Duniya musaafirkhaana baabaa duniya musafirkhaana hai
Posted on: April 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.
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Today’s song is from a bilingual film- Nagad Narayan-1943.
It was also made in marathi. Made by New Huns Pictures, Bombay, it was directed by Vishram Bedekar and the music was by a Gem from marathi music world- Shridhar Parsekar. The cast included Baburao Pendharkar, Leela Desai, Kusum Deshpande, Nayampalli, Pratima devi, Masood and many others. There were 3 Lyricists – Munshi Dil (1 song), Shameem (1) and Kavi Bekal (6 songs).
Film Nagad Narayan was a bilingual film made in Hindi and Marathi (with a title of ‘ पैसा बोलतो आहे ‘ means The money is talking ). Marathi was the first language to make bilingual Talkie films regularly since 1932. The very first Marathi Talkie film- अयोध्येचा राजा , was also made in Hindi as Ayodhya ka Raja, simultaneously. This was purely a business move on the part of Marathi film makers. Though the Marathi film industry was growing by the day, it also wanted to capture the biggest All India Hindi market.
This was followed by the Bengal film industry and every successful Bengali film was remade in Hindi or was simultaneously made bilingual in Bangla and Hindi. By this, not only the filmmakers were benefited, but the audience of All India was also enjoying the feast of the best of Bangla and Marathi films. One offshoot of this bilingual game was that many Marathi artistes – actors, directors and MDs and singers also entered the Hindi films. Thus along with the audiences, the industries also benefited by this activity.
In due course of time i.e. by 1948, the Southern film industry too entered this fray of Multilingual films. In the South, the trend was to make films in 3 or more languages at the same time or make their remakes later in Tamil, Telugu, Kannada and Hindi. Comparatively Malayalam and Kannada film industries were late to play this multilingual game. By the decade of 1950, the Marathi and Bangla film industries had their own playing fields in sufficiently big size and they reduced making bilingual films. The South took the advantage and continued making films in Hindi even in the from the 50’s to the end of the 70’s decades. Later on Dubbing the Southern films became cheaper and more frequent than making bilingual or remaking the films in Hindi.
Because of the Bilingual system of Marathi and Hindi films, many Music Directors from Marathi entered Hindi films. MDs like Dada Chandekar, Govindrao Tembe, Keshavrao Bhole, S.P.Rane, Prof. B.R.Deodhar, Bhaurao Ketkar, Annasaheb Mainkar, K.R.Gore, Master Krishnarao, Datta Korgaonkar (K.Datta) etc gave music to early Hindi films. It was followed by Vasant Desai, Datta Davjekar, Snehal Bhatkar, Sudhir Phadke etc etc.
There were many small-time MDs from Marathi films like C.Balaji aka Balaji Chaugule-for example, who remained unknown. In this rush and jumble of competition for survival few really meritorious but commercially unsuccessful Music Directors appeared like Comets and disappeared.
Shridhar Parsekar, composer of today’s film, was one such Gem, who had immense talent but insufficient Luck. And when he became famous and in demand for his music, he fell victim of Alcohol and embraced death in very pitiable conditions. Here is his story….
From the crop of Musicians from GOA,there was one outstanding Musician- SHRIDHAR PARSEKAR, who was a singer,an All India Famous Violin Player,composer of many Marathi songs/films/dramas and few Hindi films.He was an expert in playing almost 10 different instruments.
SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of Music and learnt classical Music first from his uncle Parshuram buwa Parsekar and he was trained by him in playing various instruments like Harmonium, Jaltarang, Tabla and Violin.He was a disciple of Gajanan Buwa Joshi a noted musician.He operated a Band in Bardez-Goa and played Violin,Clarionet,harmonium and many other instruments.He was a Genius and soon became a name for playing Violin.
He came to Mumbai and continued learning Music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Awar Hussain. Soon he was performing in stage shows doing Jugalbandis with stars of the day like Ravishanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR-Bombay as a Musician and got friendly with Ustad Alla Rakha who also worked in AIR. R G Ramnathkar, who got him the Radio job, also taught him many Raaga/Raaginis. Parsekar did Radio work for 6 years.
Later he worked as assistant to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas.His music in dramas like Bhakta Damaji, Paisa bolto ahe, Kuber and Kanyadaan was very popular.He also recorded many Bhavgeets and Natyageets from reputed singers in Marathi. HMV and Odeon took out his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar,Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- ” Vithal Vithal Gajari,awaghi dum dumali Pandhari ” ( विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी ) from Bhakta Damaji is so popular that it is sold even today.
With Marathi films, recording of private songs, stage shows with prominent musicians,Shridhar had every happiness with him.He had a Bungalow,cars,bank balance, name, fame and plenty of demand. He wrote a book on Music-‘Swar Ninad’.
And then it happened !
He became an Alcoholic. Normally, a person becomes Alcoholic when he is unsuccessful, but this was an opposite case. While on the top of success he became an Alcoholic. He used to drink day and night.
Once there was a jugalbandi programme of him with Ustad Vilayat khan. Shridhar came fully drunk to the Theatre. Vilayat Khan scolded him and left the show. Such things kept on happening leading to his downfall.
He stopped getting work and all his wealth, house, cars etc was sold for liquor. His condition was such that he would play Violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ” From Noorjehan to Lata ” by Isak Mujawar. Book says…
” One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wants to help, just give some money. She gave him 50 rupees and he almost ran away from there….probably to the wine shop ! “-
Finally Shridhar Parsekar died of liver Cirrhosis on 10-9- 1964 ! He was only 44 years old !! Such a brilliant artist wasted by Alcohol. So Sad ! Pt.Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!
In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films like, Nagad Narayan-43,Mahakavi Kalidas-44, Meri Amanat-47, Andhon ka Sahara-48 and Gokul ka Raja-54. He composed 45 songs in these films. He sang 5 songs in 2 films, Andhon ka sahara-48 and Gokul ka Raja-54. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.
Pt. Ravi Shankar shared his memories of Sridhar-:
“I knew Sridhar. He was a wonderful violinist, a disciple of Gajananrao Joshi. Sridhar Parsekar was a staff artist at AIR Bombay when Alla Rakha was also a staff member there. This is the period I knew him in the early forties. He was a smart young fellow, dark and very good looking. He came to hear me a lot and I also heard him a lot. I played one duet with him as I did with his Guru in the late 40’s in Bombay. It was a wonderful duet I played with him and Alla Rakha accompanied us. Along with many other musicians Kishen Maharaj was sitting in the front. I admired him as a musician and I have always felt very sad how he ruined his life and killed himself with his addiction to alcohol.”
In 1993, the violinist V.G. Jog said about Parsekar….
“Sridhar Parsekar was a tayyar and sweet violinist. Excellent presentation. SP used to call me Bandu Jog! The tragedy was that such a big artist did not maintain his kala. Before preparing any students, he passed away and that caused me great sadness. Else there might have been excellent violinists in India today. When he was at his peak, I was just a student, but AIR programs were greatly appreciated and he was also a great composer especially for Marathi films. Ramakrishnabua Vaze blessed him. He learnt from Gajananrao Joshi and once he played a Jugalbandhi with Ravi Shankar.”
(Information from these sources also used herein- Marathi Chitrapat sangeetkar kosh, Marathi cinema in retrospect by Sanjit Narwekar, Purvasurinche soor by Dr. Suresh Chandvankar and the book ‘kalatmak Gomantak’-kala Academy,Panji-1972, blog parrikar.org. Thanks to all of them)
The story of the film was an allegory about the social and economic conditions in undivided India in the background of World War-II. The gist of the story of the film sourced from Encyclopaedia of Indian Cinema is …
Bapuji is an agent for the Rangoon Oil Company. During the war period, he made money through black marketing of the products. But his daughter Vidya (Leela Desai) believes in her father’s honesty.
Vidya meets a young man whom she dislikes as she believes that he does not seem to be from her own social class. But the man turns out to be Lalnath (Baburao Pendharkar), one of the directors of the Rangoon Oil Company. When the Japanese attack Pearl Harbour, Bapuji seizes the opportunity to make quick money. Lalnath orders an inquiry into Bapuji’s accounts. However, the rest of the directors of the Company oppose Lalnath’s action and start doubting his honesty. He was sacked as director of the Rangoon Oil Company.
Eventually, the rest of the directors are driven out of the country by the invading Japanese. Ultimately the truth is out and Lalnath proves his honesty. Vidya falls in love with Lalnath.
One name in the cast is Nayampalli – a spillover from the Silent Era. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Director Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo.
When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”
Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.
As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.
Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).
Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.
After his career in films ended, he started making Documentaries. He made about 35 documentaries. He won the ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Tehran in 1970. He died on 7-5-1994, in Mumbai.
Today’s song is sung by Sadshiv Nevrekar. he makes his DEBUT on this Blog. SADASHIV GOVIND NEVREKAR or S G Nevrekar (Born 3 July 1912 – Died 16 June 1977), was a classically trained yesteryear’s popular Marathi Natyasangeet Singer & Stage Actor. He was trained in Hindustani Classical Music by Ustad Inayat Hussain Khan and Ustad Khadim Hussain Khan.
Born at Panaji, he started singing in dramas from an early age due to his innate gift of sweet, flawless voice. He also started acting in Rathsaptami’s plays at Panaji. Later, he joined Raghuveer Saavkar’s ‘Rangbodhechchu’ in 1930 and then in 1939 he started acting in Gandharva Natak Mandali which made him popular.
He played various male roles with famous actors like Balgandharva and Ganapatrao Bodas. Among his popular roles were Bhishma in Swayamvara, Duryodhana in Draupadi, Krishna in Saubhadra, Ramlal in Ekcha Pyaala, Charudatta in Mritchakatika and Ashwin Seth in Sanshaykallol.
‘Vasudhatal Ramaniy Sudhakar Vyasanghantimiri’ in a Ekach Pyala , ‘Bimbadhara Madhura’ in Sharda and ‘Kar Ha Kari Dharila Shubhangi’ in Sanshaykallol were the songs he sang that captured the minds of the listeners.
After the closure of Gandharva Natak Mandali, he used to perform his popular roles in plays organized by contractors, but due to health problems, he later retired from the theater business. He was appointed as a teacher of Sugam Sangeet at Goa Music Academy in 1973. He settled in Panaji and worked as a teacher of Sugam Sangeet till 1976. He died at the age of 65.( Thanks to Unique music world.)
Enjoy today’s song, sung by Sadashiv Nevrekar….
Song- Duniya musafirkhaana baaba (Nagad Narayan)(1943) Singer-Sadashiv Nevrekar, Lyricist- Munshi Dil, MD- Shridhar Parsekar
Lyrics
Duniya
duniya
aa aa aa aa aa
duniya musafirkhaana baaba
duniya musafirkhaana hai
duniya musafirkhaana baaba
duniya musafirkhaana hai
thhaur thhaur kee gaadee aayee
thhaur thhaur kee gaadee aayee
bhare musaafir jaaye
bhare musaafir jaaye
is station kee bheed naheen kam
is station kee bheed naheen kam
laga hai aana jaana aa aa
laga hai aana jaana aa aa
laga hai aana jaana aa aa
aa aa aa aa aa
aa aa aa aa aa
duniya aa aa
duniya aa aa
aa aa aa aa aa
duniya musafirkhaana baaba
duniya musafirkhaana hai
sukh dukh donon ek hai rakhna (?)
sukh dukh donon ek hai rakhna (?)
samay samay ye jaan
samay samay ye jaan
sukh mein dukh ko yaad na karna
sukh mein dukh ko yaad na karna
dukh mein sukh na bhulaana aa aa aa
dukh mein sukh na bhulaana aa aa aa
dukh mein sukh na bhulaana aa aa aa
aa aa aa aa
aa aa aa aa
duniya aa aa
duniya aa aa
aa aa aa aa aa
duniya musafirkhaana baaba
duniya musafirkhaana hai
duniya aa aa
duniya paisa paisa kartee
duniya paisa paisa kartee
paisa ?? aa aa
paisa ??
moh na kar maaya ka bande
moh na kar maaya ka bande
khaalee haathh hai jaana
aa aa aa aa
aa aa aa aa
khaalee haathh hai jaana baaba
duniya musafirkhaana baaba
duniya musafirkhaana hai
duniya musafirkhaana baaba
duniya musafirkhaana hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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