Kiske aane kee khushiyon mein
Posted on: May 18, 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 very old-almost 90 years old- film Pratibha-1937.
The film was made by Shalini Cinetone, Kolhapur in 2 languages- Marathi and Hindi. The film story was based on a novel by N.H.Apte, in Marathi. It was directed by Kala Maharshi Baburao Painter and its music was composed by Govind Rao Tembe. All the 10 songs of the film were written by Pt. Anand Kumar. The cast of the film was Durga Khote, Master Shyam, Nanasaheb Phatak, Raja Paranjape, Heerabai Badodekar, Keshav Rao Datey and others.
During the 1930’s decade, the common people in India had two major sources of entertainment. One – Stage Dramas and Two – the recently started Radio. The first one was financially accessible to the people, but Radio was still a rich man’s preserve. The organised Radio started from 23-7-1927, first in Bombay, then in Calcutta and then in Madras. In addition, books by famous authors in all languages were also available. However films – first the Silent and from 1931 onwards The Talkie films gave the visual satisfaction providing audio and visual pleasures. No wonder this medium soon became the most popular. With the portable equipment films reached the nooks and corners of India.
Due to its attraction, well known artists from the other mediums like Music, instruments, stage actors and even authors like dramatists and story/song writers were keen to join films. To start with, Bombay being in Maharashtra, the Marathi singers, actors, musicians-vocal and instrumental as well as technicians thronged in majority to the film industry. From stage, famous actors like Bal Gandharva, Bapurao Pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, Keshavrao Bhole, Master krishnarao, Dada Chandekar, Dhamman khan, B.R.Deodhar, Vishnupant Pagnis, P.L.Deshpande, G.N.Joshi and many others joined films. Writers like V.S.Khandekar, N.S.Phadke, H.N.Apte etc also contributed to films.
From Hindi and Urdu, contributions came from people like Narayan Prasad Betab, Pt. Sudarshan, Agha Hashr Kashmiri, Pt. Narottam Vyas, Amritlal Nagar, K.M.Munshi, Safdar Aah Sitapuri, Kazi Nazrul Islam etc who joined films. Several musicians also joined. Not many readers may be knowing that even the great Indian poet writer Rabindranath Tagore had also acted in and directed a film – “Natir Puja” in 1932.
Even in today’s film, there were 2 famous Marathi stage actors. One was Master Shyam – this was his only film – about whom no information is available. The other actor was Nanasaheb Phatak. I have earlier written in detail about him.
‘Pratibha’ was a bilingual film – Hindi/Marathi – produced by Shalini Cinetone of Kolhapur. When Baburao Painter left Maharashtra Film Co., and others left to start Prabhat at Pune, the king of Kolhapur – Shahu Maharaj was disturbed. He wanted Kolhapur to remain a hub of film production. He himself established Kolhapur Shalini Cinetone, mainly to keep Painter employed. Baburao, Bhalji Pendharkar and Master Vinayak also came back to make films here. After few films like ‘Akashvaani’ (1934), ‘Vilasi Ishwar’ (1935) (in Hindi it was ‘Nigaah e Nafrat’ (1935), a Debut film for Shobhana Shilotri, who became Shobhana Samarth later on), ‘Pratibha’ and Phalke’s only talkie film ‘Gangavataran’ (1937) (debut film of Leela Mishra aka Leela Mausi), ‘Gangavataran’ was made on lavish scale spending lot of money. However the film flopped and Kolhapur Shalini Cinetone was closed down forever.
The story of the film ‘Pratibha’….
Poet Prasad (Datey) lives far from the city in a forest, enjoying only the company of wife Pratibha (Khote). The court poet Kaveeshwar (Phatak) of the neighbouring kingdom learns about his poetry and beautiful wife and invites them to his palace, promising glory and fame. Against Pratibha’s advice, Prasad succumbs to the temptation, only to find that his poetry is plagiarized and his wife is harassed.
The film’s director Kala Maharshi Baburao Painter was the founder-owner of Maharashtra Film Company, Kolhapur. This was a premier film company which made several well known silent films. In 1929,, when a disgruntled group of his employees consisting of V.Shantaram, Keshavrao Dhaiber, Damle and others left the company to start their own outfit called ” Prabhat Film Company”, he was shocked and in 1930 he too left film making. However, on the insistence of the King of Kolhapur he directed 5 Marathi and 2 Hindi Talkie films, under the banner of Shalini Cinetone at Kolhapur. Today’s film Pratibha-1937 was made in Marathi and Hindi. It was based on a book ” हृदयाची श्रीमंती ” (The richness of Heart), written by a noted Marathi author Narayan Hari Apte.
Initially films were made at several centres in India. Besides main cities like Bombay, Lahore and Calcutta, films were also made in other places like Kolhapur, Pune, Ahmedabad, Madras, Coimbatore, Vijayawada, Lucknow and some other cities. Out of all these Bombay had more advantages- especially Language. One could live in Bombay for 30 years and still not know Marathi. This was simply not possible in Calcutta or Madras. The regional cinema in Bengal and Madras fiercely competed with Hindi films here, sharing the only production centres in Southern and Eastern India. The result was, Hindi film production slowly diminished as Artistes made a beeline to Bombay. Not only Punjabi or the North Indian artistes, but even Bangla Directors (Nabendu Ghosh, Bimal Roy, Satyen Bose, Hrishikesh Mukherjee, Basu Chatterjee etc),Music Directors and Singers( Pahadi Sanyal, K C Dey, S D Burman, Salil Chaudhari, Anil Biswas, Hemant Kumar, even R C Boral) and few actors(Abhi Bhattacharya, Mala Sinha, Talat Mehmood, Pradeep Kumar etc) shifted base to Bombay.
Bombay welcomed one and all from entire India, grew bigger and became the only Hindi cinema production Centre in India. It had markets in East, west, North and South. The number of Indian migrants to other countries was growing, and it made an Overseas market for Hindi films. Regional pride did not interfere, as it had other centres too in Kolhapur and Poona. Local Language was similar to Hindi/spoken Urdu, the social and commercial aspects were friendly and the cosmopolitan culture was conducive and adaptable to all.
No wonder, then, that Local artistes were in majority in the Bombay film world in early days. Heros like Master Vithal, Bhagwan, Nandrekar in the early era, Heroines like, Shanta Apte, Shanta Hublikar, Vanmala. Hansa Wadkar, Ratnaprabha, Snehprabha Pradhan, Nalini Tarkhad, Nalini Jaywant, Durga Khote, Leela Chitnis, Lalita Pawar (Amboo) etc in the 40s, and Nutan, Usha Kiron later on and composers like C.Ramchandra, Sudhir Phadke, Snehal Bhatkar, N.Datta, K.Datta, Datta Davjekar etc were famous in Bombay film world.
In the early era of cinema, there were many Marathi heroines in films. Naturally so, because Bombay was the biggest film making centre and it was in Maharashtra. Out of these early Heroines,- Shanta Apte (1916-1964), Snehprabha Pradhan (1920-1930 ), Leela Chitnis ( 1912-2003), Durga Khote (1905-1991), Shobhana Samarth (1915-2000), Hansa Wadkar -Ratan Salgaonkar in real life (1924-1971) and Shanta Hublikar (1914-1992) had few things common.
They operated in films almost in the same period.
They were educated and hailed from upper castes.
They all were rebellious in nature.
They all had failed or no marriages.
They all worked in Marathi stage dramas and
They all ( except Shobhana Samarth) wrote Autobiographies in Marathi …. Shanta Apte- Jau mee Cinemaat ? means- shall I join films ? , Snehprabha Pradhan-Snehankita, Hansa Wadkar- Sangte Aika means- Listen to me (A Hindi film – Bhoomika-1977, with Smita Patil- was made based on this book ). I, Durga Khote by Durga Khote, Chanderi Duniyet by Leela Chitnis and Kashala Udyachi baat by Shanta Hublikar.
One of these actresses was Durga Khote, whose life story is very inspiring. A girl from a well to do family marries and after her husband dies, fights the circumstances, going against the existing society norms and becomes successful. Despite the major ups and downs in life she maintains her reputation of being an actress without a blemish or controversy in her professional career. She ended her life with a success story.
Durga Khote (14 January 1905 − 22 September 1991) was one of the foremost leading ladies of her times. She remained active in Hindi and Marathi cinema, as well as theatre, for over 50 years, starring in 182 Hindi films and numerous theatre productions. In 2000, in a millennium issue, India Today named her among “100 People Who Shaped India”, noting: “Durga Khote marks the pioneering phase for women in Indian Cinema” as she was one of the first women from respectable families to enter the film industry, thus breaking a social taboo.
She also ranks among the top ten actresses in mother roles in Hindi cinema, most notable among them were as Jodhabai in K. Asif’s Mughal-e-Azam (1960); as Kaikeyi in Vijay Bhatt’s classic Bharat Milap (1942); her other memorable roles as mother were in Charnon Ki Dasi (1941); Mirza Ghalib; Bobby (1973) and Bidaai (1974). She has received the highest award in Indian cinema, the Dadasaheb Phalke Award (1983), for lifetime contribution to Indian cinema.
The writer of this film’s story was N.H.Apte aka Narayan Harin Apte (1889-1971) Marathi novelist and scenarist; key influence on the elaboration of the reformist social as agenre in the 20s and 30s. A product of 19th C. social reform movements in Maharashtra, Apte was self-taught and ran a publishing house, Apte & Co.(Est: 1924) which brought out a literary-political journal, Alhaad (started in 1915). Author of novels and short-story anthologies within the conventions of the historical (e.g. Manavi Asha, Rajputache Bhishma), or of the social (Na Patnari Goshta, the source for Kunku/Duniya Na Mane, 1937). Invented the social sub-genre of the dainik kadambari or ‘daily life’ novel, usually in a middle-class setting (Paach Te Paach, Waiting Room). Introduced to film by Baburao Painter writing Savkari Pash, the historical Rana Hamir (both 1925) and Pratibha (1937). Best-known film writing for Shantaram at Prabhat Studio (Amritmanthan, 1934; Kunku/Duniya Na Mane, 1937). May have provided the story, uncredited, of Phalke’s Gangavataran (1937). Worked with Dharmadhikari (Kunkvacha Dhani, 1951) and Dinkar D. Patil (Umaj Padel Tar, 1960). Also wrote K.P. Bhave’s Dhruva Kumar (1938), Shantaram Athavale’s Bhagyarekha (1948) and Sansar Karaychay Mala (1954). He wrote stories and dialogues for many Hindi and Marathi films. His Filmography…. 1923: Sinhagad, 1924: Sati Padmini, 1925: Rana Hamir, Savkari Pash, 1933: Sinhagad (Story), 1934: Amritmanthan, Amritmanthan (Writer, Story), 1936: Rajput Ramani, Savkari Pash, 1937: Duniya Na Mane (Writer, Story, Dialogue, Adaptation), Gangavataran, Kunku, Pratibha, Pratibha, 1938: Dhruva Kumar, 1948: Bhagya Rekha (Writer, Lyricist, Story, Screenplay, Dialogue), 1951: Kunkvacha Dhani, 1954: Sansar Karaychay Mala, 1956: Sajani, 1960: Umaj Padel Tar (Writer, Story) (Details from Encyclopedia of Indian Cinema, with thanks.)
( for this post information is used from The Encyclopedia id Indian Cinema, Marathi Cinema in retrospect, Durga Khote’s autobiography, HFGK,Muvys and my notes)
Here is a song by Durga Khote, from today’s film Pratibha-1937. Enjoy the old stage style song….
Song- Kiske aane kee khushiyon mein (Pratibha)(1937) Singer- Durga Khote, Lyricist- Pt. Anand Kumar, MD- Govind Rao Tembe
Lyrics
Kiske aane kee khushiyon mein
Kiske aane ki khushiyon mein
muskaay rahee hain sab ??
Kiske aane kee khushiyon mein
muskaay rahee hain sab ??
kyun jhoom raha hai ??
kyun jhoom raha hai ??
sab guncha guncha gulshan ka
sab guncha guncha gulshan ka
aa aa aa aa
ye kunj hai gulon ke ae ae
ye kunj hai gulon ke
ya bhaavgeet ?/
ye kunj hai gulon ke
ya bhaavgeet ?/
ye kunj hai gulon ke
ya bhaavgeet ?/
ye kunj hai gulon ke
ya bhaavgeet ?/
?/
?? naheen ke
??
aaa
goonj uthhee ??
aaa
goonj uthhee ??
aaaa
goonj uthhee ??
aaa aa
goonj uthhee ??
goonj uthhee ??aa
goonj uthhee ??
aa aaa
goonj uthhee ??
Kiske aane kee khushiyon mein
muskaay rahee hain sab ??
kyun jhoom raha hai mastee mein
kyun guncha guncha gulshan ka aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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