Jhoolaa dheere jhulaa goree jhoolnaa
Posted on: March 16, 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 Mera Haque-1939.
Made by Huns Pictures of Master Vinayak, the film was directed by Parshwanath Altekar. Music was by D.P.Korgaonkar aka Datta Korgaonkar – better known to Hindi film lovers as K.Datta. Lyricist was Pt. Anand Kumar. The cast of the film consisted of Baburao Pendharkar, Meenakshi Shirodkar, Vimla Sardesai, Usha Mantri, Dada aka D.S.Salvi, V. S. Jog, Damuanna Malvankar and others.
When New Theatres in Calcutta started making Talkie films, very soon their Bi-lingual films became very popular. There were quite a few reasons like, good actors, good songs and good distribution network pan India. However, I think the most important reason for their success was that their films were primarily based on well known novels, dramas and stories. B N Sircar had understood that if the story is strong, the efforts of the Director and Composers will surely make the film a successful one.
The intelligent and business minded film makers of Bombay soon understood this and films on world famous novels, as well as popular Indian stories were made in Bombay too ! Soon, it was clear that more than being honest to the original story, the makers of Bombay were concentrating on commercial successes even at the cost of compromising the written script.
This, I feel, was the basic difference between the mindset of the West and East parts of India. Learned, studious and highly principled Bengalese stuck religiously to the original stories, while in Bombay, Saraswati started working for Laksmi ! As the times went by and the Bengal empire of New Theatres crumbled, the importance of a solid, strong story base for a film remained only a dream for Bombay. Still, Bangla Directors who came to Bombay in search of greener pastures, believed strongly and stuck to a strong story base. This was generally the scenario till mid 50’s, after which everyone became commercial and story lines became secondary, optional and manipulable devices.
In the early era of the Talkie, Bilingual films in Bombay (Marathi and Hindi) were a common thing. Most films made in Kolhapur and Poona were also made in Hindi simultaneously. Many talented writers from the Marathi literary field, like Hari Narayan Apte, Mama Varerkar, Ga. Di. Madgulkar, V S Khandekar, N S Phadke and Acharya Atre were connected with the film industry. Baburao Painter, Master Vinayak, V Shantaram etc made best use of their talents in writing film stories.
Today’s film Mera Haq-39 was made by Huns Pictures of Master Vinayak. This film was based on a story of V S Khandekar (later on he became the first writer in Marathi to get the Sahitya Akademi Award also). The film was made in Marathi and Hindi. The Marathi title of the film was ”Sukhacha Shodh” and the other title of Mera Haq was its translation ”In search of Happiness “. The Marathi story and dialogues were translated into Hindi by Pt. Anand Kumar.
Like Pt. Mukhram Sharma of Prabhat films, Anand Kumar also belonged to a Hindi speaking state, but both had mastered Marathi. I do not know if Pt. Anand kumar also married a Marathi actress like Mukhram Sharma who had married actress Shanta Muzumdar. Pt.Anand Kumar was born in Delhi in 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘Mera Huq‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
The story of Mera haq was written by V S Khandekar and it depicted the importance of a joint family and role of the elders in controlling the wayward new generation. The story was…
Anand (Baburao Pendharkar) is a Professor in a college and married to Manik (Vimal Sardesai), who is all the time busy in doing social work and who, in the process, does not justify being a housewife, or a daughter in law or even a wife.
One day, Anand meets Miss Chanchal (Usha Mantri- one of the most beautiful actresses of those times), when he goes to meet a friend at Sahyadri Cinetone. Chanchal catches him in her net perfectly and he becomes mad after her.
When Anand’s life is mess with all this, he chances upon meeting Usha (Meenakshi Shirodkar), a poor little widow- whom Anand has saved from committing a suicide.When Usha learns all the story from Anand, she goes and talks to Anand’s parents and Grandfather, in a village and brings them to live with Anand and Manik. Together they hatch a plan to repair the situation. They announce that Anand will marry Usha and bring her as his second wife as he is not getting any happiness from Manik. When Manik comes to know this, she gets panicky and mends her ways, leaving all social work and tries to be an ideal wife. Anand’s friend Chanchal also deserts him when she learns about his second marriage.
When all the matters settle down satisfactorily, Anand and Usha, in presence of elders of the family, disclose the truth that they are not marrying each other and it was planned to show Manik where the real happiness lies.
In this case, the film’s Marathi version came out first and the Hindi version was released on 15-9-1939 at Majestic Cinema in Bombay, well after the Marathi film was released.
The lead actress Vimal Sardesai hailed from Konkan area and started her film career as baby Vimal. She acted in only 7 Hindi films. Her first film was Saathi-38. This was the Hindi version of Marathi film Savangadi-38, starring Durga khote and Mubarak Merchant. Her second film was Mera haq-39. It was her first film as a Heroine. This too was a Hindi version of Marathi film ‘ Sukhacha Shodh”. Then came Narsi Bhjagat-40 made by Prakash pictures, Alakh Niranjan-40 was a Hindi version of Marathi film Gorakhnath-40, Apna Ghar-42 was a Hindi version of Marathi film Aaple Ghar-40- directed by Debaki Bose, his first film in Bombay, Wadia’s Shobha-42 and her last film was Mahatma Vidur-43, a Hindi version of Marathi film of the name ‘Aaple Ghar ‘. After this film Vimal Sardesai was traceless. Probably she got married and left films.
The Hero of this film, Baburao Pendharkar(22-6-1896 to 9-11-1967) was a Pioneer Marathi actor and producer born in Kolhapur.
Baburao was closely related to V Shantaram and Master Vinayak also. This is how….
Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.
In the early era of the cinema there was a trend to make films in 2 languages – Local and Hindi. Therefore most films made by Marathi filmmakers at Bombay, Poona and Kolhapur were made in Marathi and Hindi. The consideration was only commercial. Local language for local audience and Hindi for All India market. Similarly, in the South too Bilinguals were made. However, here the languages were Tamil and Telugu. The other two Language films Malayalam and Kannada started a bit late. Some films, however, were made even in 3 languages or sometimes dubbed in other languages. Hindi films from the south started quite late,in 1948, with Chandralekha made by S S Vasan. After its success, for the next 8 to 10 years southern bilinguals were made in Local and Hindi languages.
Even in Calcutta, films were made in Bangla and Hindi, with the same commercial angle. In Calcutta, some Hindi films too were made by film companies other than New Theatres. This trend of Bilinguals from Calcutta was a regular feature since 1935 for about 15 years – longer than south or Marathi films.
One feature of these Bilinguals was that Local language actors appeared in the Hindi version. For Marathi actors, speaking dialogues in Hindi was not much of a problem, so many such local actors worked in Hindi versions. Comparatively, southern and Bangla actors found it difficult to speak Hindi, so less number of local artistes appeared in Bilinguals. many times their dialogues had to be dubbed by some other artist.
From Marathi, one such local popular artiste was Damuanna Malvankar. His full name was Damodar Rajaram Malvankar. He was born in a poor Bramhin family at Nippani (near Kolhapur) on 8-3-1893. He had only the basic education. In those days, there were no films, but stage dramas were very popular. Getting a job as an actor was easy. Damu had a natural squint and he skillfully used it as his best weapon.
At the age of 15 or so, he joined Keshav Rao Datey’s theatrical company ” Maharashtra Natak mandali”. He used to get only comedy roles. After a few years, he joined Deenanath Mangeshkar’s ” Balwant Sangeet Mandali”. When Talkie films started, he joined cinema along with director Vishram Bedekar. He did films with Master Vinayak and Acharya Atre. His major films were with Vinayak and Atre, playing the caricature of a Marathi gentleman (Brandichi Batli/Brandy Ki Botal, Brahmachari). His image became identified with the part of Chimanrao, the middle-aged householder of C.V. Joshi’s political satires, partnered by Vishnupant Jog’s Gundyabhau (Lagna Pahave Karun, Sarkari Pahune). They remained partners for many years. Other directors filmed Joshi stories with them (e.g. Raja Thakur’s Gharcha Jhala Thoda) but never with Vinayak’s incisiveness. Malvankar went on to play many stereotyped character parts, usually as the foil to the lead actor, and one major ‘serious’ role, the lead character of Gajabhau.
Damuanna was a very popular comedy actor in Marathi films. He worked in over 50 Marathi films. At one time he used to get more than double of what the Hero of the film used to get for his role. His most famous film role was that of ”Chimanrao” a fictional character in Marathi literature. His companion used to be ‘ Gundyabhau” acted by V.S.Jog. This comedy pair was a household name during their peak time.
Like all others, he too worked in the Hindi versions of Marathi’s successful films. In all, he acted in 12 Hindi films. They were Krishnarjun Yuddha-34, Andheri Duniya-36, Bramhachary-38, Mera Haque-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Badi Maa-45, Jeevan yatra -46, Subhadra-46, Main tera Hoon-47 and Duniya Jhukti Hai-60.
Damuanna was a good friend of Sunil Dutt and Sunil wanted Damuanna, though retired, to work in at least one of his films. It took about a month to convince Damuanna to work in this film – Duniya Jhukti Hai-1960, but finally he agreed. Along with him another old Marathi artiste Madhu Apte also was invited to be in this film. Thus these two old timers of Marathi/Hindi films appeared in this film.
His only daughter Bharati Malavankar was a Heroine in Marathi films. Damuanna had very cordial family relations with the Mangeshkar family, from the days he had worked for Deenanath’s drama company, when all these children were too young. This culminated in Hridaynath Mangeshkar marrying Bharathi Malvankar. This comedian, Damuanna Malavankar died on 14-5-1975.
Here is a song from today’s film- Mera Haque-1939. It is sung by Vimal Sardesai and Meenakshi Shirodkar. Enjoy….
Song-Jhoola dheere jhula goree jhoolana (Mera Haq)(1939) Singers- Meenakshi Shirodkar, Vimal Sardesai, Lyricist- Pt. Anand Kumar, MD- Datta Korgaonkar (K.Datta)
Lyrics
Jhoola aa aa aa
dheere jhula goree jhoolana
Jhoola aa aa aa
dheere jhula goree jhoolana
?? se ?? daala jhoolana
?? se ?? daala jhoolana
Jhoola aa aa aa
dheere jhula goree jhoolana
jag se niraala mera jhoolana aa aa
jag se niraala mera jhoolana aa aa
Jhoola aa aa aa
dheere jhula goree jhoolana
belon kee doree daalee
pyaar ke patree aalee
belon kee doree daalee
belon kee doree daalee
pyaar ke patree aalee
khud na bole hain daare
khud na bole hain daare
koyal ko bhaaya mera jhoolana
koyal ko bhaaya mera jhoolana aa aa
Jhoola aa aa aa
dheere jhula goree jhoolana
oonche oonche jhonte mere
sajane na de ae
oonche oonche jhonte mere
sajane na de
kasam se ?? chanda munh tak le
kasam se ?? chanda munh tak le
main ??
??
main ??
??
lachke hai daalee daalee
lachke hai daalee daalee
dheere jhula goree jhoolana
jhoola aa aa
jhoolaa aa aa
jhoolaa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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