Mat ro mat ro aaj Raadhike mat ro
Posted by: Atul on: April 21, 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 Historical film (labelled as a ‘Mythological’ film by HFGK, for reasons not known) – Sati Toral-1947.
The Lakshmi Productions, Bombay’s film was directed by Nandlal Jaswantlal. The banner was owned by the Producer Chimanlal Trivedi. Lyricist was Miss Kamal, B.A.. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal. The music was by H.P.Dass and Manna Dey. His first film as a M.D. The cast of the film was Shbhana Samarth, prem Adib, Jeevan, Badriprasad, rehana, Sankatha prasad (elder brother of lyricist/comedian Kanhaiyalal).
In olden days, there were 3 major film centres-Bombay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the main and the only Hindi film making Centre.
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. Majority of them migrated to the Utopia, newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, Saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.
Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.
Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.
Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.
Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ).
Here is the Folklore story of Sati Toral-1947….
Jesal, a young Kutchi Rajput, was a dreaded dacoit. His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.
Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.
He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.
Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.
However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet.
The Music Director of this film is not very well known. HARI PRASANN DASS (1905-1989) was born in Chittagong in 1905. He became a well known Bengali Composer. His 26 Bengali films made his name known in the music circle in Calcutta in late 30s and 40s. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939.
Hemant Kumar Mukherjee was his asst. in Bengali film ‘Byabdhan’-1939. It was HPDass who gave his FIRST Bengali film song to Hemant kumar in the film ‘Nimai Sanyas’-1941. Till that time Hemant had only private songs to his credit.
In 1952, H P Dass gave music to NAGORIK, along with Ustad Bahadur Khan, a complete English film-an art film for international audience-made by the legendary filmmaker Ritwik Ghatak. This was a film even before Satyajit Ray’s Pather Panchali, but due to some reason this film was released only on 20-9-1977, after the death of Ritwik Ghatak. It is said that despite ill health, HPDass went to New Empire Theatre in Calcutta to see this film.
K.C.Dey was a good friend of HP Das and sang many Bengali songs and Bhajans for him. On his recommendation, HPDass took Manna Dey as his asst. in Hindi films Veerangana-1947,Sati Toral-1947 and Hum bhi Insaan Hai-1948. It is believed that after hearing Manna Dey’s music and songs in this film, Raj Kapoor invited him to sing for his films later on.
His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.
The director of this film was Nandlal Jaswantlal. Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Admin. Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined the Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits.
Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Nandlal also apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal (1963).
He was with Ranjit studios in the start of his career. Along with Jayant Desai,he was the first assistant of Chandulal Shah along with Jayant Desai in the beginning of Ranjit films. Nandlal left Ranjit in 1934 and went on a Europe tour. When he came back, he joined Sagar Movitone. He directed about 25 films in his career (Talkie films). After Sagar and National,he worked in Filmistan also, where he gave the best films of his career- Anarkali-53 and Nagin-54. His last film as a director was Ranjit’s “Akeli mat Jaiyo”-1963-which was also the last film for Ranjit. Thus Nandlal started with Ranjit and ended with Ranjit !
FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1945: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo (1963). (Thanks to Encyclopedia of Indian Cinema.)
Today’s song is provided by Deepak Chaudhari ji and uploaded by our Sadanand Kamath ji. Thanks to both. This poignant song is sung by Manna Dey. Enjoy….
song-Mat ro mat ro aaj Raadhike (Sati Toral)(1947) Singer-Manna Dey, Lyricist-Miss Kamal, B.A.( Kavi Pradeep), MD-H.P.Das and Manna Dey
Lyrics
Mat ro
mat ro aaj Radhike
mat ro
mat ro
mat ro aaj Radhike
mat ro
tu sun le baat hamaaree
jo dukh se ghabra jaawe
wo o o o
jo dukh se ghabra jaawe
wo naheen Hind kee naaree
wo naheen Hind kee naaree
mat ro
chaand ko chaahne waalee chakoree
neer bharee hain kyun ankhiyaan toree
chaand ko chaahne waalee chakoree
neer bharee hain kyun ankhiyaan toree
rona hai man kee kamzoree ee
man kee jwaala man mein chhupaa ke
tu sah le sankat bhaaree
jo dukh se ghabra jaawe
wo naheen Hind kee naaree
mat ro
paglee ??
maang mat bhiksha
tujhko denee hai kathhin pareeksha
jisne tujhko paala posaa
us Bhagwaan pe rakhna bharosa
ek din apne aap wo aa ke
rakhega laaj tihaaree
ek din apne aap wo aa ke
rakhega laaj tihaaree
jo dukh se ghabra jaawe
wo naheen Hind kee naaree
mat ro
mat ro
mat ro aaj Radhike
mat ro
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