Do taar man ke mil gaye
Posted by: Atul on: February 7, 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- Ganga Maiyaa-1955.
The film Ganga Maiyaa-1955 was produced by Chimanlal Trivedi. It was directed by Chandrakant Gaur and the music was by Shankar rao Vyas. 7 songs were written by Ramesh Chandra Pandey (6) and Pt. Priyadarshi(1). The cast was Prem Adib, Sumitra devi, Asha Mathur, Sapru, Bipin Gupta, S.N.Tripathi, Shakuntala Devi ( mother of actress Ameeta), Jeevan, Ramesh Chandra Pandey and many others. Guest artist was Trilok Kapoor.
Hindu religion has attributed God-Hood to almost any and every moveable and unmoveable essential thing in the world. Air (Pavan devta), Water (Varun Dev), Fire (agni devta), Food (anna devta) and many such other things as Gods. Obviously, the elderly and the learned wanted the Human race to give respect to these essential things and use them thoughtfully-without wastage, so that they remain beneficial to mankind. The tendency among the uneducated and the uninitiated is to honour anything which is given a God-Hood. An ordinary big stone smeared with Red Lead or Vermilion (Shendoor) is accepted as a symbol of Hanuman and people pay respect to it !
So, no wonder that life sustaining rivers are considered as the Goddesses, especially those originating from the Holy Himalayas or other sacred mountains. Of course, river Ganga has been the most accepted and revered Goddess, because of its connection with lord Shiva, who dwells on Kailash Parvat of Himalayas.
There are more than 400 rivers in India. These are classified as Big, Medium and small rivers, based on their lengths and the catchment areas.
The 12 Big rivers are Ganga, Yamuna, Brahmaputra, Sindhu, Godavari, Krishna, Narmada, Taapi, Sarswati, Bheema, Tungbhadra and Pranitha. There are 46 medium size rivers and the rest are small rivers. The biggest, ofcourse, is Ganga, which is 2525 Kms. long from Gangotri to Bay of Bengal. It travels through Uttarakhand, U.P., Bihar, Jharkhand and West Bengal. Before merging into the Bay of Bengal, it also passes through BanglaDesh. It has a catchment area of more than 20,000 square Kilometers. The smallest river in India is Arvari, in Rajasthan, which runs only 45 kms.
I have a personal relationship with Ganga, as I have lived almost for two years, on its bank in Banaras. This was from February 1948 to the end of 1949. We were staying in a house on the bank of Ganga, very near to the Vishweshwar temple. We used to have Holy dips in Ganga every day. As such Ganga being associated with Lord Shiva, it was very sacred in our family and still it is.
Shiv Maha Puran describes the story how River Ganga-which flowed only in The Heaven, was brought to the Bhu-lok or our world. Like many other topics from our Puranas, even the story of Ganga’s descent on this Earth has been a subject of our films. The first film on the coming of Ganga or “Gangavataran” was made by Madon Theaters in Calcutta in 1922. Miss Patience Cooper had done the role of Ganga in it.
With the same topic and same Title, came the first talkie by Dadasaheb Phalke in 1937. This film “Gangavataran”-37 was made by Kolhapur Cinetone- a company promoted and financed by King Shahu Maharaj of Kolhapur. This was the only Talkie film Dadasaheb Phalke ever made in his life. After this film he retired, settled in his hometown Nashik and died there on 16-2-1944.
Incidentally, this was the film in which the famous character artist Leela Mishra made her debut. However, since this film was delayed inordinately in making, her second film “Honhaar”-36 released first. After this film, 3 more films, besides ‘Ganga maiya’-55, came on this subject. Ganga-74, Ganga Sagar-78 and Gangotri Ganga-2007. In the Television serial “Mahabharat” by B.R.Chopra ( from 2-10-1988 to 24-6-1990), the story of Ganga was shown. Ganga’s role was done by Kiran Juneja in this serial.
I had seen the film “Ganga Maiyaa”-55, in Prabhat Talkies, Hyderabad and as usual, I led a group of about a dozen senior citizens from our joint family to the theatre and back. Most of the audience was seniors and women. Everytime Lord Shankar made an appearance on the screen, there would be an ear shattering chant of “Jai Mahadev” in the theatre. Luckily, Trilok Kapoor, the usual actor for Bhagwan Shankar was only a ‘Guest artiste’ and had very few appearances on the screen limiting the enthusiastic chants !
The story of the film Ganga Maiyaa-1955 was….
Once upon a time, long ago, demons and gods were at war. To defeat the gods, the demons made a plan. During the day, they hid in the ocean and at night they attacked the gods. Afraid of being defeated in this way, the gods went to Sage Agastya for help.Agastya solved their problem by drinking the whole ocean. Now as the demons had no place to hide, the gods easily defeated them. The gods then asked Agastya to bring the ocean back. Agastya said that he could not do that because he had already digested the ocean.
The people of the earth now had no water, as the ocean was empty, The gods were worried and went to Vishnu and requested him to bring water on earth, King Sagara, who had sixty thousand sons, was performing a yagna to conquer the whole world. According to custom, if he had sent out a white horse, the ruler of that kingdom would either have to fight with Sagara or give him his crown. In this way, Sagara was conquering the whole earth and wanted to be the most powerful. Indra took the horse and hid it in sage Kapila’s ashram. Sagara sent his sons to search for the horse. They reached Kapila’s ashram. Sage Kapila was meditating and was disturbed. Greatly annoyed, with one look of his eyes. Kapila burnt all of them to ashes. Sagara was very sad at the death of his sons. He wanted to purify the souls of his sons but only river Ganga could do that by washing their ashes. Ganga had to be brought to earth. So Sagara performed tapasya to please Brahma. But he died before finishing the tapasya. His grandson then continued to perform the tapasya.
The seventh descendent of Sagara, Bhagiratha, was able to please Brahma. Brahma granted him his wish and asked Ganga to flow to earth. But Ganga didn’t want to leave heaven and go to earth. She threatened to destroy all life on earth by the pressure of her flow. Only Shiva’s powerful hair could control the force of Ganga. Bhagiratha requested Shiva to help him. Shiva spread his hair and covered the sky. As soon as Ganga flowed down, he collected her water in his hair in the form of many small streams. She then followed Bhagiratha to the place where the ashes of his ancestors were lying. Being young Ganga flowed carelessly. She flooded the ashram of Sage Jahnu. Jahnu was performing a yagna at that time the water put out all the fires. Angry Jahnu swallowed Ganga. But when he came to know about the long tapasya that had been performed to bring Ganga to earth, he agreed to let her go. He cut open his left thigh and Ganga flowed out of it. Ganga came to be known as Jahnvi, the daughter of Jhanu.
Ganga flowed on and purified the ashes of Bhagiratha’s ancestors. Therefore, Ganga is also called Bhagirathi. Thereafter, Ganga flowed and filled the empty ocean. The ocean came to be known as Sagara after the name of King Sagara. the people of earth now had water to drink.
The Producer of the film Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !
Born on 19-3-1909 at a village near Anand in Gujarat, he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.
He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.
He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !
C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon, Sharafat, Bhagya Laxmi, Kadambari, Tamanna, Inkaar, Mohabbat, Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.
In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.
It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ! (Thanks to Harish Raghuwanshi ji for his book ” बॉलिवूडमा गुजरातीयो ” in Gujarati for some information and my notes.)
The lead actress was SUMITRA DEVI (Born: 22-7-1923 – Died: 28 August 1990). She is recognized for her work in Hindi as well as Bengali cinema during the nineteen forties and nineteen fifties. She was one of the exquisite beauties of her time. She is remembered for her delineation of sensitive women characters in Hindi films like Mashal (1950), Deewana (1952), Mamta (1952) and Mayurpankh (1954) to name a few.
Sumitra Devi was a reigning actress of Bengali Cinema during forties and fifties. Films like Sandhi (1944), Samar (1950), Dasyu Mohan (1955), Saheb Bibi Golam (1956), Kinu Gowalar Gali (1964) carry her genius. But all through her reign she was celebrated more for her infinite charm than her astuteness of an actor. Her large beautiful eyes were evocative of fantasy and she was fascinating when her full, shapely lips part and meet and contract in tune with the vowels and consonants of her speech. In almost every contemporary journal about Sumitra Devi it was literally lauded that her summon was as inevitable and unforeseen as that of death.
Sumitra Devi was born in 1923 at Shiuri, in Birbhum district of undivided Bengal in a Brahmin orthodox family but was brought up in Muzaffarpur, district of Bihar. She was originally named Nilima. Her father Murali Chatterjee was an advocate by profession. While in her teens Nilima was fascinated with the then silver screen beauties like Kanan Devi or Leela Desai and this fascination once turned into a strong desire to be an actress. Films of New Theatres were household names by then. Nilima sent an application along with a photograph to New Theatres. No one but her younger brother Ranajit was in on the secret of doing this. Her letter was answered and she was called for an interview at N.T. and had to undergo a rigorous session of interrogation before finally being selected. Nilima adopted the screen name Sumitra. On the family front she faced a lot of opposition from her father. However she could overcome all odds only through her determination to enter the world of acting and it was the prestigious New Theatres where she signed her first film contract for My Sister. However, she was immediately offered another role by Debaki Kumar Bose in Sandhi which actually happened as Sumitra Devi’s debut film. Apurba Mitra was credited as the director of Sandhi but it was Debaki Bose, uncle to Apurba Mitra, who originally did the job of direction for this film that was remade several years later.
Sandhi was released on 26th October, 1944 and became a huge hit. Sumitra Devi became a star with her first film and she was credited as an actress having an outstanding luminous screen presence. Even her first film won her the BFJA Award in the Best Actress in A Leading Role category. My Sister was released after Sandhi. Even after becoming a star she had to confront strong opposition from her non co-operative family and her first marriage at Bhagalpur ended in a divorce. During this time she became personally close to her Pather Dabi co-actor Debi Mukherjee and she got married to him in 1946. In the same year she again appeared alongside Asit Baran and Bharati Devi under the banner of New Theatres, in a Hindi film Wasiyatnama based on Bishabriksha, the celebrated novel by Bankim Chandra Chattopadhyay. In the following years Sumitra Devi continued her silver screen career with the films like Abhijog (1947), Pather Dabi (1947), Pratibad (1948), Joyjatra (1948), Swami (1949), Debi Chowdhurani (1949).
In the year 1950 Sumitra Devi appeared alongside Ashok Kumar in Mashal under the banner of Bombay Talkies. The film was originally based on Rajani, a celebrated Bengali novel by Bankim Chandra Chattopadhyay and was released with a Bengali version under the title Samar. She continued her Bollywood career with films like Ghunghru (1952), Mayurpankh (1954), Chor Bazar (1954), Ganga Maiyya (1955), Arabian Nights (1955). In 1956 she appeared alongside Uttam Kumar and Chhabi Biswas in the remarkable Saheb Bibi Golam based on Bimal Roy’s brilliant novel of the same name. Pateswari, the role played by Sumitra Devi became quite an obsession to the Indian filmmakers. In the same year she was featured in The Raj Kapoor starer Jagte Raho which was also released with a Bengali version under the title Ekdin Ratre.
Through the late fifties Sumitra Devi’s reign began to slow down. Her films like Khela Bhangar Khela (1957), Andhare Alo (1957), Joutuk (1958) failed to impress her audience unlike her earlier ones. In Bombay she did some B and C grade films too. It was also opined that during the late fifties the audience of Bengali Cinema got preoccupied with the obsessive beauty of the then reigning Suchitra Sen and that drove Sumitra Devi into a corner. Still she had Kinu Gowalar Gali, a 1964 film in which Sumitra Devi, for the last time, excelled as an astute actress. Sumitra Devi died in Bombay on 28th August, 1990.
Here is a song video from this film, showing Lord Shiva and Parvati. Enjoy….
Song- Do taar mann ke mil gaye (Ganga Maiyya)(1955) Singers-Asha Bhonsle, unknown male voice, Lyricist- Ramesh Chandra Pandey, MD- Shankar Rao Vyas
Lyrics
do taar man ke mil gaye
swarg jal mein khil gaye
aise mein batao koi wo kahaan chale gaye
do taar man ke mil gaye
swarg jal mein khil gaye
aise mein bataao koi
wo kahaan chale gaye
wo kahaan chale gaye
kaale kaale baadalon ke jhurmuton mein wo naheen
kaale kaale baadalon ke jhurmuton mein wo naheen
jagmagaate taaron kee toliyon mein wo naheen
pran ka papeehara terta piya piya
pran ka papeehara terta piya piya
aise mein bataao koi
wo kahaan chale gaye
wo kahaan chale gaye
shikhar(??) kandraaon mere naath ko chhupaao na
naath ko chhupaao na
tumhen shapath unhee kee hai
mujhe adhik sataao na
mujhko kuchh na bhaan hai
pathh mere ajaan hain
aise mein bataao koi
wo kahaan chale gaye
wo kahaan chale gaye
bholee kyun dolee phire
kaahe hoat udaas
naath naath ratatee phire ae ae ae ae
naath tumhaare paas
man milan ke taar par laga hai jhoomne
main chalee charan kamal piya ke choomne
naachtee umang mere ang ang mein
dolta hai tan mera madhur tarang mein
jag mera magan hua
baawra pawan hua
nainwa bhale hee khel khel mein chhale gaye
do taar man ke mil gaye
swarg jal mein khil gaye
jhoom jhoom naacho gaao
meet man ke mil gaye
meet man ke mil gaye
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 7, 2026 at 7:03 pm
Good Evening,
I love these old time songs.
Thanks for sharing.
Blessings
Uma🙏
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