Tokree mein chhokree hai
Posted on: May 11, 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 Remake film from the South – Mangala-1950.
The film was produced by the famous Gemini Pictures, Madras. It was directed by its owner S.S.Vasan. It had music by a team of 3 MDs namely, M.D.Parthasarathy (1 song), Balkrishna Kalla (10 songs), E. Shankar Sastry (3 songs) and 1 song jointly composed by kalla and Sastry. It was the style of Vasan to appoint Partasarathy as a Supervisor for the other MDs, so he did only 1 song to justify his being in the team. All songs were written by Pt. Indra. The cast of the film included Ranjan, Bhaumathy, Agha, David, Badri prasad, Surya prabha, B.S.Kalla and many others. Today’s song is the film’s seventh song to be discussed here.
The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.
He soon decided to take advantage of the success of ‘Chandralekha’ and made another trilingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.
Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).
Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in the south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made the film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.
In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In the Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was the same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.
Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like, Ghantasala, B S Kalla, S D Parthasarathi, E.Shankar, C.Subramanyam, B.Laxman,Vishwanathan,R.Sudarshanam, S V Venkataramana, T R Ramanathan and T G Lingappa are few of the less known names-for Hindi belt-from south who gave melodious music,but somehow they did not succeed here. One reason could be their use of southern singers,for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan- Ramamurthy were at least known names here. Their films like Piya milan-55, Suvarna Sundaqri-58 and Naya Aadmi-56 had many popular songs.
Balkrishna Kalla and E. Shanker team gave music to films like Mangala-50,Sansar-51,Mr.Sampat-52,Bahut din Huye-54. Balkrishna kalla with Mohd. Shafi gave music to krishna Kanhaiya-52. With Parthasarathi and Rajeshwar Rao he gave music to Nishan-49. Independently he gave music to only one film-Do Dulhe-54.. B.S.Kalla had also done a small role in the film Mangala-50. The southern composers gave music only to dubbed films or remakes essentially.
Today’s song is sung by T.A.Moti. I knew about Moti,B.A. but not about Moti T.A. I tried very hard to gather information about this singer. I contacted my Tamil and Telugu friends and checked all known south Indian film channels, but to no avail. This is a great problem which I usually encounter in the case of Southern and Bangla artists. Information about these artists is very difficult to come by. At times Bangla artiste information may be available but information about obscure South artistes is conspicuous by its absence.
All I came to know about this Moti was that he was from Madras. He was a rare person who learnt Hindustani Classical music under experts. His Hindi pronunciation was very clear, without the typical southern style. He flourished in the later part of the 40s. In almost all dubbed and remade films in Hindi, during the 40s to 60s he sang songs in such films. He was also a very popular singer in Tamil, Telugu, Kannada and Malayalam languages. In South Indian versions of Barsat, Aan, Udan khatola etc etc he sang all the Tamil and Telugu songs. (It was a hilarious scene to watch Dilip Kumar singing in Tamil !.)
From the film Chandralekha-48, he started singing in Hindi films too. There may be many, but I heard his songs in Chandralekha, Nishan, Mangala, Dil-46, Intezar ke baad-47, Meri behan-62 Ram and Rahim-68. I read somewhere that in addition to Hindi, Tamil, Telugu,Kannada and Malayalam, T A Moti also sang in Marathi.
While trying to get more information about this film, I came across an article in The Hindu, dt. 3rd Feb 2013. I have adapted it for our readers, here..
” Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala .
Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.
Based on a popular folklore, an engrossing narrative was woven by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.
The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.
All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in a dual role.”
The film’s Hero was Ranjan. In the early times of the Film Industry, very few educated people used to join here. That is why Graduates or Postgraduates used to flaunt their degrees with pride- like Moti, B.A.-the lyricist ( though he was actually M.A.), or Kavi Pradeep’s pseudo name- Miss Kamal B.A. or even singer actor Surendra as B.A., LL.B. etc.etc.
After reading about this artist, you will wonder if any such multi talented person ever lived here ?
A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a Hero, like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family.
He was an expert in playing Violin. He was a qualified dancer in Kathak,Kathakali and Bharat Natyam. He was an expert driver, swimmer and a swordsman of Olympic standards. He graduated in physics.After M.Sc. He did his Doctorate too. Ranjan knew 12 Indian and 4 foreign languages. He edited a Dance and Drama Magazine and wrote several books on it. He earned a Fellowship of New York University.
Ranjan learnt and became an A grade flyer. He was the first to buy a Rolls Royce car and a Tiger Moth Aircraft, in the Indian film industry ( later Motilal also owned an aircraft). He was a good painter and a Trained magician. He became Magician’s Association president for Bombay. P C Sorcar was All India president then. He was often invited by European and American Universities for lectures. Ranjan owned two big Hotels also. Ranjan was a good shooter. He played Cricket and Soccer frequently. Ranjan was a regular singer on Madras A.I.R..
In his first Tamil film, his Heroine was Vasundhara Devi- mother of Vyjayanthimala. Ranjan entered Hindi films through his blockbuster film ” Chandralekha-48 “. He did 58 Hindi films in the 50s and 60s. He was a script writer also.He wrote the story and screenplay of the film Munimji-55. He was a choreographer also. In the 50s decade the quartet of Raj, Dev, Dilip and Ashok kumar was ruling Hindi industry. Ranjan was not given any importance here. He was not even invited for the Golden jubilee of Talkie film celebrations in Bombay. He lived in his bungalow in Chembur Union park.
He was spotted by a Tamil Producer, when he was standing in a Bus queue and he made his Debut in the film ” Ashok Kumar “-1941. After a few films in Tamil and Telugu, he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan became typecast in Action films. Ranjan was a very poor actor, but his Fencing skills were marvellous.
In 1949, came ” NISHAN “, based on the Hollywood film ” The Corsican brothers’-one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumathi, he was the villain and the Hero too.
He was invited by New York University for a Fellowship, but Vasan did not leave him, so after Mangala-1950, as soon as the contract was over, Ranjan came to Bombay.
‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero, he was worse than Bharat Bhushan or Pradeep Kumar !
He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in the 60s he did 18 films and in the 70s his tally was 17 films. A total of 58 films in Hindi.
After Sword fighting became obsolete he shifted to writing. The story of the film MUNIMJI-55 was written by him. After a few years in the south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram – 80 was his last film.
He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on Dancing and music.
He shifted to the USA to live with his son, but died on 12-9-1983,in New Jersey-USA,due to Heart attack. He was so much forgotten that even the news of his death was not published in India.
Today’s song is in a video showing actor Agha. Enjoy this 76 year old song, sung by T.A.Moti….
Song- Tokree mein chhokree hai(Mangala)(1950) Singer- T.A. Moti, Lyricist- Pt. Indra,MD- Balkrishna Kalla
Lyrics
haan
hup
haa haan haan hup
chhokree hai o chhokree hai
o chhokree hai
tokree mein chhokree hai
hai ae ae ae
harey harey baans kee ye gol gol tokree
harey harey baans kee ye gol gol tokree
tokree mein chhokree hai
tokree mein chhokree hai
tokree mein chhokree hai
hai hai hai
re ae ae
aankhen
jaise nimbu kee phaanken
jaise bulbul kee paankhe
re ae ae
aankhen raseelee nasheelee kateelee
re ae ae ae
aankhen raseelee nasheelee kateelee
ho o o o
kateelee
aankhen raseelee nasheelee kateelee
aankhen raseelee nasheelee kateelee
zulfen lehraayen jaise naagan hatheelee
hop ho ho ho
zulfen lehraayen jaise naagan hatheelee
goree rangeeli ee ee ee
goree rangeelee chhabeelee sajeelee
goree rangeelee chhabeelee sajeelee
raaja rais karey chhokree kee naukree
o o raaja rais karey chhokree kee naukree
oy chhokree kee naukree
harey harey oye oye harey harey ui ui
harey harey baans kee ye gol gol tokree
chhokree mein tokree hai
hatt
tokree mein chhokree hai
haan
tokree mein chhokree hai
tokree mein chhokree hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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