Isee bhaanti sansaar kahaanee kehta jaata hai
Posted on: February 2, 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.
|
Blog Day : |
6408 | Post No. : | 19877 |
Today’s song is from the Mythological film Bhagwat Mahima-1955.
The film was made by Filmistan. It was directed by veteran all-rounder Vithaldas Panchotiya. The Music Director was Hemant Kumar, who was famous for creating excellent Bhajans in films. Cast of the film was Prem Adib, Navin Yagnik, Sunder, Chaman Puri, Madan Puri, Parshuram, Vithaldas Panchotiya, Indira Bansal and a host of other actors.
Hemant Kumar’s association with Filmistan started with the film Anand math-52. Director Hemen Gupta recommended his name to S.Mukherjee at that time. Having heard Hemant’s name for his Bangla songs, Mukherjee accepted his name. Earlier C Ramchandra had left Filmistan during the making of film Shabistan-51, due to the interference of his old tormentor Bibhuti Mitra, the film Director.(He was called for the film Anarkali again, after Basant Prakash had left halfway).
Hemant did many films for Filmistan like Shart-54, Samrat-54, Nagin-54, Jagriti-54, Bhagwat Mahima-55 and Durgesh Nandini-56. When Hemant was asked to make music for the film Nagin, an interesting event happened. S.Mukherjee had never worked with Master Bhagwan, but he had immense faith in Bhagwan’s Music sense. Most times Mukherjee used to ask Bhagwan’s advice on song tunes of his films. One day, C Ramchandra hosted a party at his bungalow-Sai prasad, Dadar, to celebrate the Silver jubilee of film Albela. When the party was in full swing, on the IIIrd floor terrace, Mukherjee called Bhagwan aside and asked him to come with him to the ground floor. Bhagwan was surprised, but without questioning, he accompanied him to the ground floor. There he saw a young man with a Harmonium. Mukherjee said,” Dada, listen to these tunes and give me your opinion.” Then he turned to that young bespectacled man and asked him to play his song tunes. After listening to the tunes, Bhagwan looked excited and said,” My God, kya superb tunes hai ye. Sab gaane hit honge”. That was Hemant Kumar with Nagin Tunes ! Needless to say that Mukherjee passed all tunes.
Hemant Kumar (16-6-1920 to 26-9-1989) excelled in religious films, with his melodious music,often sung in his own voice. Looking at his career statistics, he was more successful as a Singer in Hindi films than as a Music Director. He sang 320 songs in 173 films, while he gave music to only 55 films, composing 423 songs, in his career. I simply love his songs, especially his duets with Lata and Geeta Dutt.
When he first came to Bombay in 1951 to score music for the film Anand Math-52, he had a problem with Hindi language pronunciations. As a professional, it is to his credit that he tried hard and successfully corrected his Hindi, while retaining the characteristic Bangla sweetness in his voice. Lata had once said,” when Hemant Kumar sings, you feel a Sadhu is singing !”. Hemant Kumar usually wore a Dhoti and Kurta. His voice was typically different and by nature he was a thorough Gentleman.
The decade of 1950s, besides being a part of the “Golden Era” of Hindi film music, also was a very favourable period for Religious films. This was a decade in which the maximum number of Mythological/Religious films were made – a record number of 124 films in 10 years’ time. This gave an unprecedented average of One film every month for 10 years at a stretch ! This was a period when joint families still existed and there were many senior citizens in almost every family-who were keen on seeing religious films. The TV had not yet arrived and stage dramas were relegated to the second place in entertainment for families.
During the 1960s and the 1970s, the number of Religious films dwindled, as a variety of topics were handled by films – including the New Wave films, which focused on different issues of the Middle class Indians.
Film Bhagwat Mahima-55 was based on Bhagwat Puran stories. Out of all the 18 Puranas of Hindu religion, Bhagwat Puran is the most popular and most read scripture. It contains 18000 Shlokas in 12 Cantos or Chapters and has stories about Lord Shri Krishna and his devotees. Bhagwat puran has 3 main sections, which emphasize about 1) Bhakti Yog or the Spiritual path to God, 2) Dnyaan Yog or the Wisdom Path and 3) (Nishkaam) Karm Yog or the Virtuous Action Path (without expecting fruits thereof). The entire Puran is about Krishna from his birth to his exit from this world and stories about events and people connected with him throughout his Mortal life.
Hindi film industry has always been consistent in churning out Mythological films, from the beginning of the film making era- in Silent films as well as Talkie films.
The first full length silent feature film, which Dadasaheb Phalke made in 1913, was a Mythological film. When Talkie films started, in the very first year i.e. 1931, there were 8 Mythological films made out of the total 24 films made that year ! Indian people have a fascination for watching and enjoying Religious and Mythological stories from Puranas, Ramayan and Mahabharat.
In the early era there was a Studio system and in the studio system, the artists did whatever work was assigned to him. Initially the jobs were not cut out, so a story writer would assist the Cameraman and then carry the equipment, or even work in a minor role in the film, if the need arose. This also gave an opportunity to active people to learn new skills and then stick to them to develop expertise.
The studio system managed to survive till the end of the 1940s and till then many ambitious men learnt new skills and then became well known names in those fields.
Few examples are presented here:
When the shooting of the film ” Ek thi ladki”-49 was going on,the director, script writer, cameraman and other crew were sitting on the bank of the river, where the shooting was to take place. That day, one of the distributors was also present to watch the shooting. The scene depicted a speed boat losing control in the river with the Heroine in it. At the last minute the junior artiste who was to man the boat developed cold feet and left. Director Roop Shorey asked the script writer I S Johar to do the role. Johar not only did the role, but also added acting of fear and shivering showing helplessness. Seeing all this the onlookers were laughing and rolling on the floor. The distributor was so impressed that he insisted on giving Johar a bigger role in the film. Thus a new role was written and Johar became a comedy actor !
Choreographer of film Lakharani-45, trained in the Udai shanker’s school at Almora, became assistant Director to P L Santoshi in film ” Hum sab ek hain’-46. His name was Guru Dutt. P L Santoshi himself was a story and dialogue writer till then.
Amiya Chakraborty joined Bombay Talkies as a Canteen Manager and ended as a successful Director. Najam Naqvi was a Continuity man before he developed as a Director, Ashok kumar was a Lab assistant, Nitin Bose and Bimal Roy were Cinematographers. Hrishikesh Mukherjee was an Editor. There are many such examples.
In some cases some extraordinary All- rounders were made. In one of my earlier articles I have written about Character artiste Badri Pershad. We all know him as an actor, but during the 30s and 40s, he was a producer, Director, Singer, Music Director, lyricist, Actor, Hero, villain comedian and character actor and above all surprisingly -a Choreographer also ! His case is unique in the Hindi film industry.
Today’s song is from the film, ” Bhagwat Mahima”-55, made by Filmistan. The film was directed by Vithaldas Panchotiya, who also acted in the film. Vithaldas is yet another example of an All- rounder in films. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
The story of film Bhagwat Mahima-1955 was……
Nagar Seth, a rich man living in one of the gayest cities of India, had everything he wanted in life with one exception. And that was his having no children. His wife, Shanta, consoled him by saying that it was better not to have a child rather than have one who would ruin the fair name of the family by his mis-deeds. She narrated to her husband the story of Sukhram who served his son for three generations in the forms of a bull,a dog and a serpent, even though he could have gone to heaven without doing this service. His son, however, ill-treated the father throughout. . Anyway, the story failed to impress Nagar Seth.
One day Shri Jagat Guru Shankaracharya happened to pass through the town. Shanta, who was a disciple of his, requested him to console her husband. In doing so, Shankaracharya narrated a story from the Immortal Classic, Shrimad Bhagvat, wherein Atmadev, also placed in similar circumstances, prayed for a child. Doing penance, Atmadev had `darshan of Narad Muni who gave him a fruit saying that his wife would beget a noble son if she ate the fruit. . Atmadevs wife had no faith in miracles and, on the advice of her sister, Ganga, gave the fruit to her cow.
Ganga, who was expecting a baby, offered her child to Dhundhli (Atmadevs wife) for some consideration. Thus, Atmadev was made to believe that Ganga’s child was his own. He was named Dhundhukari.
At the same time, the cow which had eaten the fruit, also gave birth to a son who was human in every feature except his ears which were shaped like a cows. This boy was also brought up by Atmadev and named “Gokarn”.
Both the boys grew up together and, in due course, became young men. Gokarn, who led a pious and righteous life, became a learned and famous man. Dhundhukari, on the other hand, grew up in bad ways and became the terror of the town. . One day, Dhundhukaris real father, i.e.Ganga’s husband, told Atmadev about his sons real identity. This so much upset Atmadev that he went away into the forest. There, later, he lost his life.
Champa, a helpless girl and one of the many victims of Dhundhukari, conspired with some of her friends and killed Dhundhukari. Because of his manifold sins, he then became a wandering ghost. . Gokarn, who had now become a Mahatma, was at Gaya offering `Pind Dan’ to his deceased father when he learned about Dhundhukari’s fate. To relieve him of his ghostly existence, Gokarn offered `Pind Dan’ not once, but 108 times. Still, he was not successful. He then offered prayers to Suryadev on the advice of learned pandits. Suryadev, pleased with the prayers, blessed Gokarn and asked him to recite Shrimad Bhagvat for the salvation of Dhundhukari’s ghost.
One name in the cast was Chaman Puri. He was not as famous as his brothers. Chaman Puri (02 October 1914 – 26 June 1998) worked in over 95 films and is known for his roles in Howrah Bridge (1958), Victoria No. 203 (1972) and The Train (1970). He was known to be a very versatile actor.
Chaman Puri was born on 02 October 1914 in Nawanshahar, Punjab to a Punjabi family of Ved Kaur (Mother) and S. Nihal Singh Puri (Father). Chaman Lal Puri was the first of five children, with younger brothers Madan Puri, Amrish Puri, Harish Lal Puri & younger sister Chandrakanta Mehra. He was the first cousin of the singer K. L. Saigal. He was married to Satyavati and they have a son Anoop Puri, who is also an actor & voice over artist.
Chaman Puri debuted in 1938 with the film “Street Singer” on the order of his first cousin singer K. L. Saigal. Then he went on working in films for nearly 55 years. He even worked with his younger brother Madan Puri in seven films which include Ram Bharose, Fakira, Aap Beeti, Chor Machaye Shor, The Train and Howrah Bridge.
Some of the films in which he has worked include Raat Ki Rani, in Sangram as a police officer, Nadaan, Bahar, Afsana, Aansoo, in Shart as a doctor, Khaibar, Great Soul, Confluence, Jalti Nishani, Abe Hayat, Qeemat, Bharti, 26th January, Heer, Talash, Paying Guest as a public prosecutor, Howrah Bridge, Pardesi Dhola, Hum Bhi insaan Hain, Commander, Patang, in Masoom as a school headmaster, Tanhai, Sapne Suhane, Hum Matwale Naujawan, Raaz Ki Baat, Hamen Khelne Do, Phool Bane Angare, Deepak, Rahul, Leader, Shaheed, Bahu Beti, Chanchal Ka Sapna, Mamta, Pyar Kiye Jaa, Naujawan, Aayega Aanewala, Maya, Nai Roshni, Waris, Insaan aur Shaitan, Geet, Sansar, Hum Tum Aur Woh, Jangal Mein Mangal, Rocky Mera Naam, Teen Chor, Chor Machaye Shor, Amir Gareeb, Mera Sajna, Chori Mera Kaam, Phaansi, Aulad and Pyaar Ka Pahela Sawan. Compiled by Suresh Sarvaiya
Apart from being a renowned actor Chaman Puri was also a very open minded and jolly person. People loved to be around him & enjoyed his stories and humor. Unfortunately, he left everyone on 26th June 1998. He will always be celebrated and cherished by his fans all around the world.
Another less known name is Navin Yagnik. This was his last film in his career. Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta on 3-10- 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports,dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.
He joined Sagar Films in 1930, as an Extra, without salary. After a few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in the film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on the Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in the film ” Pyar ki maar”-35.
In her autobiography, actress Hansa Wadkar says,” My Hero in this film was one Navin Yagnik, a handsome boy from U.P. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties,nor did he participate in any other group activity. I was attracted towards him but he gave no response. He sent me an invitation card for his marriage, when it was fixed.”
He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Vaasanti-38, Son of Zambo-39, Main Haari-40, Jhoothi Sharm-40, Vasantsena-42, Raja Rani-42, School Master-43, Prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last recorded film was Bhagwat Mahima-55. In all, he worked in 30 films. Navin Yagnik died on 28-10-1977.
Here is a song by Hemant Kumar. Enjoy….
Song- Isi Bhaanti sansaar kahaanee kehta aata hai (Bhagwat Mahima)(1955) Singer- Hemant Kumar, Lyricist- Saraswati Kumar Deepak, MD- Hemant Kumar
Lyrics
Aash niraasha ke rangon se ae
hum jo chitr banaate
kabhee bigadte
kabhee sanwarte
aur kabhee ban jaate
isi bhaanti sansaar
kahaanee kehta aata hai
kahaanee kehta jaata hai
raat baat keh jaatee apnee
din muskaata hai
kahaanee kehta jaata hai
isee bhaanti sansaar
kahaanee kehta aata hai
kahaanee kehta jaata hai
raat baat keh jaatee apnee
din muskaata hai
kahaanee kehta jaata hai
kaun hamaara kaun tumhaara
ye jag rain basera
chaar dinon kee kabhee chaandnee
aur hai kabhee andhera
diya bujha phir naya diya
muskaan dikhaata hai
kahaanee kehta jaata hai
kaheen sukhon kee kalee khilee hai
kaheen dukhon ke kaante
daata ne donon haathhon se
sukh dukh ghar ghar baante
kisee ka hansna kisee ka rona
jag kehlaata hai
kahaanee kehta jaata hai
jis bete ko paal pos kar
maata badaa banaatee
wahee kapoot bujha deta hai
kul deepak kee baatee
ek daal ke do phoolon ko
ek daal ke do phoolon ko
bhaagya nachaata hai
kahaanee kehta jaata hai
isee bhaanti sansaar
kahaanee kehta aata hai
kahaanee kehta jaata hai
raat baat keh jaatee apnee
din muskaata hai
kahaanee kehta jaata hai ae ae
isee bhaanti sansaar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 2, 2026 at 10:28 am
Good Morning,
Very beautiful song.
Golden era of sincere music.
Thanks for sharing a jewel.
Blessings
Uma🙏
LikeLike