Daalee pe baithheen thheen dus chidiyaan
Posted on: April 23, 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 an obscure, social film-Deep Jalta Rahe-1959.
India has been, from the beginning, a prolific producer of films.Films have become an inseparable part of Indian people. Earlier there were other sources of entertainment like Radio, dramas, travel, Jatras, get togethrs etc. But now Entertainment means only films.
In January 2022, Shri Girdharilal Vishwakarma ji of Jodhpur- a well known Musicologist and a collector of exclusive records- published some statistics on RMIM forum about Hindi films. According to it, the total number of Hindi films from 1931 to June 2017 (86.5 years) was 12891, giving an average of 150 films per year. The averages per decade till the year 2000 came to 134 films, but in the next 16.5 years the number of films was 208.
So, there is a spurt in the number of films made after 2000,upping the average every year. Thus you will notice that India is the largest producer of films in the world,annually across various regional industries. The average on an All India basis, for all languages comes to 2500 films per year !
When Films are made on such mammoth scale, it is but natural that the quality is sacrificed for quantity. As the time changes, the parameters of ” a Good Film” also change. So, at the end a poor percentage of good quality films is seen.
This quality problem has existed in India, especially for Hindi films, since the beginning. I called today’s film ‘ an obscure film because no one remembers this film today. Actually this film was made by a well known banner like Filmistan, it was directed by a skilled director like Datta Dharmadhikari, music was by Roshan and the cast too had good actors. Still, the film remained a flop at the Box office. The reason was its story. The mid 50’s onwards the period was when the people looked at the films as entertainment with lilting music. This film had neither of these. Perhaps the makers forgot that films with a tragic end, separation of lovers and a weak story by current standards was not accepted by the audience.
Gone were the days of Saigal and Dilip Kumar when the lead actor/actress died at the end, the lovers broke their hearts and the audience clapped and the films were successful. If you take a look at the variety of films made in 1959, you will know what was served to the audience.
While entertainers like Dil Deke Dekho, Anadi, Love marriage, Bazigar, Bank manager, Bhai behan, Chhoti behen, Black cat, C I D Girl, Chacha Zindabad, Chandrasena, Circus queen, Commander, Didi, Do Gunde, Do Ustaad, Dr. Z, Fashionable wife, Guest house, Jaal saaz, Kali topi laal rumaal, Kanhaiya, Paigham, Qaidi No.911, Satta Bazar, School master, Shararat, Heera Moti, Navrang, Do behnen, Mohar, Minister, Kangan, Goonj Uthi Shehnai, Madame XYZ came to entertain people, some specialised films too were made. Historicals like Tipu Sultan and Samrat Prithwiraj Chauhan were made. As usual, mythology was there too.
V. Shantaram, after 5 years, once again tried his hand successfully at making a film based on Dancing. Navrang not only had excellent Dances, but C.Ramchandra created his magic- albeit sans Lata-this time with Asha Bhosale. Guru Dutt’s dream film “Kagaz ke Phool” was a failure, just like Raj Kapoor’s dream film “Mera Naam Joker” a few years hence. Both films were prestigious films for these ace film makers and they had staked their own for these movies. The failure of these movies at the box office shattered their makers to the core. But such is the fickleness of the Indian audience !
Bimal Roy had his special touch in Sujata and Hrishikesh Mukherjee equalled his mentor with Anadi. B R Chopra made Dhool ka Phool discussing premarital pregnancy and the upbringing of a Hindu baby by a kind Muslim family. ( This same theme was stretched to another level, by him, 2 years later with Dharmaputra-61).
Social issues were touched in Paigham( owner vs. workers), Heera Moti (farmer’s problems), Satta Bazar ( ills of gambling). Khwaja Ahmed Abbas showed his ‘never say die’ spirit by making “chaar dil char rahen”, which as expected flopped despite good cast. S Mukherjee, Usha Khanna and Shammi Kpoor weaved magic with Dil Deke Dekho, which became a trend setter for Nasir Hussain and directors of his ilk, in the coming years. Goonj Uthhi Shehnai had music by the old stalwart Vasant Desai who proved to be as good as new !
The cast of today’s film was Abhi bhattacharya, Ranjana,Manju, Randhir, Sabita Chatterjee, Badri prasad, Ram Avatar, Vithaldas panchotiya and many others. Directed by Datta Dharmadhikari, the film had music by Roshan. Songs were written by Shailendra and Rahil Gorakhpuri. Originally the film. was released with only 3 songs, but later 3 more songs were added. The story and screenplay was by Madhusudan Kalelkar, a noted Marathi Dramatist and a writer of repute. He has written screenplays for many Hindi films. The dialogues were by Sarashar Sailani-whose real name was Bheemsen.
Here is the film’s story….
Dhanraj (Badriprashad),the Zamindar of Dhanpur had 2 sons.Jeevan(Randhir) who was his real son and Ashok(Abhi Bhattacharya) was an adopted child. Ashok was very good natured, cultured and obedient, whereas Jeevan was very arrogant and a spoiled boy. Dhanraj loved Ashok,which irritated Jeevan and he hated Ashok. Ashok loved Mala(Manju) and they wanted to get married. Ashok passed with merit and Dhanraj sent him to London for higher studies. Now Jeevan was alone and so started behaving uncontrollably. Seeing this and after an altercation with Jeevan, Dhanraj dies. Jeevan starts troubling Manju for marrying him. Ashok did not know anything. He sends a letter that he needs 5000 rupees for eye treatment lest he will become blind. With this letter Jeevan blackmails Mala to marry him. To save Ashok’s eyes she marries Jeevan, who ill-treats her.
When Ashok returns, he is a pauper now and Mala is also married to Jeevan. He goes away to Bombay to earn money. He comes to know that Dhanraj haveli is getting auctioned. He comes and buys the Haveli. Mala dies in his presence and hands over her son Raju to him.
Now Jeevan starts blackmailing Ashok for money, threatening to take away Raju, whom Ashok loves very much.
The rest of the story details how Jeevan is involved in a murder case and is jailed for life.He repents before going to jail and requests Ashok to never tell Raju that his father was Jeevan.
The Music Director for this film was Roshan. Roshan Lal Nagrath (14 July 1917 – 16 November 1967), better known by his first name Roshan, was an Indian esraj player and music director. He was the father of the actor and film director Rakesh Roshan and music director Rajesh Roshan and paternal grandfather of Hrithik Roshan.
Roshan was born in Gujranwala, Punjab, British India. He began music lessons at a young age and later attended Marris College (now Bhatkhande Music Institute) in Lucknow,;; United Provinces of Agra and Oudh under the training of Pandit S N Ratanjankar (principal of the institute). Roshan became an accomplished sarod player under the guidance of Allauddin Khan, the renowned sarod player from Maihar. In 1940, Khawaja Khurshid Anwar, programme producer/music, All India Radio Delhi, hired Roshan as staff artist for esraj, the instrument he used to play. He gave up this job in 1948 to seek fame and fortune in Bombay.
In 1948, Roshan came to Bombay to find work as a Hindi film music director and became assistant of music composer Khawaja Khurshid Anwar in film Singaar (1949). He somewhat struggled until he met the then famous producer-director Kidar Sharma, who gave him the job of composing for his film Neki aur Badi (1949). While it was a flop, Kidar Sharma gave him another chance in his next film. Roshan emerged as a player on the Hindi film music scene with Baawre Nain (1950) which became a big musical hit.
In the early 1950s, Roshan worked with singers Mohammad Rafi, Mukesh and Talat Mahmood. Malhar (1951), Shisham, and Anhonee (1952 film) were some of the movies that he scored during the 1950s. During this time, he also composed the Meera bhajan which became a run-away hit, “Aeiri main to prem diwani mera dard na jane koyi” sung by Lata Mangeshkar for the movie Naubahar (1952).
He was not always commercially successful. He gave Indeewar and Anand Bakshi their first breaks in the Indian film industry as lyricists. Later, they became two of the most sought-after songwriters in Mumbai from the late 1960s onwards. Anand Bakshi was given his first break in 1956 by the music director Nisar Bazmi in his film Bhala Aadmi (1956). Roshan gave Bakshi the film CID Girl (1959), after Anand Bakshi wrote the four songs of Bhala Aadmi in 1956. Bhala Aadmi was released in 1958 after some delay. Together, Anand Bakshi and Roshan made a super hit musical film Devar (1966).
The 1960s proved to be the golden age for Roshan and his music. His ability to mould folk music with Hindustani classical music became his trademark and resulted in successful movie musicals. During this time, Roshan gave hits such as “Na to karavan ki talaash hai from Barsat Ki Raat” and “Zindagi bhar nahi bhoolegi woh barsaat ki raat” (Barsaat Ki Raat, 1960). Barsaat Ki Raat also was a “super hit” film of 1960s.
“Ab kya misaal doon” and “Kabhi to milegi, kahi to milegi” (Aarti, 1962), “Jo vada kiya vo nibhana padega”, “Paao chhoon lene do”, “Jo baat tujhmein hai” and “Jurm-e-ulfat pe” (Taj Mahal, 1963), “Nigahen milane ko jee chahata hai” and “Laaga chunari mein daag” (Dil Hi To Hai, 1963), “Sansaar se bhaage phirte ho” and “Man re tu kaahe” (Chitralekha, 1964), and “Oh re taal mile” and “Khushi khushi kar do vida” (Anokhi Raat, 1968). He composed some melodies for the movie Mamta (1966) with lyrics by Majrooh Sultanpuri, “Rehte the kabhi jinke dil mein” and “Rahen Na Rahen Hum” sung by Lata Mangeshkar and her hit duet, “Chuppa Lo Yun Dil Mein Pyar Mera” with Hemant Kumar. Devar (1966): “Aaya hai mujhe phir yaad woh zalim, guzara zamana bachpan ka”; “Baharon ne mera chaman loot kar”; “Duniya mein aisa kahan sab ka naseeb hai”.
Naa Tau Kaarvan Ki Talaash Hai film Barsaat Ki Raat (1960)
Yeh Hai Ishq Ishq film Barsaat Ki Raat (1960)
Nigahein Milane Ko Jee Chahta Hai film Dil Hi To Hai (1963 film)
Roshan’s marked speciality was the film qawwali. He was widely hailed for their composition. He composed 439 songs in only 58 films, but some of his songs are evergreen. Roshan had been suffering from chronic heart trouble for over 20 years. He died of a heart attack in Mumbai, Maharashtra, India, on 16 November 1967, age 50, leaving behind three sons and a daughter. He had a sudden heart attack while attending a social gathering.
Today’s song is sung by Asha Bhosale and chorus. Enjoy….
Song- Daalee pe baithhee thheen dus chidiyaan (Deep Jalta Rahe)(1959) Singer- Asha Bhosale, Lyricist-Shailendra, MD- Roshan
Child Chorus
daalee pe baithhee thheen das chidiyaan
das chidiyaan
ek ud gayee furr se na jaane kahaan
to rah gayeen daalee pe kitnee chidiyaan
kitnee chidiyaan
nau chidiyaan haan nau chidiyaan
rah gayeen daalee pe nau chidiyaan nau chidiyaan
udte udte chidiyaan pahunchee
kamla nehru park mein
kamla nehru park mein
jahaan pe hanstee thhee har kyaaree
phoolon waalee frock mein
phoolon waalee frock mein
kamla nehru park kee niraalee shaan baan
niraalee shaan baan
bachchon tumne dekha hai
wo joote ka makaan
joote ka makaan
joote pe baithhee theen nau chidiyaan
nau chidiyaan
do ud gayeen furr se na jaane kahaan
to rah gayeen joote pe kitnee chidiyaan
kitnee chidiyaan
nau mein se do gayeen saat chidiyaan
haan saat chidiyaan
rah gayeen joote pe saat chidiyaan
saat chidiyaan
udte udte chidiyaan pahunchee
kalkatta maidaan mein
kalkatta maidaan mein
rasgulla mashhoor jahaan ka
saare hindustan mein
saare hindustan mein
kalkatte ke chidiya ghar kee
dekho to bahaar
dekho to bahaar
lambe lambe daanton waale haathhee chaar chaar
haathhee chaar chaar
haathhee pe baithhee thhee saat chidiyaan
saat chidiyaan
teen ud gayeen furr se na jaane kahaan
to rah gayeen haathhee pe kitnee chidiyaan
kitnee chidiyaan
saat mein se teen gayeen chaar chidiyaan
haan chaar chidiyaan
rah gayeen haathhee pe chaar chidiyaan
chaar chidiyaan
udte udte chidiyaan pahunchee
dilli kutub minar pe
dilii kutub minar pe
par phailaakar sheesh navaa kar
vintee kee sarkaar se
vintee kee sarkaar se
dilli sabse pyaaree humko
dilli mein basaao
dilli mein basaao
chhoote hain jo sangee saathee
unko bhee bulaao
unko bhee bulaao
dilli mein aayeen sabhee chidiyaan
sabhee chidiyaan
rahne lageen mil ke wo phir se wahaan
to rah gayeen dilli mein kitnee chidiyaan kitnee chidiyaan
ek do teen chaar paanch chhe
saat aathh nau das
das chidiyaan haan das chidiyaan
dilli mein rahteen hain das chidiyaan
das chidiyaan
ho o
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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