Mil ke bichhad mat jaana
Posted on: January 12, 2026
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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6387 | Post No. : | 19807 |
‘Daasi’ (1944) was produced under the banner of Pradhan Pictures and was directed by Hiren Bose. The cast included Najam-ul-Hasan and Ragini in the lead roles supported by Kalavati, Khairati, G N Butt, Charlie, Om Prakash, Gyani, Fazal Shah, Manzoor etc. The story of the film was written by Dalsukh Pancholi. I have strong reason to believe that Pradhan Pictures was Dalsukh Pancholi’s ‘ghost’ banner as I find his name on the Censor Certificate as applicant.
The film’s lead actor, Najam-ul-Hasan (in the credit title of the film, his name is spelled as Najam Hussain) became well known for an incidence while working in the Bombay Talkies film, ‘Jeevan Naiyya’ (1936) as a lead actor opposite Devika Rani, wife of Himanshu Rai, the founder of the Bombay Talkies. During the making of the film, Najam-ul-Hasan eloped with Devika Rani to Calcutta (Kolkata). While Devika Rani was convinced by Sashadhar Mukerjee to return to Bombay Talkies, Ashok Kumar who was working in the Bombay Talkies as a laboratory assistant got a chance to work as a lead actor opposite Devika Rani, replacing Najam-ul-Hasan.
Najam-ul-Hasan (05/09/2010 -26/01/1982) was born in Lucknow in an educated family. He left his law graduation halfway to join the Bombay Talkies as an actor. He got his lead role in his very first film, ‘Jawaani Ki Hawa’ (1935) opposite Devika Rani. After eloping with Devika Rani to Kolkata, he remained there and joined New Theatres. He worked in ‘Anaath Asharam’ (1937), ‘Dushman’ (1939), Jawani Ki Reet’ (1939), ‘Kapal Kundala’ (1939), ‘Nartaki’ (1940) and ‘Meenakshi’ (1942). He shifted to Lahore and worked in the film under discussion and ‘Ragini’ (1945). After partition, Najam-ul-Hasan remained in Pakistan and worked in a few films until his death in 1982.
The story of the film is as under:
Jayant (Najam-ul-Hasan) shares a room with his three friends, Noor Mohammed Charlie, Om Prakash and Khairati. When their creditors knock the door of the room for the collection of outstanding dues, all the four escape from the backdoor and land in the house of Baba (G N Butt) who is the devotee of Lord Mahadev because after the installation of the deity of Lord Mahadev in his house, his financial condition has improved. After losing six offsprings, he has been blessed with a girl who has now grown up as Rambha (Ragini). Baba offers shelter to Jayant and his three friends.
Over a period of time, Baba develops confidence in Jayant and his friends because they appear to be from good families. Jayant and Rambha become close to each other while working in the fields. One day, Baba hands over his entire life savings to Jayant in a bag for safe keeping which he takes care of meticulously. One night, Jayant finds the money bag missing and his three friends are also missing. He assures Baba that he will make good the lost amount by working hard in the agricultural fields. He keeps his words and makes good the lost money. Baba is very happy and he gets Rambha married to Jayant. A baby boy is born to them adding happiness to Baba.
One day, Jayant visits the city to buy some essential items. While moving in the city, a high-speed car driven by Kamla (Kalavati) hits Jayant who gets serious head injury. He is admitted in the hospital by Kamla’s family. Jayant recovers from the head injury but has lost his past memories. Kamla’s family decides to take care of him in their house. In the village, both Rambha and Baba have been waiting for days for Jayant to return but there is no news about him.
Five years have passed after Jayant has left the village for the city. Rambha’s hopes of his return have turned into despairs. In the city, Jayant, now known as Madhukar, is married to Kamla. His father-in-law has handed over the running of his industry to him. One day, Rambha’s uncle who has returned from the city informs his brother Baba that he has seen Jayant who is married and become an industrialist’s son-in-law. He has refused to recognise him. Baba does not believe that Jayant can do such thing. So, he decides to visit the city and personally meet Jayant.
Baba visits to the city and meets Jayant who is not able to recognise him. Baba thinks that with his new acquired status as an industrialist with a new wife, he is deliberately refusing to recognise him. When he insists Jayant that he should return with him to the village, his staff pushes Baba out of the house. He returns empty-handed to the village and reports the matter to Rambha who gets disheartened. After few days, Baba dies out of shock. Rambha decides to visit the city in search of Jayant and after finding his whereabout, she gets a job in his house as a maid servant (Daasi).
Jayant (now Madhukar) develops affinity toward Rambha’s son, Sundar (Baby Parveen). When he falls during a horse ride, Madhukar bears all the expenses and personally ensures that he is well-treated. This creates some rift between Madhukar and his wife, Kamla as she feels ignored. One day, Madhukar hears Rambha singing a poignant song, wo din yaad karo. He walks towards her outhouse and tells her that the song gives an impression of her life story and asks her to give some details about her husband who has deserted her. He will help her through police to find him. But Rambha cannot tell him that it is he who has deserted her.
Madhukar starts spending more time in Rambha’s house in order to help her to locate her husband and console her. Things become more complicated when Kamla sees a photo frame of Madhukar in Rambha’s outhouse which she has garlanded as if he is God to her. Kamla now suspects that Madhukar has developed extra interest in the maid servant. She complains to her father who admonishes Madhukar by revealing him that he has made him a big man after picking him from a road accident. This triggers some thoughts in his mind as to who he is.
Occasionally, Madhukar starts getting faint images of his past. This makes him restless. He wants to meet Sundar but his servant informs him that Rambha has left the house with Sundar and gone back to her village. She has taken this decision to avoid unnecessary complications in the life of Madhukar. This news makes him more restless. He starts wandering on the road looking for Sundar. During this time, a horse carriage driver who was from Jayant’s village, sees him wandering on the road. He recognises Jayant who does not remember to have seen him. The horse carriage driver tells him that his wife and the son have been waiting for him for many years in the village and takes him back to the village.
When Jayant comes nearer to his village, the agricultural fields and the workers calling him by his name bring him some familiarity of the place but he is still confused. He sees many familiar landmarks of his village which triggers his past memories. As soon as he reaches his house and opens the door, he sees the idol of Mahadev which further triggers his past memory. He recognises Rambha and thus gets united with his grassroots.
I do not know as to how the film had fared at the box office front. I have watched the film for the first time very recently and liked its crisp presentation of the story without extraneous details. All the 10 songs of the film were melodious by the standard of 1940s films reflecting Pandit Amarnath’s specialisation in Punjab school of music. After the release of this film, Pandit Amarnath was identified as ‘Pandit Amarnath of Daasi fame’. Another feature of the film was its background music supervised by Pandit Amarnath, which I personally feel is of high quality in the 1940s standard.
The film had 10 songs written by D N Madhok (8), Nazim Panipati (1) and Aziz Kashmiri (1) which were set to music by Pandit Amarnath. Eight songs have been covered on the Blog. I present the 9th song, ‘mil ke bichhad na jaana mithi nazar milaake’ which is written by D N Madhok. The song is rendered by Zeenat Begum and picturised on Ragini and Najam-ul-Hasan.
The context of the song is that Jayant (Najam-ul-Hasan) and Rambha (Ragini) have become close to each other after he and his friends have been given shelter by Rambha’s father. They are in love with each other and during one of their togetherness, Rambha asks for his assurance that he will not get separated from her. This song is a precursor which actually happens later when Najam losses his past memories due to an head injury and gets separated from her for a long period.
Video Clip:
Audio Clip:
Song-Mil ke bichhad mat jaana (Daasi)(1944) Singer-Zeenat Begam, Lyricist-D N Madhok,MD-Pt Amarnath
Lyrics
mil ke bichhad mat jaana
meethhee nazar milaake
mil ke bichhad mat jaana
meethhee nazar milaa ke
haan keh do jee morey baalam
keh do jee morey baalam
ek baar muskaa ke
mil ke bichhad mat jaana
meethhee nazar milaa ke
haan aan
dekho jee dekho
moraa chhota sa dil hai
chhota sa dil hai
toh bin chain pare mushqil hai
toh bin chain pare mushqil hai
mar na jaaoon main ghabraa ke
mar na jaaoon main ghabraa ke
haan kah do jee morey baalam
keh do jee morey baalam
ek baar muskaa ke
mil ke bichhad mat jaana
meethhee nazar milaa ke
jaaoge kaheen tum chain na paaoge
jaaoge kaheen tum chain na paaoge
aap jaloge aur hamko jalaaoge
aap jaloge aur hamko jalaaoge
phir jo tum aaoge jaa ke
phir jo tum aaoge jaa ke
haan keh do jee morey baalam
keh do jee morey baalam
ek baar muskaa ke
mil ke bichhad mat jaana
meethhee nazar milaa ke
mil ke bichhad mat jaana
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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