Ke haay naheen khaate hain bhaiyya mere paan
Posted on: May 15, 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.
|
Blog Day : |
6510 | Post No. : | 20237 |
Today’s song is from a different type of film – Bahen-1941.
The film was made by National Studios and it was directed by Mehboob. The Music Director was Anil Biswas. As a team they had worked in 8 films together, at a stretch. The story of the film was by Zia Sarhadi. Screenplay and dialogues were by Wajahat mirza. The cast of the film included Shaikh Mukhtar, Nalini Jaywant, Harish, Kanhaiyalal, Husn banu, Shehzadi jr., Baby Meena (Meena Kumari), Bhudo Advani and many others. At the time of this film, Nalini Jaywant was only 14 year old, running into 15th year. As a girl child, her role was done by Meena Kumari as Baby Meena. She was 7 year old then.
This was a ” Hat ke ” story. It hinted clearly about incest in a brother and sister. In 1938, Sohrab Modi had made a film on a Psycho-Neurotic Hero – Jailor. he remade the film in 1958. But it has been found that such types of off beat stories on Negative Mentality are not liked by the general audience, though Critics appreciate them. This is because people consider films as a means of entertainment and disturbing the minds with the off-beat films on negative mentality are not acceptable to people.
The Encyclopedia of Indian Cinema writes about today’s film-Bahen-1941 thus….” Classic Mehboob film on Incest. Elder brother Amar (Shaikh Mukhtar) saves the life of his infant sister Bina (Nalini Jaywant) and raises her, becoming very possessive about her.
When Bina grows up, the progressive social activist Harish wants to marry her. Amar then plots to get a thief Moti (Kanhaiyalal) to marry Bina and immediately abandon her, so that she will forever remain dependent on Amar. Eventually, she does get married to Harish and the brother’s grief is alleviated only when his sister delivers a child (in a remarkable sequence featuring the Nurses at the Hospital).
The Incest motiff was widely used to represent the complexities of “The Aryan Feudal Patriarchy” (e.g. the New Theatre’s “Meri Bahen aka My Sister”-1944 and classically in Ghatak’s Bangla film ” Subarnrekha”-1962), but Mehboob was distinctive in making it a central focus. ”
The Hero of the film was Shaikh Mukhtar. Religious, Mythological or Historical stories have some characters who are with extraordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry,some actors fitted this requirement. Some of them were B M VYas, Ramayan Tiwari, Shaikh Mukhtar, Dara Singh, Dev kumar etc etc.
Shaikh Mukhtar fitted into these roles perfectly, for example as Nadir Shah in film ” Nadir Shah”-68, as Changez khan in film ” Changez khan”-57, or as Sher Afghan in film ” Noor jehan”-67. In social films, roles of Police Officers and in action/stunt films as Dacoit,Drunkard,Gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in the film ‘ Roti’-42, he brings down an aircraft with his spear throw ! As a Police Officer, he would hold 5-6 criminals by their scuff in his extra large hands or run barefoot after a speeding jeep and stop it !
His real name was Mukhtar Ahmed Siddiqi. Sheikh Mukhtar was the son of Chaudhry Ashfaq Ahmed, who was a railway police inspector born in Karachi. Chaudhary Ashfaq Ahmed got transferred and moved to Delhi. Sheikh Mukhtar was born on 24 December 1914 in Delhi. He spent his childhood in Gali choodi waalan.He studied in Anglo Arabic School, Ajmeri Gate, Delhi. His father wanted his son to join the Police or Army on a higher rank, but Sheikh Mukhtar was keenly interested in theatre. One of his acquaintances from his area started working in a theatre company, so Sheikh Mukhtar also moved to Kolkata and joined the company.
He was Bollywood`s first Hunk – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today.
Yet, this rugged man was once a hero.
Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In Ek hi Raasta, or The Only Way, a film directed by Mehboob saab for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as Burma Road, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mould. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s Roti with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.
In Wadia`s Krishnabhakt Bodana, Sheikh Mukhtar was the Lord`s devotee. In Bahen, he portrayed the role of Meena Kumari`s brother. His imposing personality fitted well into `period` films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in Noor Jehan, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, SheikhMukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as Dada, Dara, Ustad Pedro, Toote Tare, Mr. Lambu, Annadaata, Mangu (with another beauty, Nigar Sultan), Do Ustaad, Noor Jehan, among others.
He wove into his films a variety of songs, from Bahaaron ke doli pe aaye hai jawaani, a romantic number from Annadaata, to naughty ditties, such as Dil ka yeh engine seeti bajaye from Ustaad Pedro, and Namaste, Doctor Paro, hum ko bhi ek injection maaro. SheikhMukhtar`s pair of shoes, of twelve number size, (in Do Ustaad), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of Do Ustaad when he holds his long-lost brother and son to his bosom.
Sheikh Mukhtar blew up his hard-earned money on Noor Jahan, his dream project. However, the `period` film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no relief. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.
He was not at all welcomed by Pak film industry. As it is, Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to the Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. He was returning to Lahore with his son Shaikh Moinuddin. Mukhtar got a severe heart attack in the flight. He was immediately taken home and the doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way, on 13-5-1980.
Sheikh Mukhtar married to Shamim and they Had a son Moinuddin Mukhtar and a daughter Mariam Mukhtar.
Noor Jehan, which was released in Pakistan within 10 days after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. ( some information from articles by Shirish Kanekar and Javed Hameed is used herein, with thanks).
The relations between Mehboob and Anil Biswas were Hot and Cold. Here are 2 examples…
After the successful film Ek hi Raasta-39, Mehboob started work on the film Alibaba. He had made the beginning of his film career by acting in the silent film on Alibaba. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company. Besides Mehboob, Sagar Movietone had a team of other directors like C M Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of the Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.
By this time, Mehboob was ready with all the arrangements to start the shooting of Alibaba. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘ extra ‘ who had worked in his company-without pay for the first five months- had now become an acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there.
Mehboob had wanted to make Alibaba in Hindi and Punjabi. Anil Biswas was his pet MD for so many films. He asked Anilda to do the music of Hindi and Punjabi versions. Anilda flatly refused saying that he did not know Punjabi. Even after a lot of discussion, he was not ready. Mehboob left the matter as it is. After a week or so, there appeared a news in papers that ” Anil Biswas, a Bengali, gives music to Hindi films but can not give music to Punjabi films”. Someone showed this news to Anil Biswas. He was agitated and ran to Mehboob. Anilda said, ” OK, I will give music in any language that you make films in. French, English, Arabic, Spanish…any language, but stop spoiling my reputation.” Mehboob just smiled and said, ” Ja Bangali ja. Punjabi gaanon ko music de “. Anil Biswas sought assistance from a Punjabi technician-Shahji- who helped him to understand the basic nuances of Punjabi music. The music he ended up composing for the Punjabi version was much better than the one given to the Hindi version, according to Anil Biswas himself !
The Split…….
Anil Biswas joined Sagar Movietone in 1936 and Jagirdar-37 was his first film as an MD there. He became a very good friend of Mehboob. Together with Cinematographer Faredoon Irani, they made a close group of friends.In every film that Mehboob directed from 1937 to 1942 ( 8 films ),Anil Biswas was his Music Director. In 1940 Sagar staff shifted to National and in 1942, National Studios was to be closed. All employees, including Mehboob, Faredoon and Ail Biswas were worried about their future. In that period, Anil Biswas got an offer first from Ranjit Studios, but he rejected it as his friends did not get offers. Then he got an invitation from Bombay Talkies for Rs. 2500 rupees pm as salary. This was too lucrative to reject. Though his friends were jobless, Anil Biswas joined Bombay Talkies.
Mehboob Khan was upset that being a friend also, in their bad days, Anil Biswas deserted them for personal gain.Mehboob and Faredoon felt let down. Their relations soured and thereafter Mehboob khan never ever took Anil Biswas as an MD for films of his company. After establishing his own Mehboob Productions, he did not invite Anil Biswas. Mehboob Khan prospered and teamed up with Naushad as his MD from film Anokhi Ada-48 onwards, in place of Anil Biswas.
By 1954, Anil Biswas broke up with his first wife Ashalata. He divorced her,but lost everything he had, to her in settlement for freedom. He was not getting any films. For survival he unsuccessfully tried doing Truck business. Seeing his condition, Mehboob offered him the contract for his Canteen,on request from Anil Biswas. That too failed miserably. Mehboob Khan was so bitter about him that even in that condition Mehboob did not offer him any film.
When Mehboob Productions planned the film ‘ Paisa hi paisa ‘-56, Mehrish was made the Director. Being a great fan of Anil Biswas, he asked Mehboob’s permission to call Anil Biswas as its Music Director. As one who believed in work ethics, Mehboob very reluctantly permitted Mehrish, but went on a Foreign trip to avoid meeting Anil Biswas. Film ‘Paisa hi Paisa ‘was a comedy film, with Kishore kumar, Mala Sinha,Shakeela, Shyam kumar, Murad,Mukeri,Kumud tripathi etc etc. Basically Anil Biswas specialised in Tragedy or Serious films. Comedy film was not in his comfort zone, but his financial condition forced him to bow to the circumstances. Being a talented composer, he did well in this too, though the film bombed at the Box office. (post based on information collated from the book ” Mehboob Khan” by Shashikant Kinikar, with thanks.)
Here is a song from today’s film, sung by Nalini Jaywant, with some dialogues by Shaikh Mukhtar. Enjoy….
Song- Ke haay Naheen khaate hain Bhaiya mere paan (Bahen)(1941) Singer- Nalini Jaywant, Shaikh Mukhtar, Lyricist- Safdar Aah Sitapuri, MD- Anil Biswas
Lyrics
na naa na naana nananana naa
na naa na naa na nananana naa
haan
naheen khaate hain bhaiyya mere paan
unh
na naa na nana nananana naa
na naa na naana nananana naa
dholak zaroor bajaao
chahe aatee jaatee khaakh bhee na ho
haan
?? jaan khaaye jaa rahee hai
ye baat to theek hai
magar bhaiyya
abhee abhee maine ek bada achcha gaana banaaya hai
chal
?? gaaye taal be taal
unhoon
naheen bhaiyya
tumhen sun’na padega
nahin to main khafa ho jaaoongee
chalo sunaao
kuduk
kuduk
magar bhaiyya
na hansna na hansaana
haan haan chalo sunaao
ke haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
khaayen vo kaise khilaayen vo kaise
khaayen vo kaise khilaayen vo kaise
ghar mein naheen paan daan
haay ??
ghar mein naheen paan daan
haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
mujhe dete hain khaane na khaate hain khud
mujhe dete hain khaane na khaate hain khud
bade aaye dikhaate hain shaan
jaanoon jeena hai ab tak naadaan
maare gusse ke laal huye kaan
haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
khaayen vo kaise khilaayen vo kaise
khaayen vo kaise khilaayen vo kaise
ghar mein naheen paan daan
haay naheen
ghar mein naheen paan daan
haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
ke haaye naheen khaate hain bhaiyya mere paan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment