Dekha jo balma ne meree taraf
Posted on: May 21, 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 72 year old social film-Parichay-1954.
Film Parichay-54 was produced by Radheshyam Jhunjhunwala under the banner of J.J.Films, Bombay and it was directed by Satyen Bose, whose famous film “Jagriti “- 54 was also censored in the same month. Film “Parichay” was released in Opera House,Bombay on 17-12-54, whereas Filmistan released their film Jagriti in “Naaz”, Bombay on 11-2-55. The cast of film Parichay was Shashikala, Abhi Bhattacharya, Pranoti Ghosh ( later married to Abhi Bhattacharya), Sajjan, Zebunnisa,Panchotiya, Shakuntala, Indira Chitnis, Dhumal etc etc.
There were two Music Directors in it, namely Sailesh Mukherjee and Vedpal (Verma). Sailesh composed 6 songs and Vedpal composed 2 songs- including the only Kishore Kumar song in the film. Sailesh composed 3 songs for Lata, 1 for Rafi, 1 for Asha Bhonsle and 1 for Shamshad Begum. All his 5 songs were of different types.
During the last few years, I came across some people who were closely related/associated with famous yesteryear cine artistes. This gave me an opportunity to gather more and intimate information on their personal life. Some of these artists were Bhudo Advani, Parshuram, Mukri, Indurani, Latika, Mirza Musharraf and Chitragupta. Few months back I got to know Ms. Meeta Mukherjee- Daughter in Law of Actor, singer and music Director Sailesh mukherjee. From her I got some hitherto unknown information about Sailesh Mukherjee, who was a multifaceted artist. For the benefit of our readers I present here my exclusive interaction with Ms. Meeta Mukherjee….
Born on 3rd June 1926 in Calcutta, Sailesh Mukherjee completed his Matriculation and came to Bombay in 1946 to become a Music Director. He met Anil Biswas-also from Bengal- and got an opportunity to sing in the film Milan-1946. That is how his singing started and he sang in films like Andhon ki Duniya-47 and Vanvasi-48, Aaag-48 (2 songs), Anmol Moti-49 with Shamshad,The last Message-49 with Uma Devi,
Deepak-51 with Uma Devi,Suhag Sindoor-53,Samaj-54 with Asha.
In Andolan-51 he sang ‘Vande Matharam’ with Manna Dey, Parul Ghosh and Sudha Malhotra.
He last sang in Naya qadam-58.
His dream of becoming a Music Director was still not getting fulfilled. Finally he became a Music Director, a joint one with Suresh Kumar-in the film Suhag Sindoor-1953. Even in this film, his partner made him sing two songs, under his baton !
Shailesh later gave music to Parichay-54 and Savera, in 1958. While recording songs for Parichay, Shailesh played Tabla himself in all songs. In the film Savera his songs became very popular. Songs like “Chhuppa chhuppi Aagad Baagad jaayi re” by Lata and Manna Dey, ” Nadiya ka pani” by Lata and “Jane na,Jane na” by Geeta became hits.
Inexplicably, despite good and hit songs, he stopped getting any more films, either as a Music Director or as a singer. So Shailesh changed his gear once again and he became an Actor. He became Hero in ” Miya bibi raazi”-1960, ” Pyar ki Pyas”-1961 and ” Monica”-1962. As a Hero he had taken a new name SHRIKANT GAURAV. The films did not click.
By chance I bumped into Ms. Meeta Mukherjee, Daughter-in-Law of Sailesh Mukherjee. Here is some conversation with her, and some more information on him.
Meeta Mukherjee….. Mr. ARUN KUMAR DESHMUKH, I thank you from the core of my heart for forwarding this post pertaining to Shri Sailesh Mukherjee. Mr. Mahesh Kaul had made him sign a contract wherein he was not allowed to act in any other banner other than his. In Bandish-55 he had played the role of Dada moni’s friend. In Miya Biwi Raazi and Pyaar Ki Pyaas he was the hero but the remuneration that was offered to him was comparatively lower than other banners. Hence he gave up acting.
Music was his passion. He was a multi-talented man. Later on he became an Interior Designer and used to compere a programme in Calcutta wherein he would interview all the leading top artists of Calcutta e.g Uttam Kumar etc which was sponsored by Horlicks. He had designed Mala sinha aunt’s bungalow too. The first recording studio at Natraj for Shakti Samanta was designed by him. Today both my husband and son are qualified Architects. My father in law had expired in the year 1998 when my son was just in school. But I have fulfilled his dream of his grandson becoming an Architect. He seeks all your blessings.
Meeta Mukherjee…. ARUN ji beautiful writeup about SHRI Sailesh Mukherjee and I shall always remain indebted to you. He never went back to Calcutta but since he had influential friends like Mr. Nagpal etc he changed his profession and became an Interior Designer and flourished.
He used to fly to Calcutta to interview Bengali film stars. Since he had a very good voice and a great command and knowledge about Bangla literature he would lend his voice for documentaries too. He was very passionate about nature and gardening hence he had bought 11 acres of land in Karjat. V used to have regular sessions of his songs at our farmhouse. He used to sing Madhushala with lots of passion. Rabindra Sangeet was his favorite. Warm regards !!!
Arunkumar Deshmukh….. Meeta ji,as I said, not much info was available on him as to what he did after films. Now that you have enlightened us about his life after films,we are wiser and are thankful to you for this information. The problem with old time artists’ information is that it is difficult to come by,unless some near and dear one informs. Thanks once again, Meeta ji.
There are two less known names of artists in the cast of this film. One is Zebunnisa – a spillover from the Silent era and the other is Dhumal.
ZEBUNNISA was born in Peshawar in a rich pathan house.from childhood she used to act and sing.She was sent to Bombay in 1922.After learning some music and acting,she started doing some small side roles in silent films.
Imperial film Co.Bombay offered her Heroine’s roles.Her FIRST film was “Guarding Angel’ in 1927,as a Heroine.Then came Jewelled Arrow-27.her first successful film was Alladin ka chirag-27.slowly she became famous and popular and was picked up by Sharda Film Co.Bombay,with whom she did about 10 films,mostly with Master Vithal and Jairaj.
She was good looking, graceful and a good dancer. She was known as ‘Greta Garbo of India’,in those days.
In 1930,she moved to Bangalore to join Surya films co. and acted in 3 films-Asiai Sitara,Kya baat and Rajlaxmi.
Then she returned to Bombay and did her FIRST Talkie “Shakuntala” in 1931.
She was religious minded and was a devotee of actor turned sufi saint Ashraf Khan and attended its Urs every year in Bombay.
Her silent filmography–
Gul Badan,prisoners of Love,Sassi Punnu,Wine and woman,Belle of Bombay,Flag of honour,mirza Sahib,fairy of Anaar,siraj ud doulla,Warrior,What price loyalty,beggar meets beggar,Surya Prabha,Enchantress,Master villain,pearl and Queen of Fairies.
Her Talkie Filmography–
Bharthruhari,Malti Madhav,Hothal Padmini,Dilhara,Aila e jung,Zeenat, Elan,Aajamil,Bahar e sulemani,Dharma bandhan,Farebi Duniya,Gul e bakavali,Gaibi sitara,Idd ka chand,Imaan farosh,
She acted in almost 50 films.Her last role was in Pakiza-72. She was also in the famous qawwali”aahen na bhari” from Zeenat -1945. She died in Mumbai on 15-1-2000.
Anant Balwant Dhumal (29 March 1914 – 13 February 1987) known as धुमाळ. Dhumal was an actor in Bollywood films known for playing character roles. He acted in many Hindi, Marathi movies and was active from the mid 1940s till the late 1980s. He started his acting career from Marathi theatre, which paved way for Marathi cinema and later he moved to Hindi cinema where he mostly played comedy roles and later in his career, character roles. He worked in notable films such as Howrah Bridge (1958), Bombai Ka Babu (1960), Kashmir Ki Kali (1964), Gumnaam (1965), Do Badan (1966), Love in Tokyo (1966) and Benaam (1974).
Dhumal was born Anant Balwant Dhumal on 29 March 1914 in Baroda, Princely State of Baroda, undivided India, now known as Vadodara in Gujarat State. When he was just 10 years old his father died and the youngster had to take on the responsibility of providing for his mother and younger brother, begging on the streets during the day and selling tea and pakoras in the evening. He later took a job at a drama company where he served drinks, washed dishes and ran errands for the cast. His career in acting began when he joined a drama company, where he served drinks and washed utensils. There would be occasions when artistes playing minor roles failed to turn up; this would give the spot boys an opportunity to fill in for them. This was how Dhumal landed up with bit roles in plays.
During this period, he met P. K. Atre and Nanasaheb Phatak, both big names in the drama world. Soon, he started getting recognised and bigger roles came his way. Although he eventually became famous as a comedian in films, he was more well known as a villain. He played major roles in famous plays such as Lagna Chi Bedi and Ghara Baher.
From the stage, he shifted his focus to the silver screen. He worked in big movies such as Woh Kaun Thi, Ankhen, Gumnaam, Arzoo and Sasural. His first movie was a Marathi film called “Pedgaonche Shahane”
(1952) in which he played the role of a South Indian.
Dhumal paired with fellow comedians Mehmood and Shobha Khote in numerous Hindi films, such as Sasural (1961).
Dhumal died on 13 February 1987 in Mumbai due to a massive heart attack.
Here is the story of the film Parichay-1954.
The story of Parichay was woven around the principle of how sacred and important the institution of Marriage is in our culture. True to the spirit of the oath taken during the marriage ceremony, Husband must be with the wife till death separates them.
Shankar is a Mine Engineer. he is young, active and handsome. No wonder beautiful Geeta falls in love. They meet always, but Geeta did not have the courage to express her love for him. She also did not know what feelings Shankar had for her.
One day Shankar is transferred to Assam for a short period. He moves to Assam, There he meets with an accident. A village local doctor brings him to his home. The doctor and his daughter Shivani nurse him back to good health. Shankar falls in Shivani’s love. When Shivani’s marriage is fixed by her step mother to an old man with a heavy dowry, Shankar decides to marry Shivani. His good friend Gopal helps him in this. They get married.
Meanwhile Geeta learns about Shankar’s accident and comes to see him in Assam. Geeta meets him, and learns about his marriage to Shivani. Geeta is devastated. She decides to go back. In the meantime, Shankar learns that Shivani can not give him any children due to a fault in her. Shankar is sad. He wants to divorce her and marry Geeta,as he now knows Geeta loves him.
Geeta however admonishes Shankar and reminds him that his duty as a Husband is to be with Shivani in her difficulties and accept the situation bravely. Was he not in love with Shivani ? Geeta asks him to be only a friend to her and go back to Shivani as a good Husband. This opens the eyes of Shankar and he returns to Shivani. Both Shivani and Shankar come to the station to see Geeta off to her place.
The Story of “Parichay” was written by Marxist Writer SWARNAKAMAL BHATTACHARYA and the name of the Bengali Story TATHAPI was made into a Film of the same name in 1950 which also starred debutante PRONOTI GHOSH as the deaf-mute girl . It was directed by MANOJ BHATTACHARYA and also had the famous Director RITWICK GHATAK in the Cast . The Screenplay was by BIMAL ROY and is believed to have helped with the Direction .
Here is a song sung by Shamshad Begum, composed by Sailesh Mukherjee. Though HFGK credits it to Vedpal, the record indicates the name of Sailesh only. Enjoy the song….
Song- Dekha jo balma ne meree taraf (Parichay)(1954) Singer- Shamshad Begum, Lyricist- Keshav Trivedi, MD- Sailesh Mukherjee
Lyrics
dekha jo balma ne meree taraf tukur tukur
jiya mora karne laga
jiya mora karne laga dhukur dhukur dhukur dhukur
jiya mora karne laga
haaye raam dhukur dhukur
dekha jo balma ne meree taraf tukur tukur
jiya mora karne laga
jiya mora karne laga dhukur dhukur dhukur dhukur
jiya mora karne laga
haaye raam dhukur dhukur
hansne lage dekho gore chanda ke gaanv ke ae ae ae ae ae
hansne lage dekho gore chanda ke gaanv ke
bajne lage run jhun jhun
bajne lage run jhun jhun ghunghru mere paanv ke
haaye mere dil kee duniya jawaan ho gayee
dekha jo balma ne meree taraf tukur tukur
jiya mora karne laga
jiya mora karne laga dhukur dhukur dhukur dhukur
jiya mora karne laga
haaye raam dhukur dhukur
nain miley
paanv jawaanee ke dagmaga gaye
nain miley
paanv jawaanee ke dagmaga gaye
sapne madhur pyaar ke aankhon mein jhilmila gaye
sapne madhur pyaar ke aankhon mein jhilmila gaye
ban ke dulhan naach uthhee
chham chhama chham zindagee
dekha jo balma ne meree taraf tukur tukur
jiya mora karne laga
jiya mora karne laga dhukur dhukur dhukur dhukur
jiya mora karne laga
haaye raam dhukur dhukur
machleen tamannaayen meree
dil na raha haath mein jee
dil na raha haath mein
chal diye wo loot ke dil mera baat baat mein
chal diye wo loot ke dil mera baat baat mein
haaye main to haar gayee
balma kee jeet hui
dekha jo balma ne meree taraf tukur tukur
jiya mora karne laga
jiya mora karne laga dhukur dhukur dhukur dhukur
jiya mora karne laga
haaye raam dhukur dhukur
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 21, 2026 at 9:09 am
Lot of good information about Personalities like Shailesh Mukherjee which otherwise would not be known!
On Thu, 21 May, 2026, 5:00 am Atul’s Song A Day- A choice collection of
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