Andhkaar mein jyot chhupee kyon
Posted on: January 1, 2026
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 Mythological film – Maayaa Machhindra – 1951.
This Super film, Bombay’s film was directed by its owner Aspy Irani. There were 4 lyricists and the music for their lyrics was composed by Premnath (Wadhva), a member of a ‘Same Name Confusion’ pair. The cast consisted of Surendra, Nirupa Roy, Trilok Kapoor, Usha Kiran, Parshuram, Amirbai, Master Vinod (Mehra) and many others.
The year 1951 was a mixed affair. After the end of II WW and especially after our Independence, there was a flood of people with Black money to produce films, earn profits and convert Black money to white money. This caused several films of low quality to be made. Some of them tried to make copies of Hollywood films too. Luckily, everything wasn’t that bad and few good films also were made.
AWARA by Raj Kapoor came as a cool breeze in hot times. Everything about it was good, especially the acting and music impressed people. This film was released in Russia as “BROTHIYAGA” . It was sold there for Rs. 50,000, a big amount in those days.
HUM LOG, starring Balraj Sahni and Nutan – as realistic film of the Indian middle class. India has always been a country with the biggest size of middle class in the world.
ALBELA by Bhagwan and C.Ramchandra became an evergreen popular film. This was the high point of Bhagwan’s career, which he could never surpass in his lifetime.
BAAZI from Navketan, fulfilled a pact between Dev Anand and Guru Dutt, made during their early careers, while working in Prabhat Film co. Both rose high with this film.
DEEDAR – an unusual film of love story, enacted by Dilip Kumar and Nargis.
AANDOLAN made by Filmistan and enacted by Kishore Kumar was an excellent Docu-Commercial film with good content and music by Hemant Kumar for his first Hindi film as a Music Director.
AFSANA – a story of good and bad twins, featuring Ashok Kumar and Veena.
BAHAR – introducing Vyjayantimala, made by AVM with excellent Dances and Songs.
NAUJAWAN – an age old story of the rich and the poor.
JAADU – a costume film by Nalini Jaywant was a hit film due to good music.
NAGEENA – a mystery and romance that had Pakistan- returned Nasir Khan and a pre-adult Nutan.
Some important events of 1951 were….
1) Launch of ‘Screen’ weekly.
2) S.K.Patil’s report on the film industry.
3) Establishment of the Film Federation of India and Central Board of Censors in Bombay. and
4) First Nepali film ‘ Harishchandra’.
Some other notable films of 1951 were Pyar ki Baaten, Aaram, Actor, Baadal, Bade bhaiya, Bedardi( Nimmi sang her only Hindi Film song in it), Buzdil, Daaman, Dholak, Kali Ghata, Khazana, Madhosh, Malhar, Naadaan, Sagai, Sanam, Shabistan (actor Shyam died on the sets) and Taraana. In addition 18 Mythological films were also made.
Maaya Machhindra was a favourite story with film makers. Films with the same title were made in 1932, 1951, 1960 and 1975. Not only in Hindi, but this theme was used by almost all other Language films-particularly in southern languages. It is curious to note that Movies made on this story in Telugu and Tamil saw all major and top class actors of these language movies acting in them. But the Top actors of Hindi movies considered it below their dignity to act in Religious or Mythological films. In the South, Mythological films are also ‘A’ grade, while in Hindi such films are regarded as ‘B’ or ‘C ‘grade films.
India is called ”Unity in Diversity” not for nothing. It has 28 states and 8 UTs (each speaking a different language ), 22 Major Languages and 1500 other languages and dialects spoken by a sizable population. Every religion has several sects ( Sampradaya-संप्रदाय ) including the major religions (Hindu, Muslim, Christians, Sikhs etc) with millions of followers. Among Hindus, there are 2 major sects- Shaiva and Vaishnav, followers of Shiva and Vishnu respectively. Even these sects have sub-sects. Even Gods are victims of divisions in India !
When I was about 6 to 7 year old, during the visits to my Nani’s (maternal grandmother’s) home in a village in Marathwada, I used to hear a typical call, ‘ Alakh Niranjan ‘ every morning, from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people were the disciples of Nath Sampraday and used to visit a fixed number of houses for Bhiksha. They were also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).
A brief description of the Nath Sampradaya. It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaya is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hatha Yoga (हठ योग).
The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.
There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows
Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath and
Naag Nath.
The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or NavNath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Similarly films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.
This film was based on the story from the NAVNATH POTHI (Book).
The story of the film is…
Machhindranath is the First among the NAVNATHs or the 9 incarnations of Narayana to help Lord Narayana(Vishnu) for smoother running of this world.The 9 incarnations or the Navnaths were-
Machhindranath, Gorakhnath, Jalandernath, Kanifnath, Gahininath, Bhartharinath, Revannath, Charpatinath and Naagnath.
The mention of NATH SAMPRADAYA is available in Bhagwat puran, Mahabharat and some Upanishads too. It combined Bhakti, Gyan and Yoga. Only the Yoga part was understood by the common people and all the Naths were revered as great Yogis with special powers.
The story of MAAYA MACHHINDER was that Saraswati, a rich woman without issues goes to Machhindranath and begs for his blessings. He gives her BHASMA(Magic Powder). Not happy with this ,the lady keeps the Bhasma in an empty dust Bin. In due course a child is born in the dust bin. It is named as GORAKHNATH (born from Raksha-Bhasma-Powder).
After 12 years Machhindranath comes there with a loud call ”Chalo Gorakh, Machhinder Aay “. He takes him away as his disciple and teaches him bhakti. Time comes to give him the Gyan. Machhindranath tells him that he will go to the STREE RAJYA (Women’s Kingdom) to Tilottama, to convert her. But once he goes there, he is swayed by her beauty and marries her forgetting his vows of celibacy. When Gorakhnath learns about this he decides to bring his Guru back. He secures entry into the kingdom through a dancer called Kalinga. Instead of meeting Guru directly he waits till the celebrations of VASANTOTSAV begins. Then Gorakh changes himself as a woman and goes to the darbaar along with Kalinga-the dancer. While she dances Gorakhnath plays the Mridung in such a way that the call of “CHALO MACHHINDER GORAKH AAYA” is produced loudly. Macchindernath hears it and suddenly comes to his senses.
When both try to leave, Tilottama captures them and beheads Gorakhnath. His head tumbles down far off. After this Machhindranath restores his head-it comes flying and sits on his shoulders.(all the audience in the theatre would clap and whistle loudly in joy). Then he explains to Gorakhnath that nothing is real and all this is his Maaya jaal to teach Gorakhnath the Gyan of the truth………
The trick scenes of this film were superb and people must have seen the film several times in 1951. I saw this film almost 2 years later but I remember I was thrilled to see the scenes.
After this film the dialogue of CHALO MACHHINDER GORAKH AAYA became very popular and would be used by people for fun.
This film was directed by Aspy Irani. His story is more interesting in how he died than how he lived ! Aspi Irani was basically famous for stunt and C grade films. Aspi Irani was an important director from the early films.His full name was ASPANDIAR HORMUSJI IRANI.He was born in the Parsi colony, Panch Gardens in Dadar, Bombay on 8-10-1911. He started work in the film industry after he completed his secondary schooling and as all parsis are,due to his hard work,he soon attained a top rank in the Industry.He started directing films from 1936,the early Talkie stage,when the influence of Parsi Theatre,fantasies and dramas on folklore was the staple of stunt films.All such films had a basic structure and with a little changes here and there new films hit the screens.
There was a fixed audience for such films,but as the time went by, slowly the taste of the audience changed. However Aspi Irani continued with his style till the end. He did direct a few social films also but the handling of social films had a clear stamp of Aspi’s direction.
He must have directed about 50-55 films till the early 80s. Some of his films were, Naya paisa, Qaidi no.911, Barood, Shabnam, Badal etc. He was married to actress Husn Bano ( daughter of actress Shareefa).
On a fine morning on 23rd November 1986, Aspi left his home in the morning for work and never ever returned. No one knows what happened to him. Since then there was no trace of this man. Officially he was declared ‘missing since 23-11-1986′. What an end to a legend !
Here is a song by Mohd. Rafi, from this film. Enjoy….
Song-Andhakar mein jyot chhupee kyon (Maaya Machhindra)(1951) Singer- Mohd. Rafi, Lyricist- Raja Mehdi Ali Khan, MD- Premnath (Wadhava)
Lyrics
andhkaar mein jyot chhupee kyon
tod phod ambar ka seena
bijlee ban kar aaja
kaun rok sakta hai tujh ko
is dhartee par chhaa jaa aaaa
andhkaar mein jyot chhupee kyon
chamak damak kar
chamak damak kar
jal ja
jal ja
andhkar mein jyot chhupee kyon
chamak damak kar
chamak damak kar
jal ja
jal ja
baat dekhte deepak saare
tu prakaash le aa re aa re
baat dekhte deepak saare
tu prakaash le aa re
aa re
machal machal baatee se mil jaa
chamak damak kar chamak damak kar
jal ja
jal ja
soya hua jagat phir jaage
andhkar dhartee se bhaage
soya hua jagat phir jaage
andhkaar dhartee se bhaage
praan praan mein jeevan bhar jaa
chamak damak kar
chamak damak kar
jal ja
jal ja
jal ja
jal ja
jal ja
nas nas mein tu preet basa de
jhonpdiyon mein geet jaga de
nas nas mein tu preet basa de
jhonpdiyon mein geet jaga de
shakti bhakti de
khil ja khil ja
shakti bhakti de
khil ja khil ja
chamak damak kar
chamak damak kar
jal ja
jal ja
mandir mandir mein lahra jaa
galee galee mein roop luta ja
mandir mandir mein lahra jaa
galee galee mein roop luta ja
jagmag jagmag jagmag kar jaa
jagmag jagmag jagmag kar jaa
chamak damak kar
chamak damak kar
jal ja
jal ja
2 Responses to "Andhkaar mein jyot chhupee kyon"
January 3, 2026 at 9:33 am
Good Morning,
Very lovely song.
Old songs and movies, are always a pleasure to listen and view.
Thanks for sharing this jewel.
Blessings
Uma🙏
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 2, 2026 at 10:39 am
Good post to kick off 2026
The story of the film makes me put it on list of to-be – seen films
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