Toree kesariya angiya ke taar
Posted on: May 16, 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 Bi Lingual film – Amrit-1941. It was made in Hindi and Marathi, by Navyug Chitrapat Limited, Bombay. It was directed by Master Vinayak. The music was by Dada Chandekar, who was a regular with Master Vinayak, for his Hindi and Marathi films. The cast of the film was Meenakshi Shirodkar, Vinayak, Master Vithal, Lalita Pawar, Baburao Pendharkar, Dada Salvi, Damuanna Malvankar, Vishnupant Jog etc. The cameraman was Pandurang Naik, one of the owners of Navyug, along with Baburao, PK Atre and Vinayak, of course.
The Hindi film industry of Bombay was dominated by Gujarati and Marathi people. It was natural, considering that Bombay was located in Maharashtra and close to Gujarat. The Gujarati people had money, so they became producers, financiers, owners and distributors, never interfering with the making of films, but controlled the monetary part. Marathi people had talents in various categories like acting, music, direction, publicity etc. As the industry grew and got talents from every part of India, in due course the number of Marathi people diminished in the industry. During this period, the Marathi film industry was also very strong and the Marathi crowd of Hindi films shifted to Marathi industry.
Until independence, this situation was in place. The Marathi film makers like Master Vinayak, V Shantaram, Bhalji Pendharkar etc made films simultaneously in Marathi and Hindi, from the earliest time of the film making in India. This trend, however, almost stopped completely, after the polarisation in 1947, except for few bilingual films made later, like ‘Chhatrapati Shivaji’ in 1952 and ‘Mahatma’ in 1953 which came in Marathi and Hindi. ‘Mahatma’ was even made in English.
When making bilingual films in Marathi and Hindi slowed down, films were remade at Bombay in Hindi, from the hit films in Marathi. For example, a film ” Lagna pahava karoon” ( लग्न पहावं करून )-1940 was remade in Punjabi as ” Kudmai”-1941 and later in Hindi as “Barati-1954. Similarly, Marathi film “Tuzach” ( तुझाच )-1942 was dubbed in Hindi as ‘ Main Tera Hoon-‘ 1947 etc.
Film Amrit-1941 was based on a story by the noted, award winning Marathi writer V.S.Khandekar. The film was shot in and around a town in Konkan area- Malvan and also Goa. The lead star was Baburao Pendharkar and the Cameraman was Pandurang Naik-both part owners of Navyug Chitrapat Ltd. After this film they both left the company and started their own company-New Huns Pictures. After one year, even Master Vinayak also left to start his own Prafull Pictures.
Master Vinayak Karnataki (19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V Shantaram and his brother V Avadhoot (cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a teacher in a school, but Bhalji convinced him to join films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company, Hans Pictures, in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was ‘Chhaaya’ (1936). Almost all films made by Master Vinayak till 1947 were bilingual in Marathi and Hindi, sometimes with different titles, like ‘Ardhaangi’ in Marathi became ‘Ghar Ki Rani’ (1940) in Hindi etc.
While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on strong story. Therefore he used the works of top class writers in Marathi like VS Khandekar, PK Atre, Mama Varerkar etc. [Auth Note: VS Khandekar later won the Sahitya Academi Award, the Jnanapeeth award, Padma Bhushan award and many more honours like D Litt etc. The Government issued a postage stamp in his honour, after his death.] ‘Chhaaya’ won many awards and was commercially successful. Next came ‘Dharamveer’ (1937) and ‘Premveer’ (also 1937). The heroine in ‘Premveer’ was Ashalata – wife of music director Anil Biswas). Then came ‘Jwaala’ in 1938, with Chandramohan in both versions – Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did three more Marathi films. Unfortunately, ‘Jwaala’ was a resounding flop – not because of any reason other than Master Vinayak meddling with the story too much, according to VS Khandekar (this appears to be a chronic ailment of film line !).
Master Vinayak fell back on comedy and made ‘Brahmachari’ in 1938 and ‘Brandi Ki Botal’ in 1939. Both were successful, but the loss due to ‘Jwaala’ was too big. Even one more comedy – ‘Ghar Ki Rani’ (1940) could not salvage the damage. Hans Pictures was dissolved to form another company Navyug Chitrapat, with PK Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to public. (Bombay Talkies had shares with only the directors, initially). The first film was ‘Lapandav’ (1940). Though it was successful, PK Atre left the company along with its heroine Vanmala – his consort, and established his own company Atre Pictures.
After another comedy, Navyug made ‘Amrit’ in 1941. In 1942, Navyug made the film ‘Pahili Mangalagaur’, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan, under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Master Vinayak left Navyug and started his own company Prafull Pictures. He made several Hindi and Marathi films including ‘Badi Maa’ (1945). He died on 19-8-1947, just 4 days after Independence.
Dada Chandekar was the Music Director ofAmrit-1941. His real name was Shankar Vishnu Chandekar. He was born on 19-3-1897 at Kolhapur. His father used to do ‘keertan‘ in temples. His younger brother Narhari used to call him Dada (Bade Bhaiya – elder brother), and subsequently everyone started to call him Dada only. Later his real name was not known to anyone. He was an excellent harmonium player.
He joined Kirloskar Drama Company, where he used to do female roles, as per system in those days. Once Deenanath Mangeshkar’s Harmonium player was absent. Dada was called and then worked in Deenanath’s Balwant Natak Mandali for the next 20 years. Later he joined Dhamman Khan, MD as his assistant. In 1935 he gave some songs in the film ‘Kaliya Mardan’, when Dhamman Khan left midway.
In 1937 Dada Chandekar joined Huns Pictures. He composed the background music for ‘Jwaala’. Pleased by his work, Master Vinayak gave him his first independent film- ‘Bramhachari’ in 1938. All the songs became hits and were popular. Particularly the song by Meenakshi, “Yamuna Bich Khelun Khel, Kanhaiya”. The song was performed on screen by Meenakshi wearing a swimming costume, a very revolutionary idea in that era. The song became popular all over India. People repeatedly saw the film for this song and Meenakshi in a swimming dress ! However, Master Vinayak did not get any money from this film, as he had to sell the film, while still in production, at a mesum- mainly because of the new heroine. Actually, it was successful only because of her.
Dada continued with Master Vinayak till 1947. Then he left Hindi films. Till 1964, he gave music to dramas and Marathi films. He also worked in All India Radio, Poona for some time. He died on 27-1-1976. In all, he gave music to 13 Hindi and 25 Marathi films. some of his Hindi films are, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Jwaala’, ‘Ghar Ki Rani’, ‘Amrit’, ‘Ladaai Ke Baad’, ‘Din Raat’, ‘Main Tera Hoon’, ‘Moti’ and ‘Phool Aur Kaante’.
The story of the film Amrit-1941, as given by the Encyclopedia of Indian Cinema was…..
A complicated plot about class differences in a coastal Konkan village. It introduced a typical Khandekar character, the idealistic but dogmatic patriarch who becomes a victim of his own beliefs.
Here it is Bappa (Salvi), who monopolises the village palm trees from which toddy is made. He believes in fairness, not mercy. The story of his urban son Vilas (Master Vithal), his daughter Lata (Meenakshi) and her friend Sadanand (Master Vinayak) is interspersed with that of a drunken shoemaker Krishna (Baburao Pendharkar) and his wife Seeta (Lalita Pawar). Vilas, who covets the shoemaker’s wife Seeta, procures a new hut for them. He then starts having problems with his father and all the parallel stories converge when Vilas accidentally kills Seeta’s daughter.
Bappa, using his political influence, gets her innocent husband arrested instead and Seeta exploiting Vilas’s desire for her, retaliates by making him virtually her slave. Bappa eventually faces up to his moral responsibility in a tale that also warns against the Demon Drink.
Today’s song is a rare song, provided to me by Shri Abhay Jain, USA. It was kindly uploaded by our Sadanand Kamath ji. Thanks to both. This song is sung by Vishnupant aka V.S.Jog. Vishnupant Jog (18 September 1905 – 22 June 1993) was an actor & singer in Marathi and Hindi movies. He was known for his Hindi movies like Brahmchari (1938), Mera Haque (1939), Sangam (1941) & Marathi movies like Pahili Mangalagaur (1942) and Sarkari Pahune ( 1942).
Vishnupant Jog was famous as “Gundyabhau”. In fact he and Damuana Malvankar played the role of Gundyabhau and Chimanrao in Marathi movie “Sarkari Pahune” in 1942. It was a super comedy and a hit movie. The characters played by Vishnupant Jog & Damuana Malvankar became so popular that they were known as Gundyabhau & Chimanrao.
Vishnupant Jog was born on 18 September 1905 in Bilaspur, CP & Berar, undivided India. Later Bilaspur was in Madhya Pradesh, now in Chhattisgarh. His father was working with Railways in Bilaspur. Due to the transfer of his father, his family shifted to Nagpur, where Vishnu pant completed his matriculation and joined college. He left his college to earn money. His uncle was an actor, who was playing the role of ladies in plays. His elder brother Nana Jog was a sarangi player and wrote & acted in many plays. Due to such an environment, many artists are used to visiting his home. It is said that once Pandit Dinanath Mangeshkar visited his house and liked the voice of Vishnupant and was invited to join his musical group and offered a small role in the play “Randundhubhi” in the year 1928.
After some time, due to differences, he left Dinanath’s group and joined a new group of Hirabai Barodekar and acted in a few plays. Again he left this group and joined Sohrab Modi’s group “Arya subodh” and acted in the play “Asuri Lalsa” written by Bhalji Pendharkar. Again due to more preference given to Hindi in Sohrab Modi’s group, he left & once again joined Hirabai Barodekar group and acted in few plays. He also worked in Navprabhat Natak Company and acted in Hindi – Urdu plays. He played small roles in Marathi movies like Usha, Pratibha & Savkari Pash of Shalini Cinetone
This was the beginning of his career. Thereafter he acted and sung songs in many Marathi & Hindi Movies like Gajbhau, Jai Malhar, Jivacha Sakha, Dev Pavla, Pahili Mangalagaur, Brahmchari, Ardhangi, Amrit, Sangam and many more. He acted in 75 Marathi & Hindi movies. Later on he shifted to Marathi movies. He did 29 comedy films with Damuanna Malvankar. His last movie was “Ganga Ghar Kathi” released in 1975. He settled in Pune and lived till death. Vishnupant Jog died on 22 June 1993 in Pune. In his entire career, he could not win any award, but on the occasion of the celebration of Amrit mahotsav in 1980, he was honoured by All India theater Group.( The above write up has adapted material from Encyclopedia of Indian Cinema, Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect, Listener’s Bulletin, IMDB, MuVyz, HFGK, Wikipedia, and my own notes.)
Now enjoy this old style song….
Song-Toree kesariya angiya ke taar (Amrit)(1941) Singer-Visnupant Jog, Lyricist-Pt Indra Chandra, MD-Dada Chandekar
Lyrics
Toree kesariya angiya ke taar
toree kesariya angiya ke taar
toree kesariya
toree kesariya
toree kesariya angiya ke taar
kaise tootee
bata de o naar
kaise tootee
bata de o naar
toree oonchee atariya ke oonche duwaar
kaise aaoon
o kaise aaoon
rokey jamaadaar
kaise aaoon
rokey jamaadaar
toree kesariya angiya ke taar
toree kesariya
ho toree kesariya
ho toree kesariya angiya ke taar
shamraao naheen
tarsaao naheen
shamraao naheen
tarsaao naheen
o ho re
tarsaao naheen
main to pyaasa musaafir hoon naar
main to pyaasa musaafir hoon naar
ho toree kesariya angiya ke taar
toree kesariya
ho toree kesariya
toree kesariya angiya ke taar
tora halka gulaabee singaar
haay haay
tohpe chhaayee angooree bahaar
tohpe chhaayee angooree bahaar
zara badhne de ras kee phuhaar
ho zara badhne de ras kee phuhaar
waah
toree kesariya
ho toree kesariya
toree kesariya angiya ke taar
ho toree kesariya angiya ke taar
toree kesariya
ho toree kesariya
ho toree kesariya angiya ke taar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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