Saare jag mein pet ka dhandha
Posted on: January 10, 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 one of the very few songs sung by the Music Director Anil Biswas. Today’s film is Bhookh-1947.
In olden days, there were 3 major film centres-Bombay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. Majority of them migrated to their Utopia, newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
In spite of the turmoil of 1947 in the Film Industry, the number of films produced in 1947 was the highest ever- 181, which remained a record till 1985 when 187 films were made here. So, the number of movies produced in 1947 was a record that stood for 54 years i.e. from 1931 to 1985 !
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ?
Nevertheless, it was Filmistan which was the most successful maker of movies in 1947, with 4 of its films celebrating Jubilees-namely, Sindoor, Saajan, Shehnai and Do Bhai. Needless to stress that Music was a vital part of their success. Noorjehan’s last two films, Mirza Sahiban and Jugnu were record breaking musicals. Jugnu proved to be a success-precursor to Dilip kumar and Mohd. Rafi in their illustrious careers. K L Saigal’s last film Parwana, Dard and Natak too had excellent music. “Afsana likh rahi hoon” made Uma Devi an all India famous name. Two Historicals, Meerabai (M S Subbulaxmi) and Rajkamal’s Matwala Shayar Ramjoshi were landmarks. While Elan was a path-breaking Muslim social, Nateeja, Neelkamal and Samaj ko badal Dalo were other social reform films.
Mohd. Rafi acted in Jugnu and Samaj ko badal dalo. Lata started her historical playback career with ‘Aapki sewa mein ‘,and K L Saigal died in January 47 itself. Master Bhagwan established his Jagriti studio, Kerala built its First film studio ‘Udaya ‘ and Sri Lanka made its first Simhali film in Bombay.
In the film industry there were many socialist thinkers as well as communists. Anil Biswas, Mehboob and Dr. Safdar Aah were also among them. They had made a film ‘Roti’, together in 1942, underlining the divide between the very Rich and the very Poor. Once again in 1947, Anil Biswas and Safdar Aah came together in the film Bhookh-47. This too was a film depicting the oppression of the poor by the rich and how much the poor had to strive hard to satiate their Hunger ( Bhookh).
Film Bhookh-1947 was produced and directed by the Lyricist of this film- Dr. Safdar Aah Sitapuri. This was his maiden film as a producer and director. The star cast included Sheikh Mukhtar and Husna in the lead roles, supported by Kanhaiyalal, Agha, Laddan, Narmada Shankar, Abu Baker, Ghulam Hussain, Miss Kiran etc. It was the debut film for Husna and Miss Kiran. From the advertisement of the film, it appeared that the film was about tackling hunger – a theme which had come into the focus of Hindi film industry in the backdrop of Bengal famine during World War II. Films like ‘Neecha Nagar’ (1946) and ’Dharti Ke Laal’ (1946) had already covered this theme.
Anil Biswas and Dr Safdar Aah Sitapuri had worked together for 15 years in 15 films with a break during 1943-44 when Anil Biswas shifted to the Bombay Talkies. As a lyricist, Safdar Aah Sitapuri worked with Anil Biswas for the first time in ‘Comrades’ (1939) followed by ‘Alladdin’ (1940) and ‘Aurat’ (1940). They worked together for the last time in ‘Maan’ (1954) which he also directed.
In this film, Anil Biswas used Shamshad Begum for the first time for his songs. Anil Biswas had some kind of bias against Shamshad Begum. This feeling had roots in the groupism which had crept in the Bombay Talkies at the time when the film Kismet-43 was being made. Anil Biswas was brought into Bombay Talkies by Devika Rani’s group and Kavi Pradeep was in S. Mukherjee’s group. Anil Biswas was being paid Rs.2500 pm which was resented by the other group.
Shamshad Begum was the favourite with Kavi Pradeep, after her success in Shehnai. However, as a professional, Anil Biswas used her as a Top singer in those days. Anil Biswas used her only in 2 films(4 songs) in 47, 1 film(6 songs) in 48 and 1 film( 1 song) in 49. In 1957 again he used her for 1 song. Thus in a period of 10 years A. Biswas used Shamshad for just 12 songs in 5 films.
The lead actor in the film Bhookh-1947 was Shaikh Mukhtar. Religious, Mythological or Historical stories have some characters who are with extraordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry, some actors fitted this requirement. Some of them were B M Vyas, Ramayan Tiwari, Shaikh Mukhtar, Dara Singh, Dev Kumar etc etc.
Shaikh Mukhtar fitted into these roles perfectly, for example as Nadir Shah in film ” Nadir Shah”-68, as Changez khan in film ” Changez Khan”-57, or as Sher Afghan in film “Noor jehan”-67. In social films, roles of Police Officers and in action/stunt films as Dacoit,Drunkard,Gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in the film ‘ Roti’-42, he brings down an aircraft with his spear throw ! As a Police Officer, he would hold 5-6 criminals by their scuff in his extra large hands or run barefoot after a speeding jeep and stop it !
His real name was Mukhtar Ahmed Siddiqi. Sheikh Mukhtar was the son of Chaudhry Ashfaq Ahmed, who was a railway police inspector born in Karachi. Chaudhary Ashfaq Ahmed got transferred and moved to Delhi. Sheikh Mukhtar was born on 24 December 1914 in Delhi. He spent his childhood in Gali choodi waalan.He studied in Anglo Arabic School, Ajmeri Gate, Delhi. His father wanted his son to join the Police or Army on a higher rank, but Sheikh Mukhtar was keenly interested in theatre. One of his acquaintances from his area started working in a theatre company, so Sheikh Mukhtar also moved to Kolkata and joined the company.
He was Bollywood`s first Hunk – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today.
Yet, this rugged man was once a hero.
Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In Ek hi Raasta, or The Only Way, a film directed by Mehboob saab for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as Burma Road, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mould. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s Roti with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.
In Wadia`s Krishnabhakt Bodana, Sheikh Mukhtar was the Lord`s devotee. In Bahen, he portrayed the role of Meena Kumari`s brother. His imposing personality fitted well into `period` films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in Noor Jehan, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, SheikhMukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as Dada, Dara, Ustad Pedro, Toote Tare, Mr. Lambu, Annadaata, Mangu (with another beauty, Nigar Sultan), Do Ustaad, Noor Jehan, among others.
He wove into his films a variety of songs, from Bahaaron ke doli pe aaye hai jawaani, a romantic number from Annadaata, to naughty ditties, such as Dil ka yeh engine seeti bajaye from Ustaad Pedro, and Namaste, Doctor Paro, hum ko bhi ek injection maaro. SheikhMukhtar`s pair of shoes, of twelve number size, (in Do Ustaad), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of Do Ustaad when he holds his long-lost brother and son to his bosom.
Sheikh Mukhtar blew up his hard-earned money on Noor Jahan, his dream project. However, the `period` film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no relief. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.
He was not at all welcomed by Pak film industry. As it is, Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to the Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. He was returning to Lahore with his son Shaikh Moinuddin. Mukhtar got a severe heart attack in the flight. He was immediately taken home and the doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way, on 13-5-1980.
Sheikh Mukhtarwas married to Shamim and they Had a son Moinuddin Mukhtar and a daughter Mariam Mukhtar.
Noor Jehan, which was released in Pakistan within 10 days after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. ( some information from articles by Shirish Kanekar and Javed Hameed is used herein, with thanks).
Today’s song is sung by Anil Biswas. Enjoy….
Song- Saare jag mein pet ka dhandha (Bhookh)(1947) Singer- Anil Biswas, Lyricist- Dr. Safdar Aah Sitapuri, MD- Anil Biswas
Lyrics
Saare jag mein pet ka dhandha aa aa
pet ka dhandha
saare jag mein pet ka dhandha aa aa
pet ka dhandha
he bhookh se vyaakul kaayar banda
saare jag mein pet ka dhandha
pet ka dhandha
ho bhookh se vyaakul kaayar banda
saare jag mein pet ka dhandha
pet ka dhandha
pet ka dhandha
pet ka dhandha
pet ka dhandha
mehnat kar le khench le aaraa
munh pe paseene kee ho dhaara
jiyo mere bachchon
durmut veer humat ke chalaana aa
chaahee bhar ?? dahlaana
o ban ja dil se karm ka banda
saare jag mein pet ka dhandha
pet ka dhandha
o ban ja dil se karm ka banda
saare jag mein pet ka dhandha
pet ka dhandha aa
pet ka dhandha
pet ka dhandha aa
pet ka dhandha
desh kee kuchh behnen maataayen
pet kee khaatir laaj ganwaayen
bhagwan inka bhala kare
kahen inhen jag ??dhaaree
din ko patita raat ko pyaaree
he he he he he
pet hai bhookha
pesha ganda
saare jag mein pet ka dhandha
pet ka dhandha
o pet hai bhookha
pesha ganda
saare jag mein pet ka dhandha
pet ka dhandha aa
pet ka dhandha
pet ka dhandha aa
pet ka dhandha
pet ka dhandha
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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