Hum pyaar ke maaron ka dushman hai zamaana kyun
Posted on: December 26, 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 a ‘Kalpanik’ (Imaginary) film – Alladin ka Beta – 1955.
The film was directed by Rafiq Rizvi and the music was by S.Mohinder. This C grade film had a star cast from an usual stock of such films as Mahipal, Chitra (real name Afsar unnisa begum), Tiwari, Yashodhara Katju, Naaz, Kammo, Maruti, Shaikh and others.
1955 was a year in the ‘Golden Era’ of Hindi films. It had a mix of almost every genre of films, but especially Religious and stunt/action/ costume films were still large in numbers. From an entirely entertaining field, the industry was slowly, but surely, trying to become a serious medium of meaningful films. Directors like Raj Kapoor, V.Shantaram, Guru Dutt, Bimal Roy etc were in the forefront giving reality depicting films which sometimes took help of entertainment to reach a wider audience.
Raj Kapoor’s ‘Shri 420’ tried to bring in limelight, as usual, the hypocrisy of elite society. It was a great film with a message, good direction and everlasting music by Shankar-Jaikishan, the three specialities of an RK film. From this film onwards, “Raju” became the favourite name of Raj Kapoor’s Heroes.( Like ‘Shanker’ was Shammi Kapoor’s lucky name in early films. Similarly ‘Vijay’ was the favourite film name of Amitabh Bachhan in 20 films, of Jeetendra in 18 films and of Mithun Chakravarti in 16 films.).
Guru Dutt’s film Mr.and Mrs.55 was perhaps his last light comedy movie, which has peppy music by O P Nayyar. Later he made serious films like Pyaasa-57, Kagaz ke phool-59 and Sahib, Bibi aur Ghulam-62, for which he will be known forever. Sunil Dutt made his Debut with Railway Platform. V.Shantaram’s Jhanak Jhanak Payal Baaje was an example of how an art film devoted to Dance can also become a commercial success. The film being in color also helped. Seema and Devdas were serious films. Pather Panchali hit the Indian screens. Azaad, Insaniyat, Munimji, Udan Khatola and Baradari were entertainers with very good music.
Children’s film society was established in 1955. Shammi Kapoor and Geeta Bali got married. New Theatres of Calcutta made its last film Bakul and downed its shutters forever.
Till about the middle of the 1960s, there was not a single child who had not read the story of Alibaba or Alladin or Sindbad the sailor. All of us have read these stories in our younger days,but not many know that these stories are from ‘Arabian Nights’ or ‘The 1001 Nights’.
These are collections of stories from West and south Asia.The history of this book is very complex.Suffice to say that it is a composite work and that the earliest tales came from India and Persia. Perhaps in the 8th century,these were translated into Arabic and authors from every generation went on adding stories to it. However,the basic Frame story remains the same for centuries.
King Shahriyar of Persia is shocked to discover that not only his brother’s wife but his own wife is not faithful to them. He has both women executed. Having lost faith in women, he orders his Vazir to bring one Virgin everyday to him, for marriage. The next morning,she gets executed, to prevent her from being unfaithful. At one point of time,the Vazir exhausts his supply and he is to be executed the next day. His daughter Sheherzad asks her father to marry her to the King. Her pleading forces him to offer her to the king and they are married.On the first night of Marriage, Sheherzad starts telling a story to the king for whole night, but does not complete it. The story is so interesting that the King postpones her execution.
Second night she continues and the whole night the story remains incomplete … .this way she tells him 1001 stories in 1001 nights. Finally a happy King pardons her. These are collectively called “The Arabian Night Stories”. Many sources like Sanskrit, Persian, Arabic etc claim to be its root. However Historians’ consensus is that it is a composite work of many authors.
Many stories from this book have been made into films in Hollywood and Bollywood. A cursory look at the Film Title Index-1913 to 2012 by Hamraz ji tells us that the most popular stories are on Allauddin, Alibaba and Sinbad as well as Gul E Bakavli, besides films on other not so well known characters. In the Silent film era, films on Alibaba were made in 1927 (2 films), Allauddin in 1927 (2), 1928,1931 Sindbad in 1930(2) and Arabian Nights-1930. During the Talkie films, the first film on Alibaba was in 1932, then in 40,46,54(2),66,76,77,80 and 2004. On Aladdin in 35, 36, 39,41, 49,52 (2), 55, 57,58,66,78, 82(2). On Sindbad in 46(2),52(2),58,65 and 2000.
As always, the creative heads in the story departments of filmmakers invented titles like Alladin ka Beta, Alladin ki Beti, Alladin and Laila. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was – ” Sindbad, Alibaba and Allauddin”-1965 ! On a quick check of HFGK entries for the 1940s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were Baghdad ka chor, Hoor E Baghdad, Sher E Baghdad, Arab ka chand and Shah E Misr-in which actor Ajit debuted with his real name Hamid.
ALLADIN KA BETA-1955 was one of those films which were the figments of imagination of the story writers,who were in the habit of providing fictitious family members to characters from the Arabian nights stories. Thus we have a son and a daughter each to Alladin, Alibaba and also Sindbad the sailor. Although in the original stories there are no mentions of these relatives !
The music of this film was composed by S. Mohinder aka Bakshi Mohinder Singh Saran, who was one of the very few Sikh composers in Hindi films ( only 3 till 1970. Sardul kwatra, G S Kohli and S.Mohinder). He had 2 assistants. One was Inderjeet Singh, who was the Maternal Uncle (Mama) of today’s singer Daler Mehendi and the other was Pt. Kishen who was Husnlal and Bhagatram’s nephew (sister’s son). These two assistants were working with S. Mohinder till 1961, after which both died one after another.
S.Mohinder was born on 24-2- 1925 in a small town called Silanwala in Montgomery District of undivided Punjab. His full name was Bakshi Mohinder Singh Sarna. S.Mohinder’s father Sujan Singh Bakhshi was a sub-inspector in police. Soon the family moved to a comparatively larger city Lyallpur, where young Mohinder around 1935 came in contact with an accomplished Sikh religious vocalist Sant Sujan Singh. He honed his skills for several years in classical music under the tutelage of Sant Sujan Singh. Initially he wanted to be a singer. The family moved to Sheikhupura , close to Nankana Sahib, the birth place of Guru Nanak and S. Mohinder got his further training in classical music from legendary Sikh religious musician Bhai Samund Singh. Frequent transfers of his father kept the family on the move. Since S. Mohinder’s education was suffering badly, durIng early forties, he was enrolled in Khalsa High School in village Kairon in Amritsar District.
In 1947, the rest of the family too moved to East Punjab in India. The love for classical music brought S. Mohinder to Benares. After a couple of years of grooming in classical music in Benares, the Mecca of Indian classical music, S. Mohinder, came to Bombay, the leading center of film industry ,.His first successful film was Neeli, which was musically a hit but a mediocre film . S. Mohinder took a regular job of music director in “Filmistan Studio”, which was churning out movies like a mint producing coins. S. Mohinder composed music for “Filmistan” for half a decade. It was a great experience.
After a successful relationship as a music director with “Filmistan Studios”, S. Mohinder composed music for Chandu Lal Shah’s (Ranjit Movietone) film “Zamin ke Taare”. It became a hit. After that he composed the music for the Wadia Brothers film “Reporter Raju”. S. Mohinder composed the music for producer Roop K. Shori’s film “Saat Ladke Saat Ladkian”. He also wrote music for the film “Do Dost” also.
S. Mohinder says that during the sixties, when only Hans Raj Behl and Sardul Singh Kwatra were left in the field of composing music for Punjabi films, he also tried his hand at Punjab films. The response was good. His music for his first Punjabi film “Pardesi Dhola” was a hit. After that he mainly devoted his attention to composing music for Punjabi films only. His music for “Chambe Di Kali” also became a hit. Inderjit Hassanpuri, a friend of S. Mohinder, made a Punjabi film “Daaj” in which S. Mohinder composed very emotional tunes. Later on during the late seventies S. Mohinder composed music for some non-film Punjabi albums too and the singers included the best in the Punjabi music business, Surinder Kaur and Asa Singh Mastana. These private albums were also instant hits.
Shaminder Singh, a friend of S. Mohinder, was a landlord of Muktsar in Punjab and was a gifted singer. His voice was similar to that of Talat Mahmood, a superstar singer of the nineteen fifties and sixties. Shaminder wanted to try his hand at producing Punjabi films and that desire brought him to Bombay. In partnership with music director Sardul Kwatra, he made several movies including “Vanjara”. Shaminder had a desire to sing duets with Lata Mangeshkar. His wish came true in “Vanjara” when he was given an opportunity to sing two duet songs with Lata Mangeshkar.
S. Mohinder’s last Hindi film was “Mehlon Ke Khwaab” produced by Madhubala in 1967. The film did quite well at the box office and its music became a hit. The untimely death of Madhubala, during the prime of her youth, deeply saddened S. Mohinder. He came to the conclusion that the field of composing music for Hindi films was getting a lot of new players and the melody was slowly yielding to noisy heavy metal music. So he decided to go back to his roots and switch to composing music for Punjabi movies.
In 1966, legendary Sikh religious musician Bhai Santa Singh visited Bombay. Mohammad Rafi attended one of his programmes. Mohammad Rafi, who was Bhai Santa Singh’s fan since their days as casual radio artists in Lahore, liked his voice quality so much that he proposed that he sings in a forthcoming Punjabi religious film, which was being planned. But Bhai Santa Singh flatly refused to sing in a film. This was the same trip at the end of which, while traveling back to Delhi in a train, Bhai Santa Singh had a massive heart attack that took his life.
Mohammad Rafi’s dream was fulfilled in 1969. Ram Maheshwari and Panna Lal Maheshwari, originally from Amritsar, decided to make a movie in Punjabi based on Sikh religious sentiments. The film was titled “Nanak Naam Jahaz Hai”. S. Mohinder got the contract to compose the music. The story of the film required some scenes to be picturized in the Golden Temple. S. Mohinder thought that the music for those scenes was a very sensitive subject and must be performed by the finest exponent of Sikh Religious classical music. So he requested Bhai Samund Singh to sing the Shabads. Bhai Samund Singh was also the mentor of S. Mohinder during his early training in classical music. Initially Bhai Samund Singh also hesitated, but eventually he agreed to sing for the movie. S. Mohinder believes that what Bade Ghulam Ali Khan’s singing was to the great movie “Mughal -e- Azam”, the Shabads sung by Bhai Samund Singh were to the Punjabi film “Nanak Naam Jahaz Hai”. As we all know, the film “Nanak Naam Jahaz Hai” has been an all time hit Punjabi movie. Its music was also a big success.
The runaway success of the film “Nanak Naam Jahaz Hai” ushered in an era of making well meaning movies based on Sikh religious stories.
S. Mohinder composed the music for most of these Sikh religious movies. “Dukh Bhanjan Tera Naam”featuring Shaminder Singh as the hero was the next film, it was also quite successful. Then came two more namely “Man Jeete Jag Jeet” and “Paapi Tare Anek”. Both were successful at the box office. All these movies were made during the decade of seventies. S. Mohinder also composed some of his most memorable music for these movies.
During the decade of nineteen seventies, S. Mohinder composed music for some private albums also including some featuring Sikh devotional music and some featuring the folk music of Punjab. Legendary Punjabi singer Surinder Kaur was prominently featured on some of these albums. He gave music to 36 Hindi films, composing 243 songs. He also sang 3 songs in 3 films.
S. Mohinder left India for the USA in October 1982, when he was at the peak of his career as a music composer. The last film featuring his music was named “Maula Jatt”, with Dara Singh in the male lead role. Even in the US, he did a lot of work in Music-like recording songs, running a Music School etc.
He had returned to India and was staying with his daughter in Oshiwara,Mumbai, when he died on 6th September 2020.(Adapted,with thanks, from an article in apnaorg.com)
The story of the film was….
Alladin had everything under, above, and sideways of the Sun, thanks to his wonderful lamp. His son was Nooruddin,who never knew what was poverty.He spent the father’s money to avail of the worldly pleasures. The wicked magician never forgot his defeat in regaining the Lamp and always dreamt that one day he will get hold of the wonderful lamp.
His beautiful daughter Zeenat is now grown up and ready to help him. Zeenat goes incognito to the palace of Nooruddin,as a dancer. He is already under the charms of another dancer, Rukhsana.However Rukhsana is no match for Zeenat and soon Zeenat wins the deep love of Nooruddin. In one session of love,she asks him to get her the magic lamp,as she has never seen such a thing in her life.
Nooruddin goes to his father and after much cajoling, Alladin finally tells him where the Lamp is hidden.Rukhsana suspects Zeenat already and finds that she is the daughter of the magician,who too has secured a job in this palace,under false identity.
When Zeenat gets the lamp,before she uses it, Rukhsana jumps on her and kills her. After death,her real face is visible. Nuruddin opens his eyes and starts looking for the magician,who escapes from there.
Alladin honours Rukhsana and gets her married to Nuruddin.
Here is a song from this film, sung by Asha Bhosale. Enjoy….
Song- Hum pyar ke maaron ka dushman hai zamaana kyun (Alladin Ka Beta)(1955) Singer- Asha Bhosle, Lyricist- Tanvir Naqvi, MD- S Mohinder
Lyrics
Hum pyaar ke maaron ka aa
dushman hai zamaana kyun
har baat muhabbat mein aen
bantee hai fasaana kyun
hum pyaar ke maaron ka aa
dushman hai zamaana kyun
is baagh mein jab kaliyaan aan
kaanton mein mehaktee hain
is baagh mein jab kaliyaan aan
kaanton mein mehaktee hain
kaanton mein mahaktee hain
phir chheda hai bulbul ne ae
ulfat ka taraana kyun
hum pyaar ke maaron ka aa
dushman hai zamaana kyun
armaan bhare do dil il
jab mil ke dhadakte hain
armaan bhare do dil il
jab mil ke dhadakte hain aen
jab mil ke dhadakte hain
tab julm ke teeron ka aa
bante hain nishaana kyun
hum pyaar ke maaron ka aa
dushman hai zamaana kyun
aaghaaz hai badnaamee ee
anjaam hai naakaamee
aaghaaz hai badnaamee ee
anjaam hai naakaamee ee
anjaam hai naakaamee
is par bhee muhabbat ka aa
hai khwaab suhaana kyun
hum pyaar ke maaron ka aa
dushman hai zamaana kyun
har baat muhabbat mein aen
bantee hai fasaana kyun
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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