Main hoon taaron kee raanee
Posted by: Atul on: June 5, 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 : | 6531 | Post No. : | 20319 |
Today’s song is from a Mythological film Waman Avtar – 1955.
The film was made by Bombay film productions, Bombay. It was produced byB.C.Patel and Raman B. Desai. Desai also directed this film. The music was by an expert in such films -Avinash Vyas, ably assisted by Sanmukh Babu Upadhyaya- who became an independent Music Director in later years. The cast of the film included many artistes, but the main were Nirupa Roy, Trilok Kapoor, Sapru, Praveen Kumar, Bipin Gupta, Janaki Das, Yashodhara Katju and many others. Lyrics were by G.S.Nepali and Kavi Pradeep.
Culture and Religion have a close relationship. The commonest points of Religion, followed by a majority for time immemorial, becomes the culture of the nation. Raas Garba, Ganesh Utsav, Diwali celebrations and Indian Calendar New Year days in respective regions are no more a matter of Religion by now. They have become the cultural heritage of the country. A good example is Holi or lighting done on Deepavali or touching the feet of the elders…all these constitute Culture, though its roots are traceable to religion.
Today, Religion,for most people in the world,I feel,is limited to one’s personal space and I believe, in today’s setup it is also very appropriate to limit the religion to one’s home. One should not get confused between Religion and Bhakti. Mythological films are based essentially on stories from the Holy books, like Ramayana, Mahabharat or the Puranas. Bhakti pradhan films are based on personalities engaged in devotion to their Deity. Thus, films like Narsi Bhagat or Sant Tukaram are Bhakti pradhan films,whereas,films like Pawanputra Hanuman or Veer Arjun are Mythological or Pauranik films. Films on saints like Kabir, Soordas, Tulsidas or Tyagaraja are not religious but Mythological films are surely religious films.
The decade of the 50s was indeed a decade of Religious films. From 1951 to 1960, there were about 120 such films, averaging 1 religious film every month for 10 years. Those were the times when even Big stars did not hesitate to act in Mythologicals. Ashok Kumar, Prithviraj Kapoor, Meena Kumari,Durga Khote, Leela Chitnis, Nalini Jaywant , Shanta Apte etc used to act in religious films without any complex. It was much much later that a few artistes were branded as “Mythological actors’,like Mahipal, Manhar Desai, Trilok Kapoor, Nirupa Roy, Prem Adib, Shobhana Samarth etc. etc.
There was a fixed and permanent audience for these films. Prakash pictures was famous for making many religious films. But other studios like Prabhat, New Theatres, Ranjit, Sagar, Basant pictures or Wadia movietone, Bombay talkies, Filmistan etc too made mythological films. Besides the eye-catching scenes, another attraction of these films used to be its music. Very melodious and memorable Bhajans were composed for these films by S N Tripathi, Bulo C Rani, Avinash Vyas, Shankarrao Vyas, Hemant Kumar, Vasant Desai etc. Some of the famous Bhajans were sung by Rafi,Hemant Kumar, Geeta Dutt and others.
Bhajan is one genre of the HFM which is generally overlooked, neglected or snubbed.
Indian public never gets tired of the routine.Films on Love Triangle are being made since 1931 till today though by repackaging them differently in keeping with the changing times. Though the final outcome is predictable and very well known to the viewers, these films still celebrate jubilees in the Theatres !
Similarly, all Mythological films are based on the principle of ” Satyamev jayate” or “Victory of good over the Evil”, each film presents it in different ‘dressing’ and different routes. The fights of the Gods and the Rakshasas are very interesting, because of lot of firework(literally and figuratively), Trick scenes and unimaginable get-ups of the Rakshasas ( like only one eye on the forehead, or half animal body or simply an ugly looking Giant etc ). In olden days, I remember that there used to be loud rants of “Jai Shri Ram ” or ” Har Har Mahadev” within the theatre at the end of the movie- depending on who the main God of the film was.
Bhakti is a way to remember,to submit to,appease or dedicate oneself to his God or Deity. Holy books classify different forms of Bhakti-the way it is or can be followed. There are 9 forms of Bhakti,as described in Vishnu Puran and Bhagwadgeeta…
1.Shravan…श्रवण…(Hearing) like Raja Parikshit
2.Keertan…कीर्तन…(Discourse) Like Thyagaraja
3.Smaran…स्मरण…( Remembering) Like Bhakta Prahlad
4.Paad sevan…पाद सेवन…( Remaining at Feet)..Like Lakshmi
5.Archan…अर्चना…( Worship)…Pooja
6.Vandana…वंदना…(Obeisance)…Sashtang Namaskar or Prostation.
7.Dasya…दास्य…( Service)…Like Hanuman
8.Sakhya…सख्य…( Friendship)…Like Arjuna and
9.Atmanivedan…आत्मनिवेदन…(Self Dedication) Like Meerabai
Among the many scriptures on Hinduism, I like ‘ Bhagwad geeta’ the most. BHAGVAD GEETA is one of our cultural heritage books.It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.
This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay-who had the divine power of seeing the war at Kurukshetra- to describe him the war happennings. Sanjay starts and in the course of his reporting,the entire Geeta too is narrated.
Without going into the details further,enough to stress that Lord Shrikrishna explains to Arjuna that,whenever there is a decline of Dharma and righteousness,He takes birth from age to age (sambhavami yuge yuge),to protect the virueous,destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter,stanzas 7 and 8 in Bhagavad Gita thus-
यदा यदा हि धर्मस्य ग्लानिर्भवति भारत ।
अभ्युत्थानमधर्मस्य तदात्मानं सृजाम्यहम् ॥४-७॥
परित्राणाय साधूनां विनाशाय च दुष्कृताम् ।
धर्मसंस्थापनार्थाय सम्भवामि युगे युगे ॥४-८॥
Whenever there is decay of righteousness, O Bharata,
And there is exaltation of unrighteousness, then I Myself come forth ;
For the protection of the good, for the destruction of evil-doers,
For the sake of firmly establishing righteousness, I am born from age to age.
This is how Swami Vivekananda himself translated the shlokas-
“Whenever virtue subsides and wickedness prevails, I manifest Myself. To establish virtue, to destroy evil, to save the good, I come from Yuga (age) to Yuga.”
Generally it is found that people respect Religion,but when it comes to even obvious details,they are confused. For example, how many people can tell correctly whether Shri Ram came first or Krishna,on this Earth ? Or, how many people can tell the names of the 10 Avatars of God ? Or how many people know the names of the wives of Lakshman, Bharat and Shatrughna-all brothers of Shri Ram ? Or how many can even tell the names of 4 Yugas or 4 Vedas ?
Here are The God’s 10 Avtaars serially-
- Matsya-(The fish) in Satyayug
- Koorma-(The Tortoise)-
- Varah-(The Boar)-
- Narsimha-(Half Lion-Half man)-
- Waman-(The Dwarf) in Treta Yug
6.Parshuram-(The warrior saint)- - Shri Ram in Dwapar yug
- Shri krishna in Dwapar Yug
- Balram ( In North India, Gautam Budha and in Eastern India Chaitanya Mahaprabhu are considered instead of Balram)
- Kalki (yet to come) in Kali Yug.
Actually,one can see the Human Evolution and the history of Human race in these Avtars.I feel that they are indicative of Development of Human Race and their Sociological structure.
The First 4 are the evolution of Life and Humans
Waman is about the Domination of Bramhins.
Parshuram is about the Conflict of the Rulers and the Pontiff.
Shri Rama as the Ideal King,how he should be.
Balrama is to stress importance of Agriculture.
Shri Krishna to teach us how to live Life and finally
Kalki will indicate self-destruction of Human Beings.
This is how I interprete these Avtars. ( By the way, the pairs are Lakshman-Urmila, Bharat-Mandavi and Shatrughna-Shrutikirti. The 4 vedas are Rig-,Saam-,Atharva- and yajur- ved).
When the religion was in danger, Lord Vishnu took the avtaar of Waman. Who was Waman and what did he do ?
Vamana was born to Aditi and Kashyapa. He is the twelfth of the Adityas. Vamana is also the younger brother of Indra.
King Mahabali was a generous man who engaged in severe austerities and penance and won the praise of the world. This praise, from his courtiers and others, led him to think of himself as the greatest person in the world. He believed that he can help any one and can donate whatever they ask. Even though he became benevolent, he became pompous of his activities and forgot that the almighty is above him. Dharma says that one should do his duty and helping others is the duty of a king. Mahabali was a devoted worshiper of the Lord. The story is an ample example that the almighty, the Parabrahma is neutral and unbiased; he only tries to balance nature. He showers his divine light to all, irrespective of what they do.The Bhagwat Puran describes that Vishnu descended as the Vamana avatar to restore the authority of Indra over the heavens, as it had been taken by Mahabali, a benevolent Asur King. Bali was the great grandson of Hiranykashyapu, the grand son of Pralhad and son of Virochana. Waman avatar is the first human form avtar of Vishnu,among the Dashavatars.
Vamana, in the guise of a short Bramhin carrying a wooden umbrella, went to the king to request three paces of land. Mahabali consented, against the warning of his guru, Shukracharya. Vamana then revealed his identity and enlarged to gigantic proportions to stride over the three worlds. He stepped from heaven to earth with the first step, from earth to the netherworld with the second. King Mahabali, unable to fulfill his promise, offered his head for the third. Vamana then placed his foot and gave the king immortality for his humility.
In worshiping Mahabali and his ancestor Prahláda, he conceded sovereignty of Pataal, the netherworld. Some texts also report that Vamana did not step into the netherworld, and instead gave its rule to Bali. In giant form, Vamana is known as Trivikrama.
Just before King Mahabali was pushed out of this earth, he was given permission by Vamana to visit his people once a year. The Onam festival is a celebration of welcoming Mahabali home to his lost kingdom. During this festival, beautiful floral decorations are made in every house and boat races are held throughout Kerala. A twenty-one-course feast is the most important part of the Onam festival.
Mahabali symbolizes ahankar, the three feet symbolizes the three planes of existence (Jagrat, Swapna and Sushupthi) and final step is on his head which elevates from all three states and he attains moksha.
Here is a song from this film, sung by Asha Bhoslen and chorus. Enjoy….
Editor’s note: The singing voice is that of Shamshad Begam. The song is incorrectly attributed to Asha Bhonsle in HFGK and the error is faithfully copied everywhere else.
Song-Main hoon Taaron kee Raanee (Waaman Avtaar)(1955) Singer-Shamshad Begam, Lyricist- G.S.Nepali, MD- Avinash Vyas
Lyrics
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
main hoon taaron kee raanee
naam hai mera chamak chaandnee
chamak chamak cham chamak chaandnee
main hoon taaron kee raanee
naam hai mera chamak chaandnee
chamak chamak cham chamak chaandnee
o o o o o
dekh mere nain niraale
lage jhoomne sab matwaale
o o o o
o o o o
lage jhoomne sab matwaale
lage jhoomne sab matwaale
ho o o main karoon sada manmaanee
naam hai mera chamak chaandnee
chamak chamak cham chamak chaandnee
main hoon taaron kee raanee
naam hai mera chamak chaandnee
chamk chamak cham chamak chaandnee
rum jhum rum jhum rum jhum
rum jhum rum jhum rum jhum
?? baaje ae ae
sun jhankaar ?? gaaje
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
main hoon man kee mastaanee
naam hai mera chamak chaandnee
chamak chamak cham chamak chandni
main hoon taaron kee raanee
naam hai mera chamak chandnee
chamak chamak cham chamak chaandnee
o o roop niraala
rang nirala chaal meri laasaanee
chaal meree laaasaaanee
chaal meree laaasaanee
paaon pe mere chaand ?? surmadaanee
naam hai mera chamak chaandnee
chamak chamak cham chamak chaandnee
main hoon taaron kee raanee
naam hai mera chamak chaandnee
chamak chamak cham damak damak dam
damak damak dam
chamak chaandnee
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