Sainyya mora ro ro manaaye
Posted on: May 12, 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 the social film Sona-1948. This is one of those films, about which no information is available like its story etc. Only HFGK provides the basic information like cast, songs etc.
Sona is Gold. It is a very valuable and costly metal. But Hindi filmmakers did not think so, as films with Titles having the word Sona are only 2. One is today’s film and the other was Sona Chandi-1946. There were 11 film titles starting with the words Sone Ki, Ka, Pe etc. There was one film Chandi Sona in 1977. IMDB details say that the film Sona-1948 was one of the Hit films of 1948.
1948 was a year when the filmmakers breathed a sigh of relief, because now there was no restriction on making films openly on our Independence efforts or having songs of patriotism and Indian culture.
Film Shaheed made by Filmistan was based on the 1942 Quit India Movement. This was Dilip Kumar’s first Hit film.
Bombay Talkies made Majboor on the exit of the British from India. There was a song also describing it.
Internationally famous dancer Uday Shankarmade ‘Kalpana’ glorifying different dances of india. It ran well in Calcutta, but other places it had a lukewarm reception.
Suhag Raat by Kidar sharma -his best in career- presented Geeta Bali (who resembled his wife Kamala Chaterjee), as a Heroine for the first time. She too did justice to her role.
Raj Kapoor established his RK Studio and made Aag with 3 heroines- Nargis, Kamini Kaushal and Nigar Sultana. He did not match them, but managed well with good songs.
Another Dilip film Mela was full of melodious songs. Suraiya’s Pyar ki jeet too was a musical.
Chandralekha from the South created history with its impressive challenge to Hindi films. Lavishly made and released with over 600 prints all over India at the same time it indicated the future competition from southern films !
Dev Anand’s Vidya and Ziddi made an impression.
Kishore kumar sang his first song in Ziddi. Asha Bhosle sang her first solo in Chunaria.
Anokhi Ada with veteran Naseem and Surendra was successful.
Grihasthi, Pagdi, Gopinath, Nadiya ke Paar etc were other notable films.
Film Sona-1948 was produced by Mazhar Art Productions, Bombay and was directed by its owner Mazhar Khan. Songs written by his close friend Nakshab Jarachavi were composed by the Music Director Vasant Desai. The cast of the film included Mazhar Khan, Munawwar Sultana, Madhuri, Navin Yagnik, Madan Puri, Suman, Dikshit and many others.
We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were actually invited by Bombay filmmakers, rolling out red carpets for them. This normally used to offer in case of promising stars from other film centres like Calcutta and Lahore. For example, Shamshad Begum was specially brought to Bombay from Lahore. Saigal was brought from Calcutta to Bombay, with an attractive offer.
That, precisely, was the reputation of Bombay, that careers are made in Bombay and opportunities are found in abundance for those who have Talent and Luck ! Munawar Sultana, Heroine of film Sona-48 was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accommodation – by Mazhar Khan.
Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, Peene ke din aaye piye jaa picturised on her. She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song Dil jalta hai to jalne de (Let the Aflame HeartBurn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.
Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most overworked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song Afsana likh rahi hoon became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.
A lot has already been written about Elaan-47,elsewhere, as well as on this blog too,earlier.
When Mehboob Khan heard the story initially, he spent a few days thinking about it. He anticipated adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana, the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.
Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film. He gave her an option to opt out of the film. Munawar played very bravely and firmly told Mehboob Khan that she was 100% with him and was ready to work and face whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani.
1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad. The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.
From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters. In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai.
There was a “Same Name” Munawwar Sultana, who was a singer. After Partition she went to Pakistan. However, luckily the singer Munawwar Sultana never acted in any film and actress Munawwar Sultana never sang any song !
The Music Director of this film was Vasant Desai. Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his dues.
That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, has not been given his due by the film industry befitting his stature and contribution to its music.
Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Mazhe Sangeet” applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song Jo dard banke zamane pe chha gaye jaate hain from “Parbat Pe Apna Dera”. Hear Rafi’s immortal kehdo koi na kare yahan pyaar(Goonj Uthi Shehnai) and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.
Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grudge against him for promoting other singers, especially Vani Jairam, and hence ignored his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like Jo tum todo piyaa (Jhanak Jhanak Paayal Baaje) , Tere sur aur mere geet(Goonj Uthi Shehnai), Main gaoon tu chup ho jaa (Do Aankhen Barah Haath) , Piya te kahaan gayo (Toofaan aur Diyaa) or Ek tha bachpan (Aasheerwaad) . Even though Desai made her Ae maalik tere bande ham (Do Aankhen Barah Haath) into a memorable secular prayer, Lata hardly ever commends the composition. Maybe she was unhappy that Desai created an equally powerful bhajan Humko man ki shakti dena(Guddi) into a nationwide school prayer through Vani’s vocals.
His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi. She even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song rail gaadi rail gaadi (Aasheerwaad) (“Aashirwad”) with minimal instrumentals. Nowadays when the Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes ! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his Bole re papihara(Guddi) to Himalayan heights of popularity.
Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.
Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.
Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.
In his initial stage of career, he had acted in films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films. His first film was Shobha-42 and Last released film was Shaque-76.(some information in the article adapted from Ency. of Indian Cinema and The Hindu).
Shantaram was planning a path breaking film Maanus(Marathi)-Aadmi in Hindi,in those days and was in the process of finalising the cast.Vasant Desai who was Shantaram’s chela in those days,was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too.He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.
Meanwhile Mera Ladka-38 became quite popular and its songs, particularly,Dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit.Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi – 39.
Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. He had worked as assistant to Tembe, Krishnarao, Bhole and Mainkar. He acted and sang in Amar Jyoti . His time came when Shantaram gave him SHAKUNTALA-1943 as a Music Director.
Here is a song from the film Sona-1948, sung by Zohrabai Ambalewali. Enjoy….
Song-Sainya mora ro ro manaaye (Sona)(1948) Singer- Zohrabai Ambalewali,Lyricist- Nakshab Jarachavi, MD- Vasant Desai
Lyrics
sainya mora
sainya mora
ro ro manaaye re ae
sainya mora ro ro manaaye
bhalaa kab tak main roothhee rahoon
bhalaa kab tak main roothhee rahoon oon
sainya mora
painya pade kabhee garwa lagaaye ae
painya pade kabhee garwa lagaaye ae ae
pritam sang na(?) dekha na jaaye
pritam sang na(?) dekha na jaaye
jiya mora bhar bhar aaye re
haaye
jiya mora bhar bhar aaye re
o o o o o o o o
o o o o o o o o
jiya mora bhar bhar aaye re
bhalaa kab tak main roothhee rahoon re
sainya mora
bainya pakad ke nain milaa ke ae
bainya pakad ke nain milaa ke ae ae
bas na chaley to aankhiyaan jhuka ke
bas na chaley to aankhiyaan jhuka ke
jiya mora neer bahaaye re
haaye jiya mora neer bahaaye re
o o o o o o o o o
o o o o o o o o o
jiya mora neer bahaaye re
bhalaa kab tak main roothhee rahoon re
sainya mora ro ro manaaye re ae
sainya mora ro ro manaaye
bhalaa kab tak main roothhee rahoon re
sainyya mora
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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