Mere rasiyaa mere man basiyaa
Posted on: December 29, 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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‘Naya Kaanoon’ (1965) was produced by Girdharilal Manchanda and was directed by R C Talwar. The cast included Ashok Kumar, Vyjayantimala, Bharat Bhushan, Om Prakash, Purnima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra etc.
The film’s director, R C Talwar (full name: Raghubir Chandra Talwar) was born in Talagang near Rawalpindi (now in Pakistan) on April 21, 1910 in an affluent family. He completed his graduation from Lahore. Knowing that he was interested in pursuing a career in filmmaking, his father sent him to New York to get trained in film photography and sound engineering. After completing the courses, Talwar returned to India via London where he studied the working of the studio system.
Talwar’s filmy career started in Bombay Talkies as a technical assistant in its laboratory. After one year, he shifted to Kolkata to work as the head of the laboratory in the studio of Film Corporation of India (FCI). At that time, FCI was producing the film, ‘Aulad/Dil Hi To Hai (1939) under the direction of Kidar Sharma. Talwar joins him as his first Assistant Director. After a couple of years, FCI went into liquidation. Talwar started his own film production company, Talwar Productions by hiring the staff and the office space from FCI. After producing two Punjabi films, he produced and directed his first Hindi film, ‘Khamoshi’ (1942).
Before starting his next film, Talwar faced the first tragedy in his career. He had to shift from Kolkata to Lahore as the invading Japanese Air Force bombed some parts of Kolkata. He had to reorganize his film production unit in Lahore after which he started the shooting of his next film ‘Manchali’ (1943), followed by ‘Shikaayat’ (1944) in one of Lahore studios. Both these films were box office hits celebrating jubilees. His next film, ‘Albeli (1945) also received good response from the audience.
While making his next two films, ‘Raazdaar’ and ‘Toote Sapne’ in Lahore, Talwar faced his second tragedy after the announcement of partition in 1947. The communal riots in Lahore forced him to flee to India leaving everything except the negative of his completed film, ‘Toote Sapne’. While all others connected with the film industry in Lahore shifted to Bombay (Mumbai), Talwar decided to shift to Kolkata as he was more familiar with the film industry in Kolkata than in Mumbai. However, after partition, film industry in Kolkata was in doldrums. This was Talwar’s third tragedy when he could not do any progress in filmmaking for about two years.
In 1949, Talwar shifted to Mumbai along with his film production unit and started his first post-partition film, ‘Khiladi’ (1950) with Ashok Kumar and Suraiya in lead roles. The film was a box office success. Talwar’s other films in the post-partition period were ‘Sangdil’ (1952), ‘Saaqi’ (1952), ‘Ilzaam’ (1954), ‘Rukhsana’ (1955), ‘Mem Saheb’ (1956), ‘Ek Dil Sau Afsane’ (1963). [Note: The early life profile of R C Talwar is based on his interview published in August 1949 issue of SOUND magazine].
‘Naya Kaanoon’ (1965) was R C Talwar’s last film as a director. In fact, he remained inactive after 1965 except when he made a cameo appearance in the film, ‘Mera Naam Joker’ (1970) as a real-life film producer along with Shyam Behl, F C Mehra and G P Sippy.
The story of the film was written in the backdrop of the enactment of Dowry Prohibition Act,1961 under which giving and accepting the dowry became a punishable offence. Before that, Hindu Succession Act,1956 was passed under which, among other things, sons and daughters would get equal shares in ancestral properties in case the parents die without making a Will. Earlier, the daughters were not considered for share in ancestral property as parents spending money for daughter’s marriage including paying dowry and gifts were assumed to be a part of inheritance. With the passing of Hindu Succession Act, 1956 entitling daughters the equal share in ancestral property, the dowry system was considered as an additional burden on the parents apart from it being a social evil.
In the film, there are two families – One of Badri Prasad who has a married son, Ashok Kumar and an unmarried daughter, Vyjayantimala. The other family is of Om Prakash who earns income by letting the house on tenancy. He has a son, Kamal Mehra, who is in the final year for his graduation in law. In Badri Prasad’s family, Ashok Kumar gets into the misunderstanding with his sister presuming that she has forced her father to bequeath his house in his Will after his death. Om Prakash, in his greed to get a good dowry for his son’s wedding, suffers worst humiliations from his rich daughter-in-law because he has extracted a huge dowry from her father.
The story of the film in some detail is as under:
Shekhar (Ashok Kumar) stays with his wife, Geeta (Purnima) and the younger sister, Jyoti (Vyjayantimala) in his father’s (Badri Prasad) house. Jyoti is in the final year of her graduation. In the neighbourhood, Munshi (Om Prakash) stays with his son, Budh Prakash (Kamal Mehra) who is also in the final year of his law graduation. Munshi lives on the income from letting out rooms on tenancy, one of his tenants being Deepak (Bharat Bhushan), a poet who is always in arrears in payment of rent to Munshi.
Jyoti is looking for a poet to write a poem for the college dance competition for which she has got the reference of Deepak. He agrees to write the poem for her dance competition which she wins. She gives all the credit to Deepak’s poem while Deepak in turn praises her for singing and dancing. After couples of meetings, Jyoti falls in love with Deepak impressed with his poetic talk while Deepak likes her simplicity.
After Jyoti’s graduation, Shekhar is looking for a suitable bridegroom for her from a well-to-do family. However, all prospective bridegroom’s family are asking for dowry which Shekhar is not in a position to pay and also not ready to pay unreasonable dowry. But Jyoti’s father is ready to spend money for the marriage by selling his house. When Jyoti comes to know of it, she persuades her father not to sell the house which will destabilise Shekhar’s family. Jyoti meets Deepak and tells her problem to which Deepak offers to marry her. While Jyoti’s father gives his consent, Shekhar is dead against the marriage with Deepak who cannot financially take care of himself. The marriage of Jyoti with Deepak takes place without dowry and with least expenses without the knowldge of Shekhar because of which he breaks his relationship with Jyoti.
Deepak and Jyoti live in the same rental house in almost hand-to-mouth situation. Jyoti’s father enquires about her who does not give her true situation. In reality, Deepak does the manual work of loading and unloading. On the other hand, after rejecting many wedding proposals for Budh Prakash on account of dowry, at last Munshi gets a marriage proposal with good amount of dowry and the marriage is solemnized. However, the daughter-in-law (Nishi) treats Munshi like a maid servant. She also takes charge of his safe’s key where he has kept the dowry amount. She has told the tenants to give the rents directly to her. As a result, Munshi has become almost a pauper.
Jyoti decides to become a singer with the poems written by Deepak to augment the income. After some initial misunderstanding with Deepak, he agrees to write poem for her singing programmes. They start getting radio singing. Gradually, their standard of living considerably improve. On a Rakhee day, Jyoti visits Shekhar to tie the Rakhee. However, her sister-in-law, thinking that she has come to ask for money in the pretext of Rakhee, sends her back. When her father comes to know about this incident, he is pained. He goes to a lawyer and execute a Will transferring the ownership of his house exclusively to Jyoti. However, while going for the registration of the Will, he dies in a car accident.
Next day, Rami (Leela Mishra) visits Jyoti’s house handing over the Will of her father and informs her that Shekhar has decided to move to a new house. Jyoti rushes to Shekhar’s house and convinces him that she was not even aware of the contents of the Will. She tears off the Will saying that she is not interested in the ownership of a house which displaces her own brother. Deepak also joins them and echoes the same sentiment. Shekhar realises that he has been under the spell of a great misunderstanding for a long time about Jyoti, which he feels ashamed. The brother and sister is united. Munshi also gets rehabilitated by his daughter-in-law when he publicly announces the start of his campaign against the dowry system.
The film had eight songs including one double version song written by Hasrat Jaipuri (7) and Saraswati Kumar Deepak (1) which were set to music by Madan Mohan. All the eight songs were rendered by only two playback singers – Mohammed Rafi and Asha Bhosle. Seven songs including the double version song have been represented on the Blog. I present the 8th and the last song, ‘mere rasiyaa mere mann basiyaa’ which is rendered by Asha Bhosle and chorus. The song is written by Hasrat Jaipuri. Only the audio clip of the song is available. I did not find the song in the VCD of the film. It is not known whether the song was deleted from the film or from the VCD of the film.
With this song, all the songs of ‘Naya Kaanoon’ (1965) have been represented on the Blog.
Audio Clip:
Song-Mere rasiyaa mere man basiyaa (Nayaa Kaanoon)(1965) Singer-Asha Bhonsle, Lyricist-Hasrat Jaipuri, MD-Madan Mohan
Chorus
Lyrics:
mere rasiyaa aa
mere mann basiyaa
tere mukhde pe kaala kaala til ve ae
mera moh liya haaye toone dil ve
haay
sainyaa aaye kabhee naheen aaye
ho o
saiyyaan aaye kabhee naheen aaye
haaye aane se kyun sharmaaye
ghar teraa apna
o baalma
kabhee aaye kabhee naheen aaye
o sainyaa aaye kabhee naheen aaye
baazaar mein biktee baaliyaan
haaye
baazaar mein biktee baaliyaan
tere gharwaale dete hain gaaliyaan
mere chehre kee udd gayee laaliyaan
ghar tera apna
o baalma
kabhee aaye kabhee naheen aaye
ho sainyaa aaye kabhee naheen aaye
baazaar mein bikte dil ve
hoye
baazaar mein bikte dil ve
tera kis chhoree pe dil ve ae
mujhe dekh galee mein mil ve
ghar teraa apnaa
o baalma
kabhee aaye kabhee naheen aaye
ho sainyaa aaye kabhee naheen aaye
baazaar mein biktee thhaalee
haaye
baazaar mein biktee thhaalee
tu baag husn kaa maalee
tere saathh meree deewaalee
ghar tera apna
o baalma
kabhee aaye kabhee naheen aaye
ho sainyaa aaye kabhee naheen aaye
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
December 29, 2025 at 9:10 am
Good Morning,
Old songs are always a pleasure.
Thanks for sharing.
Blessings
Uma🙏
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