Main hoon badee dukhiyaaree Prabhu aayee sharan tihaaree
Posted by: Atul on: December 24, 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 the Mythological film Shiv Shakti-1980.
The film was directed by Satish Kumar and the music was by Chitraguptafor songs written by Bharat Vyas. The cast included Dara Singh, Jayashree Gadkar, B.M.Vyas, Meena and Jayashree T., Ramesh Deo, Jairaj, Gopi Krishna, Jeevan, Anant marathe and many others.
India is unique. It has nurtured many religions, different races and a variety of cultures. I think India is perhaps the only country in the entire world, with such a diversity of Languages, Cultures and Religions – all living together happily and as ONE NATION. Over a period, it belied the strong opinions and beliefs of the world that after Independence, India can not survive as a Nation for long with such variety in its population. We have not only proved them wrong, but also prospered in a way which few had imagined in their dreams !!!
All this because of India’s unique culture of inclusiveness. Perhaps it is the only country where festivals of all religions are celebrated on National level, with a Constitution guaranteeing equality for all. Maybe this is the reason that festivals like Diwali, Eid and Christmas are celebrated with fervour everywhere. Major religious festivals like Dashehara, Diwali, Ganeshotsav, Sankranti and Durga Puja have become cultural events rather than remaining only Hindu celebrations.
Dadasaheb Phalke chose the subject of a Mythological story to make his first full length silent film “Raja Harischandra”-1913, because people could readily identify with such stories. The fact that his hunch was correct is borne out by the fact that religious and mythological films, as a group, continued to outnumber the other types of films for the next 40-50 years.
Mythological films survived, not because they are historically true or authentic, but because they are held to be so in popular traditions. The mythological movies showed and glorified popularly held beliefs. The Mythological films, as a Genre, were a powerhouse of cultural expression.
The decade of the 50s saw an upward surge in the production of such films and then from the 60s onwards there was a decline in the output of religious films and today it has become almost negligible. The reasons for decline were many-political, social, cultural,financial and filmy reasons.
The usual audience group for such films were the elderly people, women, middle class and members of rural sectors. Due to changed social family structures, the concept of joint families was getting not only outdated but was also becoming increasingly impossible due to nuclear families and constraints of living space. The younger generation which had all the money to spend now in plenty, detested religious films. Once the audience for such movies diminished, making such films became financially unviable. Since the cost of making films ran into crores and the modern publicity requirements and availability of theatres etc made making such movies a non-viable proposition.
The mid 70s,however, changed this picture to some extent. The unexpected extraordinary success of “Jai Santoshi Maa”-1975, holding its own against blockbusters of mainstream topics like Sholay, Deewaar, Aandhi, Chupke chupke etc, ignited a ray of hope among makers of such movies. Films like Bhakti mein bhagwan, Dayaar-e-madina, Jain teerthkshetra Darshan, Maya machhindra, Mahapaawan Teerth Yatra, Saraswati Laxmi Parvati, Sri Satyanarayan ki Mahapooja and shri Ram Hanuman Yuddha were made in 1975 itself. For a brief period, mythological movies looked like making a comeback but alas, this turned out to be a case of false dawn.
However, one important thing happened with religious films. They found their way to Television and then onwards, many Dharmik serials started running on TV in the 80s. These serials had a captive audience of senior citizens and women, who had access to TV without needing to step outside their homes.
The success of serials like Ramayan, Mahabharat and the popular Devon ke Dev-Mahadev, proved that audiences for Mythology still existed in India.
B.R.Chopra, the maker of the Mahabharat serial was once asked why he was not making a Mythological film. His answer was, “where are the actors these days like Prem Adib, Shahu Modak, Mahipal, Manhar Desai or Trilok Kapoor or like Nirupa Roy, Jayashree Gadkar, Shobhana Samarth or Durga Khote, who did such roles willingly ? Can you ever imagine Rajesh Khanna or Dharmendra as Shri Ram or Shrikrishna ? Where are the specialist composers like S N Tripathi, Avinash Vyas or Chitragupt ?”
Anyway let us accept that no such films or no such Bhajans are going to be made anymore. This is the reality. Therefore, a Mythological film in 1980 came as a pleasant surprise for people like me. But then, exceptions prove the rule, anyway !
The story of the film was…..
Shiv Shakti means two things. One, the power of Shiva and two,Shiv Parvati, because Shakti is another name for Parvati.
This is the story of a princess of the Gandharva Lok. Gandharvas are the Celestial entertainers of Gods. They are experts in Dance and singing. The king of Gandharva Lok had a beautiful daughter-Madalasa. Once she descended on Earth, with her friends. She was aware of her beauty and was proud of it. She said,” even the Moon has black spots, but I am spotless”. hearing this,the Moon God became very angry and gave her a curse, turning her into a stone statue.
Meanwhile Paataal Ketu, king of Patal Lok became invincible with a boon from ma Durga and started torturing Sanyasis and Devtas. When all went to Lord Shiva, he told them that he would be killed by Madalasa. So,the prince of Ayodhya, Ritudhwaj came to their rescue and turned Madalasa into her normal form. They soon fell in love, but seeing her once, Paataal Ketu kidnapped her and wanted to get married to her. Lord Shiva made him commit so many sins that the boon of Durga given to him was cancelled out and his invincibility wore off. Then Madalasa killed him.
Madalasa was asked to do ” SOLAH SOMVAR VRAT ” to redeem herself from another curse from a sage, to avoid separation from Ritudhwaj. She did this Vrat and then she married Ritudhwaja happily, with the blessings of Shiva and Durga.
There is a name in the cast which is well known but information about him is not easily available. He is Gopi Krishna. He acted in the film, presented dances and also was its Choreographer. Dancer Gopi Krishna was born on 20-8-1935 at Calcutta. You will hardly find any information about his parents anywhere. Only his relation with Kathak Dancer Sitara Devi is emphasized everywhere. He was born to Tara Devi and Maruti Rao Pehelwan. Both his parents were film stars. Maruti Rao was a tall, handsome person who had worked in films since the Silent Era till the late 1940s. True to his name, he had a muscular physique.
In the 1930’s many wrestlers and bodybuilders came to the industry for working in stunts and action films. Some names are Master Vithal, Master Bhagwan, Baburao Pehelwan, Vasantrao Pehelwan, Nandram Pehelwan, AR Pehelwan etc etc. However since Marutirao could speak fluent Hindi and sing well also, he was in demand for social films also. Precisely for these skills, he was chosen for the role of the Saint Narsi Mehta, when Sagar Movietone decided to make the first ever Gujarati talkie film, ‘Narsinh Mehto’ in 1932. He worked in all four parts of the film ‘Hatimtai’ in 1933, ‘Lanka Dahan’, ‘Baala Joban’, ‘Bulbul e Paristan’ etc.
Gopi Krishna’s mother Tara Devi was the elder sister of actress Sitara Devi. She had worked in ‘Pooran Bhagat’ (1933) and ‘Yahoodi Ki Ladki’ (1933) with KL Saigal. She had also worked in films like ‘Aurat Ka Dil’, ‘Seeta Swayamwar’, ‘Surya Kumari’ ( all from 1933), ‘Haiwan’ (1940) etc etc. When both she and Marutirao Pehelwan worked together in films ‘Matsyagandha’ (1934) and ‘Shahi Lakadhara’ (1934), they fell in love and got married. After retirement by late 40s they left Bombay and settled in Dhulia, Maharashtra. Marutirao, true to his name, started a Milk Dairy and ran it for a long time.
Gopi Krishna came back to Bombay from Calcutta, after being fully trained by several Gurus, including his maternal grandfather. In Calcutta, at the age of just 15 years, he had won the title of ‘Natraj’. He won wide acclaim for his dancing in Calcutta. In Bombay, he joined films and became the youngest ever choreographer, at the age of 17 years – when he became the choreographer for the film ‘Saaqi’ (1952) to direct the beautiful Madhubala. He was simply awed by her beauty. In turn, Madhubala also took a fancy towards him and one day she invited him to join for lunch. Madhubala never ate the hotel food. She used to get a tiffin from her house, daily having homely food. He was stunned and could not decline. While she served her food to him, he sat glued to his seat, looking at her and eating whatever was served to him on his plate.
Basically Gopi Krishna was a vegetarian. Madhubala was naturally a non vegetarian, being a Muslim, and had only meat dishes in her tiffin box. Not knowing what he was eating, Gopi Krishna relished the food served by Madhubala. Later he learned what he had eaten, but then it was too late and since he had already partaken non vegetarian food himself !
Gopi Krishna acted in 22 films. As a dancer and choreographer, he did 64 films. Even today,he is remembered for his role in the iconic film ‘Jhanak Jhanak Payal Baaje’ (1955). Gopi Krishna married kathak dancer Savitri in 1954. After 26 years, he got a daughter – Shampa, in 1980. Gopi Krishna died on 18-2-1994 due to a heart attack. He could not see his daughter Shampa blossom into a successful dancer and choreographer in films.
Another such name was Ramesh Deo. The name may be familiar, but you may not recollect his face. Just reminding that he had done the role of Dr. Kulkarni in the famous film Aanand-1971. Ramesh Deo (30 January 1929 – 2 February 2022) was an actor who worked in more than 285 Hindi films, 190 Marathi films and 30 Marathi dramas with over 200 showings in his long career. He also produced feature films, television serials and over 250 ad films. He directed a number of films, documentaries and television serials. He Received Filmfare Marathi Lifetime Achievement Award For His Contribution in Marathi Cinema.
Ramesh Deo was born in Kolhapur, Maharashtra on 30 January 1929. His ancestral roots are from a Rajput family of Jodhpur (Rajasthan). His father was a judge of Kolhapur. His ancestors shifted to Kolhapur as his great-grandfather and grandfather were both engineers. They built the Jodhpur Palace and were called by Chatrapati Shahu Maharaja to build the city of Kolhapur. His grandfather came down to become the chief engineer to Shahu Maharaj, and his father was his legal advisor.
He made his film debut with a cameo appearance in Patlachi Por, a Marathi film, in 1951. Andhala Magto Ek Dola (1956), directed by Raja Paranjape, was his first full-fledged role. He started off as a villain. His first Hindi film was Rajshree Productions’ Aarti (1962). In his long career, he has played supporting roles in films with Rajesh Khanna in lead, namely – Anand, Joroo Ka Ghulam, Aap Ki Kasam, Prem Nagar, Ashanti, Goraa. He has played supporting roles in Mehrbaan, Dus Lakh, Raampur Ka Lakshman, Fakira, Shatrughan Sinha starrer Mere Apne and many more.
In January 2013, he received the Lifetime Achievement Award at the 11th Pune International Film Festival (PIFF). He worked in Nivdung, a Marathi serial in the year 2006. Deo was married to Seema Deo, an actress formerly known as Nalini Saraf. His sons are Marathi actor Ajinkya Deo and Abhinay Deo, director of the 2011 film Delhi Belly. He died at Kokilaben Dhirubhai Ambani Hospital from a heart attack on 2 February 2022, at the age of 93.
Ramesh featured in more than 250 Hindi films and nearly 200 Marathi movies in his career spanning 60 years. He is known for films such as Anand and Aap Ki Kasam in Hindi cinema and his extensive work in the Marathi film industry, He was known for his unassuming screen presence, playing varied roles–from friendly doctor, menacing villain to a loveable family friend. He brought on-screen with him his affable trademark moustache and smile, which would either charm the audience or instill fear, depending on the role he played.
In the mid-60s, he turned towards Hindi cinema. He largely appeared as a character actor playing both positive and negative parts, including Aarti, Anand, Aap Ki Kasam, Mere Apne, Jeevan Mrityu, Saraswatichandra, Teen Bahuraniyan, Khilona, Ghayal Once Again, Jolly LLB, among others. The actor straddled several movie eras with ease, from Dilip Kumar, Rajesh Khanna to Amitabh Bachchan. In filmmaker Hrishikesh Mukherjee’s 1971 classic Anand, Ramesh played Dr Prakash Kulkarni, starring alongside his actor wife Seema Deo. The couple played on-screen as a pair in the film.
Here is a Shiv Bhajan , sung by Usha Mangeshkar. Enjoy….
Song- Main hoon badee dukhiyaaree prabhu aayee sharan tihaaree (Shiv Shakti)(1980) Singer- Usha Mangeshkar, Lyricist- Bharat Vyas, MD- Chitragupta
Lyrics
main hoon badee dukhiyaaree prabhu
aayee sharan tihaaree
hey shiv jee daya dikhaana
mera vrat paar lagana
he shiv jee daya dikhaana
mera vrat paar lagaana
main hoon badee dukhiyaaraa
prabhu aaye sharan tihaari
hey shiv ji daya dikhaana
mera vrat paar lagaana
om namah shivaay
om namah shivaay
shiv jee tere vrat kee mahima
sabse aprampaar hai
jiska jag me koi naheen ho uska tu aadhar hai
shiv jee tere vrat kee mahima
sabse aprampaar hai
jiska jag me koi naheen ho uska tu aadhar hai
uska tu aadhar hai
jo teree lagan lagaaye
o o ho ho
jo teree lagan lagaaye
wo man chaaha phal paaye
hey shiv jee daya dikhaana
prabhu meree laaj bachaana
hey shiv ji daya dikhaana
mera vrat paar lagaana
om namah shivaay
om namah shivaay
chaahe dukh kee aandhee aaye
vipda ka toofaan ho
uske sankat door hon pal mein
jispe tera dhyaan ho
chaahe dukh kee aandhee aaye
vipda ka toofaan ho
uske sankat door hon pal mein
jispe tera dhyaan ho
jispe tera dhyaan ho
tera hee gun main gaaoon
o ho ho
tera hee gun main gaaoon
tujhko hee sheesh jhukaaoon
he shiv jee daya dikhaana
prabhu meree aan nibhaana
hey shiv jee daya dikhaana
mera vrat paar lagaana
om namah shivay
om namah shivay
sainya bin naiya meree doley manjhdhaar mein
unse bichhad ke kaise jiyoon
is nirdayee sansaar mein
is nirdayee sansaar mein
sab ne kiya kinaara
o o ho
sab ne kiya kinaara
ab to bas tera sahara hai
hey shiv ji daya dikhana
mujhe pritam se milana
om namah shivaay
om namah shivaay
om namah shivaay
om namah shivaay
om namah shivaay
om namah shivaay
om namah shivaay
om namah shivaay
om nmah shivaay
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