Jawaanee Zindagaanee Shaadmaanee hai kahaanee kahaanee
Posted on: January 18, 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 Costume film – Nagma E sahra aka The song of Desert- 1945.
The film was produced and directed by Master Bhagwan, for his own banner, Jagriti Pictures, Bombay. In those days the name of Master Bhagwan was well known for making C grade films for the lovers of stunt and action films. He had come up the hard way in this field. We know Bhagwan as a bulky comedian, but can you believe that Bhagwan had a great muscular body in the early days of his career ? He was not much educated, but he was not illiterate. He could not speak English like others, but he used to see English films regularly to get new ideas for his stunt films.
In this field his idol was Master Vithal, who was a popular and famous actor since the Silent era of films. He had not only acted but also directed a few films. Because of his popularity and ability to draw an audience, Ardeshir Irani was keen to take him as the Hero of India’s first Talkie film AlamAra-1931.
Film Naghma E Sahra-1945 had a special importance in the lives of Master Bhagwan and C. Ramchandra. Master Vithal was the idol for both of them. Though Master Bhagwan himself worked in, produced and directed stunt films, he was keen that his idol Master Vithal should work in his film and that he should do the direction. By 1945, Master Vithal was losing his popularity in Hindi films and he was also not getting many films, so he was thinking of concentrating on Marathi films and to go and settle in Kolhapur, where he had built a big Chawl. So his income from its rent was also guaranteed.
When Bhagwan came to know this, he became panicky, thinking that his dream would remain incomplete. He gathered courage and contacted Master Vithal and offered him a role in his film. To Bhagwan’s delight Master Vithal almost readily accepted the offer. Until then Bhagwan had no idea about his film. He started work along with Ehsan Rizvi, his favourite writer, on the story of the new film. He also contacted C.Ramchandra to give the news. C. Ramchandra gave music to Bhagwan’s films, but used other names than C.Ramchandra. For this film, he decided to use his real name. Thus their dream of working with Master Vithal was fulfilled. This way the film was made. As luck would have it, this film really became the last film Master Vithal did in Hindi in Bombay. He left Bombay and went away to Kolhapur. However, he regretted his hurried shift, later in life.
Generally C Ramchandra never gave music to Bhagwan’s films under his own name. He used names like Annasaheb or Ram Chitalkar or simply P. Ramakant-using his assistant’s name as a cover. That was the case till this film. After this, he left Jayant Desai Productions and joined the prestigious Filmistan in 1946. This film ‘Naghma E Sehra’ was special for both C Ramchandra and Bhagwan, because their GOD- Master Vithal was the Hero of this film- for the last time perhaps in Hindi films. By 1946, Master Vithal had become sidelined in Hindi movies, though he continued to figure in Marathi films, doing small roles there till 1966.
Master Vithal was the First Superstar of Silent Films, who became the Hero of the First Talkie film of India “Aalam Ara-1931”. He got this role only because of his unparallelled popularity in silent films. He was the first ‘Angry Young Man’ of Indian Cinema in the 20s and the 30s. His films were full of stunts, fighting and daredevil acts. Master Vithal was very handsome with a very muscular physique. He was the ideal of many aspiring young actors like Bhagwan.
So, when Bhagwan became a stunt film Hero and a Director, his ardent wish was to act with Master Vithal or direct him. By 1940, Master Vithal was almost a spent force, with very few Hindi films for him to act. So when Bhagwan got him to act in his film ‘Naghma E Sahra’-45, both Bhagwan and his close friend C Ramchandra were overjoyed. C Ramchandra not only gave music to this film, but also did playback singing for Master Vithal and fulfilled his cherished dream of doing so.
Today’s generation has no idea what position Master Vithal held in the minds of the Indian audience in those days. Stunt films were very popular and Master Vithal, with his handsome looks, muscular physique and daredevil stunts was extremely popular. I am perhaps one of the very few persons remaining now ,who has seen his film. I only remember one scene from that film, in which Master Vithal jumps from a tree onto an open car, fights with the goons and takes away the Heroine, who promptly embraces him. I do not remember the name of the film or the Heroine’s name. She might be Zebunnisa.
Film Nagma E Sahra-1945 was described in its advertisement as an ” Action-Adventure-Comedy- Thriller-Emotional- Romantic- Family Drama”. The cast of the film included Master Vithal, Khursheed Jr. ( sister of Meena Kumari), Bhagwan, Amarnath (Bharadwaj), Bhagwandas, Shanta Pateland and many others. The Lyricist was Ehsan Rizvi.
The story of the film was….
It was the Coronation Day of Prince Firoz. In Baghdad, people indulged in celebrations. Grand Vizier’s daughter Nargis was showering her love on Firoz.That time one of the Royalladies-Ishrat prompted Jalal-the banished uncle of Firoz to usurp the throne. He had created discontent all around by selling the kingdom’s tribals as slaves and making the women prostitutes in the name of Firoz.
At the time of the Coronation, Jalal starts his revolt. The wise and loyal vazir, Yawar, advises Firoz to run away. Firoz escapes and takes refuge with the tribes of his kingdom. Altamash, the chief, gives him shelter initially, but when he recognizes Firoz, he tries to kill him, but the elders of his tribe stop him. Firoz convinces them that the culprit of damage to their tribe was Jalal and not him. Altamash promisseshimhelp to regain his throne.
Worried about Nargis, Firoze goes to his kingdom and is captured by Jalal’s army. Afzal, his loyal court jester, plans his rescue. Altamash, dressed as merchants from Basra, goes to Jalal’s court. He presents Afzal as an Oriental dancer. Once inside the palace, they loot the arms and rescue Firoz, Nargis and the Vazir.
Altamash sees Nargis without Burkha and not knowing that she is the beloved of Firoz falls in her love. Her gratefulness to him is taken as her love for him. Once he sees Firoz and Nargis singing and romancing. In anger he joins Jalal. The tribe also wants Nargis to go away. Thus Nargis and her father Yawar leave from there.
Firoz is dejected. No throne and no Nargis. He is very upset. Afzal tries to convince Altamash by telling all reality, but to no avail. In disgust he asks Altamash to kill him. Seeing his tears and earnestness, Altamash changes his mind. Repenting , he unites Firoz and Nargis. Together they attack Jalal and kill him. Firoz gets back his kingdom and Nargis.
(The story of this film is copied and adapted from the film’s booklet – very kindly sent to me by Shri Harmandir Singh Hamraz ji, on my request. I thank him heartily for his kind help.)
Master Vithal (Vithal Raghunath Desai) was born in 1906. He made his début on the stage as a child artist with Rajapur Natak Mandali. He then started his career as a film editor with Maharashtra Films, Kolhapur which was owned by Baburao Painter. His first film role was as a female dancer in ‘Kalyancha Khajina’, a silent era film directed by Baburao Painter. He continued to work as film editor and a dancer and played minor roles in films. His first break as a male lead was in the film ‘Ratna Manjari’ (1926) produced by Sharda Studios, which he had joined earlier in 1925. After ‘Ratna Manjari’, he was a permanent fixture in the role of a hero and he was the star attraction of the films from Sharda Studios.
Sharda Studios was owned by Nanubhai Desai, Anand Prasad Kapoor and Harshadrai Mehta. Nanubhai Desai was the studio founder and director of many stunt films produced by the company in which Vithal appeared in swashbuckling roles with Zebunnisa as his heroine. A professional wrestler, he became a very popular fearless hero acting in films on historical themes related to Rajasthan and Maharashtra; thus giving him the title ‘the Indian Douglas Fairbanks’ a title Vithal hated. Audience adored him in his stunt hero role, which became his ‘forte’. By 1930, he was the highest paid male star in the Indian cinema industry.
In 1930, Vithal’s popularity in stunt films attracted Ardeshir Irani of Imperial Film Company to invite him to join his company to make India’s first talkie, though Mehboob Khan was also vying for the role. Vithal, who was quite excited by Irani’s offer, accepted and moved to Irani’s newly formed film company Sagar Studios in Bombay, breaking his contract with Sharda Studios, only by a few days. Nanubhai Desai was furious and he kidnapped Master Vithal. He was kept captive, forcing him to extend the contract with Sharda Films. When Irani came to know this, he went to court against Sharda films. Eminent lawyers like Setalwad and Mohmmed Ali Jinnah were employed by the litigating parties.
When the case started in the court, the judge asked Master Vithal, where he would like to join. That time Sharada was paying him Rs. 300 pm. Master Vithal replied that whichever company gave him more salary, he would join them. After this, there was an auction in the court and sums were spelt for master Vithal. The Imperial Film company won when they offered Rs. 1200 pm as salary. The judge gave his judgement and Master Vithal joined Imperial. Thus he became the first actor to get a four figure salary in Indian Films. He was also the first actor in the industry to own a car. After losing Master Vithal, Sharada Film company wanted a replacement for him. They appointed P. Jairaj, an upcoming handsome and muscular actor, on a salary of Rs. 100 pm!
The following year, Master Vithal played the hero in the first Indian talkie ‘Aalam Ara’ with Zubeida as the female lead. ‘Alam Ara’ was also the first film in which music was introduced, as many as seven music scores were part of the film. As his Hindi diction was poor, he could not deliver the dialogues properly; his acting quality in histrionic roles was also questioned. He was shown mostly in a state of trance or semi consciousness in the film and hardly had any dialogue. It is said that Vithal could not adapt himself to the new genre of talking-singing films in Hindi as he was “reduced to a hero who is (was) magically struck dumb in Alam Ara”. In 1932, he did some more silent films, which were no longer preferred by the audience. The talkies led to the decline of his career in Hindi films. Vithal would never get a major role in Hindi films again. From 1934 onward, he started doing some Marathi films realizing his limitations. From the 1940s onward, he regularly appeared in films by Bhalji Pendharkar and those featuring Lalita Pawar and Durga Khote. He also played a side role in the 1944 blockbuster film ‘Ramshashtri’. Towards the end, he played only minor roles in Marathi films; his last film appearance was in 1966.
A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films. What’s more, he even sang 3 Hindi songs in the film Bhedi Rajkumar-1934.
However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 15 talkie Hindi films till 1946, in Bombay. He , however, acted in one more Hindi film ‘ Chhatrapati Shivaji”-1952, as it was made in Kolhapur only. His last film in Bombay was Kashmir ki Kali-1946. All this after ‘Aalam Ara’.
Master Vithal is in history books as the first hero of the first Indian talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in the silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.
Master Vithal was the first superstar of silent films. He also has the credit of being the hero of the first talkie film of India ‘Aalam Ara’ (1931). He got this role only because of his unparalleled popularity in silent films. He was the first ‘Angry Young Man’ of Indian cinema in the 1920s and the 1930s. His films were full of stunts, fighting and daredevil acts. Master Vithal was very handsome with a very muscular physique. He was the ideal of many aspiring young actors like Master Bhagwan.
So, when Bhagwan became a stunt film hero and a director, his ardent wish was to act with Master Vithal or direct him. By 1940, Master Vithal was almost a gone actor, with very few Hindi films. So when Bhagwan got him to act in his film ‘Naghma e Sahra’ (1945), both Bhagwan and his close friend C Ramchandra were extremely excited. CR not only gave music to this film, but also did playback singing for Master Vithal and fulfilled his wish.
Today’s generation has no idea what position Master Vithal held in the minds of the Indian audience in those days. Stunt films were very popular and Master Vithal, with his handsome looks, muscular physique and daredevil stunts was extremely popular. I am perhaps one of the very few persons remaining now, who has seen his film. I only remember one scene from that film, in which Master Vithal jumps from a tree onto an open car, fights with the goons and takes away the heroine, who promptly embraces him. I neither remember the name of the film nor of the heroine. She might be Zebunnisa.
Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently as, he felt, this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died on 25-6- 1969.
Here is a song from this film. This 80+ year old song may not be very melodious, but it has a Historical value. Enjoy….
Song- Jawaanee Zindagaaanee Shaadmaanee hai kahaanee kahaanee (Naghma e Sahra)(1945) Singer- Unknown female voice,Lyricist-Ehsan Rizvi, MD- C.Ramchandra
Lyrics
hmm hmm mm hmm
hm mm
hmm hmm mm hmm
hmm mm
hmm hmm mm hmm
hmm mm
hmm hmm mm hmm
hmm mm
Jawaanee Zindagaanee
Shaadmaanee
hai kahaanee kahaanee
hmm hmm mm hmm
hmm mm
maze kuchh zindagaanee
ke uthhaa le
fasaana ishq ka sun le
suna le
naheen aayegee ??
Jawaanee Zindagaanee Shaadmaanee
hai kahani
kahaanee
hmm hmm mm hmm
hmm mm
hmm hmm mm hmm
hmm mm
haseen honthhon pe
aankhon mein fasaana
museebat hai jawaanee kaa zamaanaa aa aa
sunahre din
raaten hain suhaanee
Jawaanee Zindagaanee Shaadmaanee
hai kahaanee kahaanee
hmm hmm mm hmm
hmm mm
khazaana ishq ka dil ne lutaaya aa
hmm hmm mm hmm
hmm mm
jalee jab shama aa aa
jalee jab shama
parwaanaa bhee aayaa
nigaahon se nigaahen
kah rahee hain
mujhe ?? uthhaaya
hmm hmm mm hmm
hmm mm
muhabbat hai jawaanee kee nishaanee
Jawaanee Zindagaanee Shaadmaanee
hai kahaanee kahaanee
hmm hmm mm hmm
hmm mm
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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