Dil ye mera ho gaya deewaana
Posted on: December 6, 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 exceptional Hindi Horror film – House No. 13..1991.
When you say Horror film, only one name comes to mind prominently and that is Ramsay Brothers. They became famous for making C grade horror films, for the C grade audience. The quality of their horror films was not worth discussing, nevertheless, they did good business. Not that such attempts were not made earlier by anybody else. But Overall, Horror films in Hindi Did not have the class it attained in horror films made in western world, especially Hollywood. Even Master Bhagwan had tried his hand at making a horror film – Bhedi Bangla-1949.
Today’s film was made by DVF Investments, Madras. It was completely shot in the Vauhini Studios of madras Actually the film was a remake of the hit Tamil film ” Pathimoonam Number Veedu”-1990. When I saw the credits of the Tamil film, I was surprised that it was directed by Baby, the screenplay was by Baby and the story was also by Baby. We are not used to seeing such confusing names. Not knowing if this ‘Baby’ was a Male or a Female, I found that the full name was A.G.Baby and HE was a well known director of offbeat Tamil films. The producer was G.A.Sheshgiri Rao. This film was released in theatres on 16-8-1991.
It was hailed as an extraordinary top horror film of India. In those days, the VFX technology was not available, still there were scenes in the film which terrified the audience and it was seen again and again to get the thrills !. This film is available on Youtube even today, if anyone wants to see it. The print is very good.
The cast of the film was Salim Fateh, Baby Vijaya, Anil Dhawan, Reeta Bhaduri, Sharat Saxena, Varlaxmi, Anand, K.Amar, Chakrapani and many others. The film’s story was….
This is an imaginary story made by our gifted technicians (Remake of the Tamil version “Pathimoonam Number Veedu”). The story centers around a haunted house where a painter (who does not believe in spirits) and his assistant come for an assignment. They get killed on a fatal night. After a time lapse, a family (i.e. grandfather, mother and her two sons Sudheer and Vikram, first daughter-in-law Shanti and the child Arti) comes to occupy the same house. The eldest son Sudheer is a doctor working in the estate hospital, Vikram the second son is the newly appointed manager of the tea estate. He falls in love with an estate girl. Neelima who has been brought up by Ramlal
In the meanwhile the family encounters horrifying experiences. First the grand-father is killed. Sudheer is attacked and killed. After the loss of the eldest son, the mother decides to get Vikram married to Neelima to bring joy in the family. Now all are happy, Neelima becomes pregnant. Due to the delay in delivery Vikram and mother take Neelima to a doctor. The mother senses something in the house, bad for all these happenings in the house, and decides to consult Pujari, a man with divine powers. On his advice, they admit Neelima to a doctor. Meanwhile, Shanti and Aarti are alone in the house, while Neelima delivers a boy in the hospital. Aarti is taken away by an invisible power.
Finally the mother decides to conduct a pooja in the house to drive away the evil spirit and get back the child. The spirit (Jyoti) appears during the pooja and narrates a sad story of her husband’s misdoings. . Ultimately by the divine powers of the Pujari and by the grace of God they get back the child and we see the end of the evil spirit.
The Maya Nagari – Mumbai – attracted many people to join its film industry. Even the Best and the Biggest names in the fields of Music, Literature and other arts had an inclination to work in the film industry atleast for some time. Famous names like Rabindranath Tagore, Munshi Premchand, Sitar player Pt. Ravi Shankar, Table maestro Allah Rakha and his equally talented son Ustad Zakir Hussain, Bismill Khan and many others had a stint in the film line. If this is the case of outsiders, no wonder people working in the industry itself had a desire to to become a Director, anActor, Choreographer, Lyricist or even a Music Director. There are many such examples.
Frank-Roy was the Music Director for the film Gogola-1966. In this pair, Frank Anthony was an assistant to Kalyanji-Anand ji for many years. He was keen to become an M.D There was a young Music fan Mukund Rai Trivedi from M.P. Frank took him as his partner and they gave music to film Gogola-1966 as Frank-Roy. After this venture, Mukund Rai, son of a rich mining businessman, went back to MP, became a very rich person and eventually also became an M.P. from M.P. in later years.
The other example is when a group of arrangers, Dattaram, Enoch Daniels and Sebastian D’souza came together to give music to film Street Singer-1966, in the name of Sooraj.
There were many successful Music Directors in India. I remember a famous quotation- ” There is a woman behind every successful man.” Can you tell me who is behind every successful Music Director ? I am sure many of us do not have the answer.
The answer is THE ARRANGER.
Now, who is this arranger ? Some have a vague idea, some may even think he is the person who arranges song recording and the musicians.
An Arranger is the SOUL of Film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations (writing music or Swaralipi),which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song.
A Painter who paints a beautiful flower, also thinks of other objects in the picture, like background, colours etc. Similarly,once a composer makes a Tune, his job is over. Then the Arranger takes over. He thinks of how to make the song suitable for the film’s situation on the screen, select the instruments for the song, identify the right players, arrange for rehearsals, decide the music pieces between lines and stanzas etc. Without an Arranger the song can never be recorded
Most of the Arrangers in the Film Industry were from GOA, where traditionally Jazz music was very popular. A typical Goan likes to live life-“Sushegaat”- which loosely means “Araam se” or a carefree life. Their philosophy is Eat, Drink and be Merry. This Merry part included Music.
Goa has given many musicians to India. Lata/Asha are from Mangeshi-Goa,though the family had shifted to Kolhapur, Music directors Dattaram(Wadkar) and N.Datta(Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandes, Lorna are from Goa.(The list is only indicative, not exhaustive).
Most Arrangers were from Goa.
Anthony Gonsalves from Majorda-Goa—he worked for Naushad, O P Nayyar and L-P (My name is ‘Anthony Gonsalves’ song is a tribute by L-P to him, as he taught Pyarelal so many things including Notations.)
Chick Chocolate aka Anthony Vvaz from Aldona-Goa—he worked for C. Ramchandra mainly.
Chris Perry worked for Khayyam, R D Burman, K-A,and L-P.
Frank Fernando worked with Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.
Sebastian D’Souza from Bicholim-Goa—worked for Shanker Jaikishen from 1952 to 1975 and for O P Nayyar.
Most of the players of western instruments in the Orchestras were from Goa.
But there was ONE famous Arranger, who was NOT from Goa,he was from POONA. His name is ENOCH DANIELS.
Enoch ( which means God’s friend ) was one of the most wanted and popular arrangers in the Hindi Film Industry. However his name is known to common people as a Piano and Accordion player, whose 78 RPM records of popular songs of the Golden Era were very famous. On Radio Ceylon, everyday between 7 am to 7.15am there used to be a programme titled ‘ Vadya Sangeet ‘. In this programme, Van Shipley and Enoch Daniels records were played regularly.
Enoch daniels was the Music Director of today’s film House No 13-1991.
A much loved and well-respected figure in the Bombay film-industry (a.k.a. ‘Bollywood’) for almost five decades, Enoch Daniels (fondly known as ‘Danny’) is known for his work as a film arranger/composer, and for his instrumental albums of rendition of film tunes on the piano-accordion.
Born on April 16th, 1933 in Pune, a historic and bustling city in the western state of Maharashtra, India, he was raised in a musical family (all six brothers played an instrument), with religious and church music playing an important role in his early years. The presence of British missionaries in the area (Convent of St. Mary the Virgin, and the other managed by the Cowley Fathers belonging to the Society of St. John the Evangelist, S.S.J.E.) ensured that he received musical instruction for the next few years on the local church organ. He was also keen on percussion, assembling a make-shift drum kit consisting of wooden boxes, metal tins, brass plates to substitute cymbals with, a chest of drawers which served as a bass drum, and a kettle drum. Several years of instruction under Rev. Father Slade and Sister Gertrude Joy, laid the foundation for the long musical journey that lay ahead of him.
As a student of the Nowrosjee Wadia College in Pune, academics took a backseat, since Enoch was gaining popularity with his regular appearances on stage as a performer. The need for a ‘portable’ instrument in the relative absence of pianos at venues resulted in the purchase of a piano accordion, an instrument which was received well by audiences. (The accordion was a relatively unknown instrument in India at that time, and Enoch was the first exponent of this instrument here.) In 1953, he was selected to represent Pune University at the All India Youth Festival in New Delhi. This event exposed him to a wider audience, and brought him to decide that it was music that would be his profession of choice from then on. Disbanding the idea of joining the Indian Army, a thought he once entertained, he packed his bags and sought his future in the film industry in Bombay.
After an initial period of hardship, his first break came when he performed with the Hawaiian guitarist Van Shipley in 1955, with whom he performed scores of shows country wide, as well as internationally. Live performances kept Enoch busy through most of the 60’s and 70’s. He was a member of some of the first Indian troupes that performed abroad such as: 45 shows in East Africa alongside Talat Mahmood, C.H. Atma & Van Shipley, with Manna Dey in Mauritius, with Mohammed Rafi in the West Indies, with Talat Mahmood in the U.S.A. and Canada, with Kishore Kumar in South Africa; and was part of the first Indian film troupe to perform at the Royal Albert Hall, London, led by Lata Mangeshkar.
After a very successful tour of East Africa in 1957, Columbia Records signed Enoch as a solo artiste. He recorded severalinstrumental albums, including 40 singles (78 r.p.m.) 15 extended play records and 18 long play records, some of which are available today on CD and audio tapes.
Besides his performing career, Enoch has been a busy arranger and sessions musician in the film industry in Bombay. He has worked with prominent music directors such as S.D. Burman, C. Ramchandra, Shanker and Jaikishen, Vasant Desai, Salil Chowdhury, Khayyam, Ravi, Madan Mohan, O.P. Nayar, N. Dutta,Ram Kadam and Sudhir Phadke.
Since 1963 he has worked as an arranger for background and film scores. Amongst his noteworthy films are Kabhie Kabhie, Trishul, Chotisi Baat, Pinjara and the entire re-recording in stereo of the classic V. Shantaram film, Jhanak Jhanak Payal Baje.
Enoch has also written music for several documentaries, commercials, and solo album releases by artistes such as Talat Mahmood (“Film Gems of Talat Mahmood: Melody the queen – Talat the prince”), Preeti Sagar (Nursery Rhymes), and Shaguftagi Fragrance Of Poetry & Melody with poetry by Kaifi Azmi, and arrangement of melodies by Khayyam.
Enoch is the recipient of the first O.P. Nayyar Foundation Award (2007), the Maharashtra Government State Cultural Award (2006) and most recently the Sharad Krida Sanskrutik Pratishthan Award (2008).
His first work as an Arranger was with Bipin-Babul. After arranger Sebastian retired he got the opportunity to work for Salil Chaudhari,Shankar Jaikishen Vasant desai etc.From Kabhie Kabhie,he was a permanent fixture with Khayyam.
In his career,he gave music to only one film- ” House No. 13 “-1991. This was a remake of a Tamil film, ‘pathimoonam number Veedu’. The Hindi film was produced and Directed by Deven Verma-his close friend. The cast was Anil Dhawan, Reeta Bhaduri,Sharad Saxena, Dilip Raj etc.
Now finally, the moot question. Why was the name House No. 13 ? That is because traditionally No. 13 is considered inauspicious or bad. Recently, in his recent post here, Gajendra Khanna ji has written in detail why No. 13 is considered bad. One explanation, however. My own flat number is also 13. I have been living here since 40+ years , but I assure you that coming here to meet me will not do any harm to you. Many meets of Atulites have taken place here in the past. Confirm from them.
Today’s song is sung by Vinod Rathod. Enjoy….
Song- Dil ye mera ho gaya deewaana (House Number 13) (1991) Singer- Vinod Rathod, Lyricist- Yogesh, MD- Enoch Daniels
Lyrics
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile haib hum
jaane bahar ab to ye pyaar
hoga naheen kam
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile hain hum
jane bahaar ab to ye pyaar
hoga naheen kam
dil ye mera ho gaya deewaana
tum ho mere sang to nazaare muskuraaye
tum ho mere sang to sitaare jagmagaaye
tum ho mere sang to nazaare muskuraaye
tum ho mere sang to sitaare jagmagaaye
tum ho to rangeen ye saara mujhko lage jahaan
tumko paa kar is dhartee par jhoome dil jawaan
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile hain hum
jaane bahaar ab to ye pyaar
hoga naheen kam
dil ye mera ho gaya deewaana
nanha munna koi is ghar mein aayega
tere liye mere liye khushiyaan laayega
nanha munna koi is ghar mein aayega
tere liye mere liye khushiyaan laayega
aisa hoga sunder wo
aisa hoga pyaara
jaise hai wo chaand gagan mein sabka dulaara
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile hain hum
jaane bahar ab to ye pyaar
hoga naheen kam
dil ye mera ho gaya deewaana
tum ho meree zindagee
tum jeene ka sahaara
paa kar tumko pa liya hai maine to kinaara
tum ho meree zindagee
tum jeene ka sahaara
paa kar tumko pa liya hai maine to kinaara
tum kya mile ke mil gaye hain
mujhko to do jahaan
lagta hai ye baahon mein hai ab to aasmaan
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile hain hum
jaane bahaar ab to ye pyaar
hoga naheen kam
dil ye mera ho gaya deewaana
khushiyon ka mil gaya khazaana
sapne humaare mehke hain saare
jab se mile hain hum
jaane bahaar ab to ye pyaar
hoga naheen kam
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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