Maare nainwaa ke baan
Posted on: December 7, 2025
This article is written by Sadanand Kamath, 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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‘Baazaar-E-Husn’ (2014) was produced by A K Mishra, the Chairman and Chief Executive Officer of Vision Corporation Limited and was directed by Ajay Mehra. The cast included Om Puri, Reshmi Ghosh, Jeet Goswami, Yashpal Sharma, Rajeshwari Sachdev, Virendra Saxena, Rajeev Verma, Savita Prabhune, Rekha Sahay, Upasana Singh etc. The film was based on Munshi Premchand’s Urdu novel by the same name which he had also written in Hindi with the title, ‘Seva Sadan’.
It is interesting to note that the first talkie film based on this novel with the name, ‘Seva Sadan (alternative name, ‘Baazaar-E-Husn’) was released in 1934 which was produced by Mahalakshmi Cinetone, jointly owned by director Nanubhai Vakil and the actress, Zubeida. In this film, Jaddan Bai (mother of Nargis), Shahu Modak and Zubeida were the main actors. Another interesting information about this film was that the dialogues were written by Munshi Premchand himself. A Tamil film, ‘Seva Sadanam’ (1938) was also based on Munshi Premchand’s novel by the same name in which M S Subbulaxmi did the role of novel’s protagonist, Suman. A TV serial, ‘Seva Sadan’ (1986) based on the same novel was telecast on Doordarshan.
The film was delayed as the Censor Board had held up the certification for the film who had directed the producer/director to delete the scenes of domestic violence against the protaganist, Suman like slapping and molestation. The producer appealed in the tribunal submitting that it was a period film (early 20th century) when such crimes against women used to take place. But Censor Board tribunal did not agree to their submission. Probably, the Censor Board took note of the fact that in Munshi Premchand’s novel, there were no scenes of domestic violence against Suman. So, those scenes were deleted barring a couple of slapping scenes. The film finally got Censor Certificate on August 31, 2013. However, the film got a delayed released on July 18, 2014, without the release of its promos on TVs as the producer did not get the censor certificate for the promos before the release of the film. So, the film was released without much of the marketing.
‘Baazar-E-Husn’ (2014) was made on a low budget. Most of the actors who were associated with TV serials and theatres were roped in for the film. To depict the realistic characters visualised in the novel, most of the actors in the film were presented with bare minimum make-up except the courtesans. As per the box office report, the film was a disaster on the box office front.
Munshi Premchand wrote the novel, ‘Baazaar-E-Husn’ in Urdu in 1916, Later, he translated the novel in Hindi as ‘Seva Sadan’.
The story is set in Varanasi and the timeframe is early 20th century. Suman and her younger sister, Shanta are the daughters of an upright police inspector who is forced to take a bribe to pay dowry for Suman’s marriage. He is jailed for taking bribe. His wife spends all their earnings to get him released but in vain. The financially broke family send Suman to her maternal uncle’s place where she is mistreated by her uncle’s wife. Being himself financially weak, the uncle finds a bridegroom. Gajodhar for Suman, a poor widower who is much older than her. Suman, who has been used to the luxurious life, manages to lead an exemplary life as a dutiful housewife for the first two years of her married life during which she is pampered by her husband. However, her outlook changes thereafter.
Just opposite Suman’s house is a courtesan’s house. While feeling that she, as a chaste woman, is superior to the courtesan, she envies her because of her status and the luxurious lifestyle. Moreover, the courtesan has more freedom than her as Suman is mostly confined to a small house and that too with restrictions like purdah which the married women have to follow. She has also observed that the courtesan is invited in social and religious gatherings where she commands great respect from the high strata of the society and is a star attraction. Out of curiosity, one day Suman decides to meet the courtesan in her house but her husband disapproves her visit. She has watched courtesan’s singing and Suman feels that she can sing better than her besides she being more beautiful and slenderer than the courtesan. Now, Suman is in dilemma as to whether she should languish as a docile housewife with a poor and aged husband or should pursue a free and luxurious life like that of the courtesan.
Suman’s dilemma is indirectly resolved when one day her husband, in fits of anger, expels her from the house for returning home late in the night from her friend Subhadra’s place. She goes back to her friend’s place and stays there for few days. But she has to leave her friend’s house as their reputation is at stake for giving shelter to a married woman. At this juncture, Suman goes to the courtesan’s house who warmly welcomes her. Soon Suman becomes ‘baazaar-e-husn’, the beauty of the market. While she keeps her chastity intact, being a courtesan, she becomes favourite of some clients, one of whom is Sadan Singh, nephew of her friend, Subhadra. She also develops some closeness to him but avoids converting it to a serious relationship.
In few months, Suman is disillusioned by her profession as despite getting fame and a luxurious life, there is no feeling of contentment in her. In the meantime, she also comes to know that it is because of her profession that the marriage of her younger sister, Shanta has not materialised so far. Earlier, a social reformer had approached her to give up her profession and join Widows Home which looks after the widows who need help in their resettlement. Suman decides to leave her profession of courtesan and joins Widows Home. To her surprise, she finds her younger sister, Shanta has also joined the same Widow Home after not getting married.
After some time, Suman gets a feeling that being an ex-courtesan, the inmates in the Widows Home are not happy with her presence. Both Suman and Shanta quit Widows Home and stay together in Shanta’s house. Sadan Singh marries Shanta. However, there is a problem when Shanta becomes aware that her husband, Sadan Singh was once the admirer of Suman and she becomes suspicious of her. With Shanta’s constant taunts and suspicion. Suman feels isolated in the house and decides to end her life by drowning. However, her husband, Gajodhar saves her life. He has become an ascetic after he had expelled Suman from his house as a redemption of his wrongdoing to his wife. He now runs Seva Sadan, an orphanage for the children of former courtesans. He takes Suman to work in Seva Sadan which she regards as a great opportunity to serve where she gets respect which money cannot bring. In this way, Suman redeems herself from ‘baazaar-e-husn’ to ‘Seva Sadan’.
I have given in the above paragraphs the gist of Munshi Premchand’s novel just to compare as to how much the film’s story has deviated from the novel. After watching the film, I find that the characters of Suman (Reshmi Ghosh) and Gajodhar (Yashpal Sharma) have been majorly tweaked in which Gajodhar has been shown as a cruel and drunkard husband for whom assaulting his wife, Suman is almost a daily ritual. In the film, Suman’s character is that of a fearful and a meek wife. She gets so much harassment that she attempts suicide when a courtesan (Rajeshwari Sachdev) saves her and gives her the shelter in her Kotha. Suman becomes a courtesan.
In the novel, Suman becomes a courtesan on her own volition because she gets the impression that the courtesans live a luxurious life with much more freedom than a housewife. Also they become the star attractions while giving the performances during the social and religious functions in which rich people from the high strata of the society give a courtesan the VIP treatment. Gajodhar’s character the novel is that of a husband generally with a balanced disposition towards Suman. In both, in the novel and the film, the courtesan has a sympathetic disposition toward Suman.
In the film, Suman’s first bridegroom, Sadan (Jeet Goswami) with whom her marriage is broken because of the dowry issue, remains in love with Suman and wants to marry her despite her becoming a courtesan. But his father, Madan Singh (Rajeev Verma) is deadly against it. Towards the end of the film, he pays Gajodhar a handsome amount to leave Varanasi along with his wife, Suman for which his men will help him to kidnap Suman from the Kotha. However, Sadan and Suman have already run away and crossed River Ganga. Gajodhar is after them but Suman’s father, Krishnachandra (Om Puri) who has been released from the prison after completing his imprisonment for corruption charges, follows Gajodhar and kills him with the sickle. The film has a happy ending with Suman and Sadan getting united.
The film has eight songs written by Ahmed Wasi (7) and Maya Govind (1) which have been set to music by Khayyam. I present the first song, ‘maare nainwaa ke baan’, a mujra dance song written by Maya Govind and rendered by Sunidhi Chauhan. The song is picturised on Rajeshwari Sachdev in the role of a courtesan who starts the mujra dance by reciting a poem. In the audience, Gajodhar (Yashpal Sharma) with his friends is also seen.
The context of the song is that after his marriage with Suman (Reshmi Ghosh), Gajodhar’s friends visit his house in drunken state to meet him with his wife. Gajodhar does not like their visit in drunken state and drives them away by threatening which is not liked by his friends. They, in turn, threaten Gajodhar that they would take revenge for insulting them. Gajodhar thinks that it is not good to develop enmity with his friends and decides to entertain them by taking them to the mujra dance performance.
By the way. ‘Baazaar-E-Husn’ (2014) was music director Khayyam’s last film thus ending his long filmy career of 66 years.
Audio Clip:
Video Clip:
Song-Maare nainaa ke baan (Baazaar e Husn)(2014) Singers-Sunidhi Chauhan, Rajeshwari, Lyricist-Maya Govind, MD-Khayyam
Chorus
Lyrics:
jahaan ham pe aashiq
ham hain tum pe aashiq
ye dil hamne tumko ataa kar diyaa hai
jhukaa kar jabeen ko tumhaare kadam par
sanam
hamne tumko khudaa kar diyaa hai
maare nainwaa ke baan
maare nainwaa ke baan
sainyaan taan taan taan
saiyaan taan taan taan
maare nainwaa ke baan
maare nainwaa ke baan
dhadke jiyaraa hamaar
dhadke jiyaraa hamaar
dhadke jiyaraa hamaar
jaaye jaan jaan jaan
jaaye jaan jaan jaan
maare nainwaa ke baan
maare nainwaa ke baan
haaye
koi kahe main phool hoon ban kaa aa
koi kahe main phool hoon ban kaa
koi kahe main chaand gagan kaa aa
koi kahe main chaand gagan kaa
main jaanoon bas arth lagan kaa
main to sainyaan jee kee jaan
maare nainwaa ke baan
sainyaan taan taan taan
sainyaan taan taan taan
maare nainwaa ke baan
maare nainwaa ke baa..n
ik hamree madbharee najariyaa
ik hamree madbharee najariyaa
dooje raseelee hamree umariyaa
dooje raseelee hamree umariyaa
ras ras chhalke prem gagariyaa
hamree meethhee muskaan
maare nainwaa ke baan
sainyaan taan taan taan
sainyaan taan taan taan
maare nainwaa ke baan
maare nainwaa ke baan
adhar piyaa jab adhar pe dhar de ae
adhar piyaa jab adhar pe dhar de
saans saans morey khushboo bhar de ae
saans saans morey khushboo bhar de
saanwariyaa mohe paagal kar de
kar le bas mein morey praan
maare nainwaa ke baan
sainyaan taan taan taan
sainyaan taan taan taan
maare nainwaa ke baan
maare nainwaa ke baan
dhadke jiyaraa hamaar
dhadke jiyaraa hamaar
dhadke jiyaraa hamaar
jaaye jaan jaan jaan
jaaye jaan jaan jaan
maare nainwaa ke baan
maare nainwaa ke baa…n
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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