Karoon Gauree poojan main to tan man se
Posted by: Atul on: April 5, 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 froma Mythological film – Veer Arjun-1952.
The film was made by Ajit Pictures, Bombay belonging to the producer Ratilal Punatar. He was the Nephew (Bhanja) of Chandulal Shah (owner of Ranjit Movietone). The film was directed by a very learned author- Ramchandra Thakur. There were 2 MDs- Avinash Vyas (6 songs) and S. Mohinder (1 song). The cast included Trilok Kapoor, Nirupa Roy, Mahipal, P. Kailash, Dulari, Mehtab, Usha, Amirbai Karnataki, S,N.Tripathi, Pesi Patel, yashwant Dave and many others. Compared to any Social or Action/Costume film, there are always more artists in a Mythological film, as it has (too) many characters in its story, like e.g. Nakul and Sahdev…sometimes they have no dialogues also or 100 Kauravas. Only Dushasan and Duryodhan are talking and other 98 are only present there.
1952 was a year which was going through a lean period for Hindi films. Increased costs of Film production, escalating rates of stars and music Directors, establishment of Star System in place of earlier Studio System, increasing taxes, decreasing number of Cinema Halls etc caused a worry in the film industry. Financiers with Black money were making films – in 1952 the number of Hindi films made went up to 105 from 97 of 1951, but dropped again to 98 in 1953. Most films were of lower quality. Because of superior music there were some great films too, but the situation was grave nevertheless.
Some Hit films like Aan, Baiju Bawra, Daag, Anand Math, Yatrik, Chhoti Maa etc. became popular with their music. Other films like Jaal, Anhonee, Sangdil, Maa, Bewafa, Aandhiyan, Bidya sagar, Ratnadeep, Nanhe-Munne, Mr. Sampat etc were good enough but not so good. Naushad and C.Ramchandra were competing acutely for the No. 1 rank and the audiences were gaining in the process, by their delightful music.
The Government suddenly became active, Censor Boards were closed from different regions and it was Centralised. The First ever Film Festival in India was held, in which 140 films from more than 20 countries were exhibited. Selected famous films were shown in all 4 Metro Cities. Bimal Roy shifted to Bombay and started his own film company.
Culture and Religion have a close relationship. The commonest points of Religion, followed by a majority for time immemorial, becomes the culture of the nation. Raas Garba, Ganesh Utsav, Diwali celebrations and Indian Calendar New Year days in respective regions are no more a matter of Religion by now. They have become the cultural heritage of the country. A good example is Holi or lighting done on Deepavali or touching the feet of the elders…all these constitute Culture, though its roots are traceable to religion.
Today, Religion,for most people in the world,I feel,is limited to one’s personal space and I believe, in today’s setup it is also very appropriate to limit the religion to one’s home. One should not get confused between Religion and Bhakti. Mythological films are based essentially on stories from the Holy books, like Ramayana, Mahabharat or the Puranas. Bhakti pradhan films are based on personalities engaged in devotion to their Deity. Thus, films like Narsi Bhagat or Sant Tukaram are Bhakti pradhan films,whereas,films like Pawanputra Hanuman or Veer Arjun are Mythological or Pauranik films. Films on saints like Kabir, Soordas, Tulsidas or Tyagaraja are not religious but Mythological films are surely religious films.
Mythological films are of two types. First type is where the stories are based on Ramayana and Mahabharata and the second is where the films are based on stories drawn from Puranas or Vedas. Films based on Ramayana or Mahabharata contain stories which are very well known,yet people come in hordes to see them. These stories have been told to children from several generations,but their appeal has not diminished. Sometimes I wonder how people come to see the same things on screen again and again. Here,’people’ includes me too,and on thinking I realised that it was not for the stories alone, but Gods in action on screen that served as the main attraction !
Clever film producers understood this psychology of the people and they churned out stories on Rama and Krishna in large numbers. Films titled ‘Ramayana’ itself were made in 1933, 34, 45, 54 and 60 and Sampoorna Ramayana in 61 and 73. Further films were made with titles like Ram Navmi, Ram janma, Ram Rajya, Ram Vivah, Ram baan, Rambhakta Hanuman, Ram bhakti,Ram darshan, Ram Laxman, Ram Leela, Ramdoot Hanuman, Bharat milap etc etc. The list will be too long. Similarly films on Shree Krishna also were made using different titles and in several combinations.
The film was directed by Ramchandra Thakur. he was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join the film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.
When he did not get First class, he joined Sagar Movietone, in its Marketing department. After a few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for the film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of the film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40.
Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote the script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.
He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.
One of the cast members is Dulari. She was a senior artist but very less is found written about her. Dulari (18 April 1928 – 18 January 2013) was a film actress, who was referred to as the mother of Hindi cinema, a title that she acknowledged with other actresses like Durga Khote, Leena Chitnis, Nirupa Roy or Sulochana. She acted with almost every veteran actors and actresses of Hindi cinema and was acknowledged as one of the better performing mothers on screen. She played the role of heroine in a couple of films. Later on, she switched to character artiste’s roles and bagged recognition in prominent films such as ‘Teesri Kasam’ which had Raj Kapoor and Waheeda Rehman in the lead role. She appeared in 135 films, most notably Jab Pyar Kisi Se Hota Hai (1961), Mujhe Jeene Do (1963), Teesri Kasam (1967), Padosan (1968) and Deewaar (1975). Dulari’s most memorable role was in Jeevan Jyoti (1953). Her other important roles were in Pati Seva, Rangeen Kahani (1945) and some Gujarati films, Chundi Ane Chokha (1957), Mangal Bhera (1948).
Dulari was born on 18 April 1928 in Nagpur, Central Province, undivided India, now in Maharashtra. Her real name was Ambika Vithalrao Gautam. She was a Kanyakubja Brahmin from the Awadh region of Uttar Pradesh. She was nick-named Rajdulari and later on only Dulari remained by which she was now known.
Dulari was the first child of her parents and had two younger brothers. Her father Vitthalrao Gautam was fond of acting & left his job in Post & Telegraph Department & joined Aruna Irani’s maternal grandfather’s theatrical company in Nagpur. This theatre company shifted to Bombay & Dulari’s family too left Nagpur and settled in Bombay. However, Dulari’s introduction to the movie industry was meant to provide financial help to her father. She got a job in National Studio at a salary of ₹. 100 per month and began her acting with small roles in a few films for the studio company.
Dulari was a Bollywood actress, who was seen in character roles. She began her career in films on account of her father’s illness. She made her debut with a small role with “Harmari Baat” in 1943, which was a Bombay Talkies production. She was mostly known for portraying character roles of the Indian mother. She played leading roles and supporting actress in her early films and started playing mother roles during the 1960s and 1990s. Her acting career spanned more than six decades and she acted in more than 170 films. She acted with almost every veteran actors, actresses of Hindi cinema and was acknowledged as one of the better performing mothers on screen. She played the role of heroine in a couple of films. Later on, she switched off to character artiste’s roles and bagged recognition in many prominent films.
Forced to look for work after her father’s illness, Dulari made her film debut with “Hamari Baat” (1943), produced by Bombay Talkies and went on to appear as a character actor in over 170 films in the following six decades. Her last screen appearance was in “Yaar Meri Zindagi” (2008).
Dulari got a chance to act with legendary singer Mukesh in the film ‘Adaab Arz’. Then in a film’ Paapi’ , Raj Kapoor was cast with Nargis and Dulari, two of the leading actresses.
Dulari’s other films are Karyavar (Gujarati), Aankh ka Taara, Akhri Daku, Darinda, Ahuti, Naastik, Dillagi and Darwaza. She acted in first and second Chhattisgarhi film “Kahi Debe Sandesh” (1965) & “Ghardwar” (1971)
Dulari married sound recordist J. B. Jagtap in 1952 and took a break from acting for nine years. He died in 1972.
Dulari died in an old age home in Pune, Maharashtra at the age of 84. She had been suffering from Alzheimer’s disease and was bedridden for over two years. Through the last years of her life Cine & TV Artistes Association (CINTAA) had started providing her financial assistance after veteran actress Waheeda Rehman brought up her case. She was survived by her daughter Charulata Jagtap and grandsons who have settled in Australia. ( Based on information from Shri Suresh Sarvaiya, Blog beetehuedin, Book Ateet ke Sitare, muvyz, wiki and my notes, with thanks).
The story of today’s film was……
Arjun was declared the champion warrior from amongst the Kaurava and Pandava princes. This incident sowed the seed of jealousy in the heart of Duryodhana, the eldest prince among the Kauravas. Unable to bear the fame of the prowess of Arjun and with a view to beat him, he formed a life-long alliance with Karna. Yudhisthira, the son of Maharaja Dhritarashtra’s elder brother Pandu was declared as the heir to the throne. Though all consented, one heart was burning with jealousy at this decision. It was Duryodhanas. He, with the help of his uncle Shakuni, hatched a plot to burn the five Pandavas alive. But thanks to the courage and power of Bhim, all the five brothers and their mother Kunti came out of the ordeal unscathed. They lived incognito as Bhrahimns. Kauravas believed that Pandavas were dead and rejoiced.
The “Swayamwar” of Draupadi was announced. An extremely difficult condition was to be fulfilled by the competitors to win the hand of Draupadi. The Kauravas failed in their attempts. Arjun was successful and he won Draupadi. Draupadi was endowed with the blessing that the man who married her, would be the King Emperor. Again the embers of fire jealousy burst out as the five Pandavas demanded their share of the Kingdom. This enraged Duryodhana and under the advice of uncle Shakunni he gave them a waste piece of land. The Pandavas, with their untiring efforts and skill, turned it into a fine city-Indraprashta. Gradually the Pandavas extended their kingdom throughbout the length and breadth of Bharat through peaceful efforts and thus Draupadi’s blessings was fulfilled.
They then made preparations for the greatest Yajna-the Rajasuya Yajna-and invited all the kings and princes to the function. Kauravas were also invited. Kauravas were aware of Yudhisthira’s weakness for gambling. On this occasion, they invited Yudhishtira to a game of dice. In the heat of the game Yudhisthira lost everything, his kingdom and even Draupadi. Draupadi was forcibly brought into the assembly where the game was played and the success-drunk Kauravas proceeded to undress her. The pleas of Draupadi fell on deaf ears and that generated the spark of the war between the forces of evil and the good. As per the condition of the game, Pandavas lived in exile for thirteen years. After the expiry of the term Lord Krishna approached Kauravas with a proposal to restore the share of Pandavas to them. But the Kauravas turned the proposal down. And then the “Mahabharata”-the world’s First Great War took place. Arjun was downhearted as he had to fight against his own kith and kin. Lord Krishna explained to him his duty which is embodied in “Bhagawad Gita”. Veer Arjun won the war and the good triumphed over the evil.
Here is a song, sung by Asha Bhosle and female chorus. Enjoy….
Song-Karoon gauree poojan main to tan man se(Veer Arjun)(1952) Singer-Asha Bhonsle, Lyricist-Pt Indra Chandra, MD-Avinash Vyas
Female Chorus
Lyrics
karoon gauree poojan main to tan man se
mere bhaag(?) suhaag kee laaj rahe
sansaar saras(?) sukh saaj rahe
karoon gauree poojan main to tan man se
mere bhaag(?) suhaag kee laaj rahe
sansaar saras(?) sukh saaj rahe
meree chunaree mein
meree chunaree mein chanda chamakta rahe
meree chunaree mein chanda chamakta rahe
meree bindiya mein sooraj damakta rahe
meree bindiya mein sooraj damakta rahe
mere saajan ka tribhuvan mein raaj rahe
karoon gauree poojan main to tan man se
mere bhaag(?) suhaag kee laaj rahe
sansaar saras(?) sukh saaj rahe
mere naihar kee phulvaaree phoole phaley
mere naihar kee phulvaaree phoole phaley
sasuraal mein deep akhand jaley
sasuraal mein deep akhand jaley
Ambe itna vardaan miley
jug jug mere naath ka saath rahe
karoon gauree poojan main to tan man se
mere bhaag(?) suhaag ke laaj rahe
sansaar saras(?) sukh saaj rahe
karoon gauree poojan main to tan man se
mere bhaag(?) suhaag kee laaj rahe
sansaar saras(?) sukh saaj rahe
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 5, 2026 at 8:06 am
Minute observation, Arun ji. 98 Kauravas n 2 Pandavas will have no dialogues. Absolutely.
On Sun, Apr 5, 2026, 07:30 Atul’s Song A Day- A choice collection of Hindi
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