Aansuon kee chhaaon mein bhee hans le o dilwaaley
Posted on: February 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 the social film Parichay-1954.
Selection of an apt and fitting Title for the film, which makes a statement on the film’s content, has always been a daunting challenge to filmmakers. There are many film titles which are appropriate, but more titles are far off from the film’s content, misleading the viewers. Parichay-1954 is one such film. The film tries to glorify the sanctity of a marriage and how it should be carried on, but its title does not have any connection with this philosophy.
The film was produced by Radheshyam Jhunjhunwalla under his own banner, J.J.Films, Bombay. It was directed by an expert director- Satyen Bose. The music to the film’s 8 songs was shared by Sailesh Mukherjee and Vedpal Verma. The cast of the film was Shashikala, Abhi Bhattacharya, Pranoti Ghosh (wife of Abhi Bhattacharya in real life), Sajjan (Purohit), Zebunnisa (an actress from the silent era), Panchotia, Shakuntala, Indira Chitnis, Dhumal, Kesarbai (elder sister of actress Indira Wadkar and paternal aunt of actress Hansa Wadkar) and others. Songs were written by Keshav (5) and Akhtar Yusuf(2).
The story of the film was….
The story of Parichay was woven around the principle of how sacred and important the institution of Marriage is in our culture. True to the spirit of the oath taken during the marriage ceremony, Husband must be with the wife till death separates them.
Shankar is a Mine Engineer. he is young, active and handsome. No wonder beautiful Geeta falls in love. They meet always, but Geeta did not have the courage to express her love for him. She also did not know what feelings Shankar had for her.One day Shankar is transferred to Assam for a short period. He moves to Assam, There he meets with an accident. A village local doctor brings him to his home. The doctor and his daughter Shivani nurse him back to good health. Shankar falls in Shivani’s love. When Shivani’s marriage is fixed by her step mother to an old man with a heavy dowry, Shankar decides to marry Shivani. His good friend Gopal helps him in this. They get married.
Meanwhile Geeta learns about Shankar’s accident and comes to see him in Assam. Geeta meets him, and learns about his marriage to Shivani. Geeta is devastated. She decides to go back. In the meantime, Shankar learns that Shivani can not give him any children due to a fault in her. Shankar is sad. He wants to divorce her and marry Geeta,as he now knows Geeta loves him.
Geeta however admonishes Shankar and reminds him that his duty as a Husband is to be with Shivani in her difficulties and accept the situation bravely. Was he not in love with Shivani ? Geeta asks him to be only a friend to her and go back to Shivani as a good Husband. This opens the eyes of Shankar and he returns to Shivani. Both Shivani and Shankar come to the station to see Geeta off to her place.
The Story of “Parichay” was written by Marxist Writer SWARNAKAMAL BHATTACHARYA and the name of the Bengali Story TATHAPI was made into a Film of the same name in 1950 which also starred debutante PRONOTI GHOSH as the deaf-mute girl . It was directed by MANOJ BHATTACHARYA and also had the famous Director RITWICK GHATAK in the Cast . The Screenplay was by BIMAL ROY, who is believed to have helped with the Direction .
Film Parichay-1954 was censored on 15-12-1954 and was released almost immediately on 17-12-1954. The film was not very successful, as there were no famous and popular actors in the cast. The 50’s decade, called “The Golden Era” of the Hindi Films, had much better films available to the audience. The 50’s decade was called the Golden Era of HFM, not for nothing. Year after year, the films provided excellent songs, different film Genres, convincing stories, superb acting and Full Paisa Vasool Entertainment. In such a scenario an average music, beaten track stories, mediocre acting, poor direction and lustreless short lived songs had no chance of winning.
Today’s song is the 5th song of this film to be discussed here. In the earlier 4 song posts have discussed about the director and both the MDs. So, instead of repeating , I will talk about 2 other unknown and lesser talked about artists from the film’s cast. One is Zebunnisa and the other is Dhumal. The actual pronunciation of Dhumal is धुमाळ but usually it gets written as धूमल.
ZEBUNNISA was born in Peshawar in a rich pathan house.from childhood she used to act and sing.She was sent to Bombay in 1922.After learning some music and acting, she started doing some small side roles in silent films.
Imperial film Co.Bombay offered her Heroine’s roles. Her FIRST film was “Guarding Angel” in 1927, as a Heroine.Then came Jewelled Arrow-27. Her first successful film was Alladin ka chirag-27.slowly she became famous and popular and was picked up by Sharda Film Co.Bombay,with whom she did about 10 films, mostly with Master Vithal and Jairaj.
She was good looking, graceful and a good dancer. She was known as ‘Greta Garbo of India’,in those days.
In 1930,she moved to Bangalore to join Surya films co. and acted in 3 films-Asiai Sitara,Kya baat and Rajlaxmi.
Then she returned to Bombay and did her FIRST Talkie “Shakuntala” in 1931.
She was religious minded and was a devotee of actor turned sufi saint Ashraf Khan and attended its Urs every year in Bombay.
Her silent filmography-
Gul Badan,prisoners of Love,Sassi Punnu,Wine and woman,Belle of Bombay,Flag of honour,mirza Sahib,fairy of Anaar,siraj ud doulla,Warrior,What price loyalty,beggar meets beggar,Surya Prabha,Enchantress,Master villain, Pearl and Queen of Fairies.
Her Talkie Filmography-
Bharthruhari, Malti Madhav, Hothal Padmini, Dilhara, Aila e jung, Zeenat, Elan, Aajamil, Bahar e sulemani, Dharma bandhan, Farebi Duniya, Gul e bakavali, Gaibi sitara, Idd ka chand, Imaan farosh.
She acted in almost 50 films.Her last role was in Pakiza-72.
She was also in the famous qawwali”aahen na bhari” from Zeenat -1945.
She died in Mumbai on 15-1-2000.
Anant Balwant Dhumal (29 March 1914 – 13 February 1987) known as धुमाळ. Dhumal was an actor in Bollywood films known for playing character roles. He acted in many Hindi, Marathi movies and was active from the mid 1940s till the late 1980s. He started his acting career from Marathi theatre, which paved way for Marathi cinema and later he moved to Hindi cinema where he mostly played comedy roles and later in his career, character roles. He worked in notable films such as Howrah Bridge (1958), Bombai Ka Babu (1960), Kashmir Ki Kali (1964), Gumnaam (1965), Do Badan (1966), Love in Tokyo (1966) and Benaam (1974).
Dhumal was born Anant Balwant Dhumal on 29 March 1914 in Baroda, Princely State of Baroda, undivided India, now known as Vadodara in Gujarat State. When he was just 10 years old his father died and the youngster had to take on the responsibility of providing for his mother and younger brother, begging on the streets during the day and selling tea and pakoras in the evening. He later took a job at a drama company where he served drinks, washed dishes and ran errands for the cast. His career in acting began when he joined a drama company, where he served drinks and washed utensils. There would be occasions when artistes playing minor roles failed to turn up; this would give the spot boys an opportunity to fill in for them. This was how Dhumal landed up with bit roles in plays.
During this period, he met P. K. Atre and Nanasaheb Phatak, both big names in the drama world. Soon, he started getting recognised and bigger roles came his way. Although he eventually became famous as a comedian in films, he was more well known as a villain. He played major roles in famous plays such as Lagna Chi Bedi and Ghara Baher.
From the stage, he shifted his focus to the silver screen. He worked in big movies such as Woh Kaun Thi, Ankhen, Gumnaam, Arzoo and Sasural. His first movie was a Marathi film called “Pedgaonche Shahane”
(1952) in which he played the role of a South Indian.
Dhumal paired with fellow comedians Mehmood and Shobha Khote in numerous Hindi films, such as Sasural (1961).
Dhumal died on 13 February 1987 in Mumbai due to a massive heart attack.
Here is a song from this film, sung by Lata Mangeshkar. Enjoy….
Song- Aansuon kee chhaaon mein bhee hans le o dilwaale (Parichay)(1954) Singer-Lata Mangeshkar, Lyricist- Akhtar Yusuf, MD- Shailesh Dave
Lyrics
lalalalalalala lalalalaa
aansuon kee chhaanv mein bhee
hans le o dilwaale ae
kismat ke uljhe huye
jaal ko suljha le
aansuon kee chhaanv mein bhee
hans le o dilwaale ae
kismat ke uljhe huye
jaal ko suljha le
chup bhee gham kee god mein palta hai
chup bhee gham kee god mein palta hai
doob ke sooraj phir nikaltaa hai
mausam badalta hai
ban jaayegee bigdee huyee
baat bhee matwaale
aansuon kee chhaanv mein bhee
hans le o dilwaale ae
kismat ke uljhe huye
jaal ko suljha le
geet khaamoshee ka suhaana hai
geet khaamoshee ka suhaana hai
har dhadkan ek shokh taraana hai
maasoom fasaana hai
sun le zara dil kee sada
arre o bhole bhaale
aansuon kee chhaanv mein bhee
hans le o dilwaale ae
kismat ke uljhe huye
jaal ko suljha le
aansuon kee chhaanv mein bhee
hans le o dilwaale ae
kismat ke uljhe huye
jaal ko suljha le
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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