out of the total 14 songs of Chhaya. Even in the film Jwala-38,he gave her 8 songs out of the 10 total songs. In the film Chhaya he had to make non singers like Leela Chitnis and Indira Wadkar sing songs, so in Jwaala he did not opt for any other singer except Ratnaprabha, who was a trained singer herself. After two films,Chhaaya and Jwaala, Dhumman Khan returned to his classical music, never ever to come back to films in his life.
The film cast included Ratnaprabha, Chandramohan, Mandhare, Ashalata (Real name Mehrunnisa, later wife of Anil Biswas),Rajni, Master Vinayak and others.
Film Jwala-1938 story was……
Angaar (Chandramohan) is the Chief of Army, a loyal and powerful general of the king (Bulbule). he was a doting father, a loving husband and a good friend to Mangala (Ratnaprabha) and Tarang (Chandrakant). Once, when he goes hunting in the jungle, he meets an evil witch Kuntala (Ashalata) who tells him that the king will die and he will become the King. This sparks an obsession with Angaar and he starts dreaming of becoming the King. Mangala and friend Tarang try to change his mind, but to no avail. His ambition overtakes and he kills the King and declares himself as the King. The people of the kingdom revolt and back the young Prince who should be the King. Angaar becomes cruel and tries to crush the revolt. His wife Mangala and Friend Tarang leave him and join the rightful descendent the Prince in the revolt.
In the end there is a fierce battle between the oppressed and the Oppressors, in which Mangala dies and Angaar becomes fatally wounded.In that condition also he tries to reach his throne ,but dies just a few yards from it.
The Prince made the King and the people rejoice.
There are 3 noteworthy points about this film. The First is, attracted by the popularity and glamour of the film industry, like few others, Dhamman Khan made his Debut with this film. The film was made in Marathi and Hindi, like almost all films made in Kolhapur and Poona in those days in the West and Calcutta in the East (Bengali and Hindi).
Secondly, it was the first time that a noted film star from the Hindi films – Chandra Mohan – was its Hero. he also acted in its Marathi version, though he was not very fluent .(However in his subsequent Marathi films like Geeta, he spoke Marathi fluently).
Thirdly, contrary to the Indian audience’s habit of branding film stars with specific style of working and types of films he works in, Master Vinayak made this film as a Costume film, instead of his usual light comedies exposing traditional social deficiencies. This was not welcomed by the audience and the film flopped miserably, putting a burden of financial difficulties on Vinayak.
Talking of Master Vinayak, it was Shantaram who helped shape his career. In Kolhapur, the 3 families- Bhal G. Pendharkar, V Shantaram and Master Vinayak were closely related. Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.
Master Vinayak Karnataki ( 19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in the Film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V. Shantaram and his brother V.Avadhoot ( cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a Teacher in a school, but Bhalji brought him in films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company ” Hans Pictures” in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was Chhaya-36. (almost all films made by Vinayak till 47 were bilingual in Marathi and Hindi-sometimes with different Titles ( like Ardhangi in Marathi became Ghar ki rani-40 in Hindi etc.)
While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on a strong story. Therefore he used the works of Top class writers in Marathi like V.S.Khandekar, P.K.Atre, Mama Varerkar etc. ( V.S.Khandekar, later won Sahitya Akademi award, Jnanpith award, Padma Bhushan award and many honours like D.Litt etc. The Government issued a Postage stamp after his death also). Film Chhaya won many awards and was commercially successful. Dharmaveer-37 and Premveer-37 ( The Heroine in this film was Ashalata-wife of Anil Biswas). Then came the film Jwala-38, with Chandramohan in both versions-Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did 3 more Marathi films also. Unfortunately, the film Jwala was a resounding flop-not because of anything else. According to V.S.Khandekar, Vinayak had meddled with the story too much. ( this looks to be a chronic ailment of the film line !)
Vinayak fell back on comedy and made Brahmachari-38 and Brandi ki botal-39. Both were successful, but the loss due to Jwala was too big. Even one more comedy- Ghar ki rani-40 could not salvage the damage and Hans pictures was dissolved to form another company Navyug Chitrapat, with added P.K.Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to the public. ( Bombay Talkies had shares with only the directors, initially). The first film was Lapandav-40. Though successful, P.K.Atre left the company- (along with its Heroine Vanmala- his consort) and established his own company Atre Pictures.
After another comedy, Navyug made Amrit-41. In the year 1942, Navyug made the film “Pahili Mangalagaur”-42, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan- under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Vinayak left Navyug and started his own ” Prafull Pictures”. Vinayak made several Hindi and Marathi films including Badi Maa-45. Vinayak died on 19-8-1947, just 4 days after Independence.
Vinayak acted in 18 Hindi films, from Jalti Nishani-32 to film Mandir-48. He also directed 13 Hindi films, from film Nigah E Nafrat-35 (debut film of Shobhana Samarth) to film Mandir-48. He sang 22 songs in 10 films. But from film premveer-37 onwards he could not sing properly due to his tooth problems, hence Master Vasant Eric used to sing his songs for the balance 6 films, though mostly Vinayak is credited for these songs. Vinayak was a shining example of an ideal Godfather, who helped Lata Mangeshkar shape up her initial singing career, even going out of the way.
Recently I read an article which gives details of efforts by Master Vinayak( Nanda’s father) to help Lata get entry into Hindi films. Lata never forgot this help from master Vinayak,in the initial struggling period. Here is that part of the article-
” Lata Mangeshkar was born on September 28 1929 in the Holkar city of Indore. Her father Dinanath initially tutored her in music.Lata’s childhood was less stable. After Master Dinanath’s death, she was adopted by Vinayak Damodar Karnataki, a close personal friend of the Mangeshkar family, godfather to the 5 siblings, and a rather famous moviemaker in his own right (better known as Master Vinayak, and also father of movie star Nanda). Master Vinayak would play a key role in helping Lata and Asha get started with their careers.
Lata was taught by a series of accomplished musicians. She was still a child oblivious to the machinations of the movie world and still unsure as to her real mission in life. She could be a singer or an actress. Indeed, as the tradition was at the time, Lata did act and sing for movies. Lata acted in her last movie role in the early ’50s.
In 1942, Master Vinayak started his last Navyug Chitrapat movie Pahili Managalagaur, and ensured a bit part for 13-year old Lata. This, from all records, is Lata’s first stint with movies. Dada Chandekar created the music, but to the best of anyone’s knowledge, there was no Lata in any of the songs.
Master Vinayak started Pahili Managalagaur and wanted Lata to sing, but he could not finish it. However, he succeeded with Vasant Joglekar, a script writer and director at Navyug to get Lata to sing for Kiti Hasaal. Finally, one day, music director Sadashivrao Nevrekar brought the shy 13-year old into the recording studio. The Marathi song “Naachu Ya Gade Khelu Saari Mani Haus Bhari” stands as Lata’s first recording. The movie was Kiti Hasaal, and the year was 1942. The song never saw the light of day. But Master Vinayak at least sensed that the foundation had been laid for a new standard in good female singing.
In the 1942-43 period, Master Vinayak launched Prafulla Pictures, his third and last motion picture studio. He would make 6 movies under this banner. Additionally, he would direct one movie under Shantaram’s Rajkamal Kalamandir, and he would also act in Shantaram’s Dr. Kotnis Ki Amar Kahani. Of the 7 total movies created by the Master in the remaining 4 years of his life (1943-47), the first 3 were Marathi productions, and the remaining Hindi. All 7 movies made during the 1943-48 period were to star Lata Mangeshkar, although not in particularly significant roles. Thus, before he departed, Master Vinayak made sure that Lata’s entry into Bombay’s Hindi medium, if not clear, was at least visible and within reach. The rest would be up to her. In his scheme of things, his beautiful goddaughter was destined to be a great movie star and a great singer. Right or wrong, that was his belief, and he tried everything within his power to lay that groundwork.
In1945, the script-writer/director Vasant Joglekar was now directing the Hindi movie Aap Ki Sewa Mein. The movie took more than 2 years to get released, but its place in history was secured when Datta Davjekar announced the successful recording of Paa Lagoon Kar Jori Re, Shyam Mo Se Na Khelo Hori Re the first released Lata song for any Indian movie in any language. Master Vinayak set the stage for Badi Maa starring Noor Jehan with other big stars – and at the bottom of the list entered Lata and Asha Mangeshkar. Datta Koregaonkar did the music. Badi Maa has one of the best collections of Noor Jehan songs in a single movie. And hidden among these Noor Jehan gems, there is a beautiful devotional song sung by Lata, Mata Tere Charnon Mein. The piece almost went unnoticed, almost more because an almost unknown little girl called Lata Mangeshkar on an even lesser known 12-year old sang it called Asha Mangeshkar. Maata Tere Charnon Mein came close to making history. It was almost the first Lata recording to be released. Datta Davjekar just edged past it with his own Aap Ki Sewa Mein.
In 1946, Master Vinayak directed his second Hindi movie. Subhadra that introduced Lata Mangeshkar to Vasant Desai, a mainstream Music Director of Shantaram’s Rajkamal Kalamandir. Singer-actress Shanta Apte sings a beautiful duet with Lata – Main Khili Khili Phulwari.
In 1946, Master Vinayak finished the last movies of his life, Jeevan Yaatra, a Rajkamal production, set to music by Vasant Desai, and enacted by an ensemble of big names like Nayantara, Yakub, Pratima Devi and of course, one small name – Lata Mangeshkar with her solo Chidiya Bole Choo Choo. Her solo “Chidiya Bole Choo Choo” is now an antique – a rare gem that would make any collector proud.
Mandir was another Master Vinayak movie, completed after his death by Dinkar Dattajirao Patil, in which Lata would act and sing as well with music by Vasant Desai…..”
Today’s song is sung by Ratnaprabha in an old drama and classical style. Difficult, but try to enjoy it….
Song-Aag ke saathh hawaa (Jwaala)(1938) Singer- Ratnaprabha, Lyricist- Pt. Indra, MD- Dhamman Khan
Lyrics
Aag ke ae ae ae
saath a a
hawa aa aa aa aa aa aa
?? maaya
aao ??
Aag ke saath hawa aa aa aa
?? maaya
aao ??
?? pade ??
aao ??
aag ke saath
ru baru aankh ke hain
door wohee hai ae ae dil se
haa aa aa
aa aa aa
haaa aa aa
aise jeene se koi kis tarah
??
aao ??
aag ke saath
?? koi kis tarah ?/
ao ??
aag ke saath
gul na ho jaaye kaheen
dil se mohabbat ka charaagh
aa aa aa aa
aa aa aa aa
aa aa aa
haa aa
gul na ho jaaye kaheen
gul na ho jaaye kaheen een een
aaa aa aa aa
haa aa aa
aa aa aa aa
haa haa
haa aaa
gul na ho jaaye kaheen
dil se mohabbat ka charaagh
aa aa aa aa
aa aa aa
aa aa aa
aa aa aa
haa aa
khauf to ye hai ae
??
haa aa
khauf to ye hai ae
meree ??
aao ??
aag ke saath
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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