Bhagwan meree taqdeer ke likkhe ko mita de
Posted by: Atul on: June 12, 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 : | 6538 | Post No. : | 20341 |
Today’s song is from a film having an unusual title BEEWEE (Biwi) – 1950.
The film, made by Paristan Pictures, Bombay was produced by the owner of the banner-Wali Saheb. It was directed by a less known name- Kishore Sharma. The music was provided by 2 MDs- Aziz Hindi and Sharma ji aka Khayyam. The cast of the film was Mumtaz Shanti, Nasir, Veena, Madhuri, Pran, Ramlal, Murad and others.
This was one of those irritating films which is neither available for viewing norits any other information is available anywhere. Such films pose a problem of discussing them. The title of the film as mentioned in the HFGK is BEEWEE, but everywhere else it is written as Biwi, so I too prefer to call it Biwi.
This reminds me that in the Silent film era every film was advertised in different languages in different states. For example, if the film Title was SOLDIER, it would get the name of Sipahi in North, Sainik in Maharashtra, Gujarat and Bengal, Sainikudu in Andhra Pradesh, Cippay in Tamil and so on and so forth for all other states. Sometimes the approved title itself would have two or even three names, e.g. Goddess of love or Naseeb ni Devi, Mysterious Eagle or Husn ka daku, Kaala Pahad or Masked Terror, Nanand Bhojai or Victim of Society, Gunsundari or why husbands go astray, Leather face or Badmash ka Beta etc.etc. The point is the title of films, sometimes, are pointless or even misleading !
There were two Music Directors – Aziz Khan aka Aziz Hindi and Sharmaji aka Khayyam. In the beginning of his career Khayyam used to give music in the name of ‘Sharma ji’. His first film was Heer Ranjha (1948). For that film, his Co-MD was Varma ji (Rehman Varma), who migrated to Pakistan. Khayyam continued his name as Sharma ji. In one of his interviews, Khayyam has described how he started using his own name ‘Khayyam’ for films.
Khayyam, Music Director started his career with the film ” Heer Ranjha”-1948 in which he used the name “Sharma ji” for himself. Subsequently, for films Parda-49, Biwi-50 and pyar ki Baten-51 also he used the “Sharmaji” name.
In 1953, Khayyam was to get Footpath as a composer. Khayyam describes his first meeting with the owner of Ranjit Studio, Sardar Chandulal Shah, in an interview,thus….
” When I got the film Footpath,everyone knew that I was Sharmaji. My meeting with Director Zia Sarhadi and Sardar Chandulal Shah,the Ranjit owner and a legend in his times,was arranged. Sarhadi had already heard my tunes and approved of them. It was only a formal meeting before work started. I entered the cabin and saw Chandulal Shah for the first time. Seth ji was sitting on a big chair. His white shirt,white coat and dark Black colour was showing him as a Photo negative. As soon as I entered,he asked me in a LOUD voice,” Naam Kya Hai ? “. I knew that he did not like my name Sharmaji. I also replied in a LOUDER voice ” Mohammed Zahoor Khayyam Hashmi “. He was not to be outdone. He almost shouted in LOUDER than me ” aaj se Khayyam Likho “.
The interview ended and I came out wiping my forehead ! ” ( Thanks to “Rasrang” July 1969 issue ).
The Director Kishore Sharma, besides today’s film, had only 4 more films to his credit as a director – Dr. Kumar-1944, Zanjeer-1947, Middle fail-1948 and Sheesham-1952. The heroine with a Hybrid name of Mumtaz Shanti was born in 1922 to a Muslim Father Mumtaz Shahi and a Hindu mother Shanti. She was born as Mumtaz Begum but took the name as Mumtaz Shanti as a memory of her parents, who died when she was a child.
The actor Nasir, mentioned in the cast is not Nasir Khan – Dilip Kumar’s brother but a very handsome actor Al Nasir. Al Nasir is a name which is a part of SAME NAME CONFUSION. Many people mix up Nasir Khan (Dilip Kumar’s brother) and Al Nasir and their filmographies are mixed up. Let us know today about the lesser known AL NASIR.
ABDUL REHMAN AL NASIR GAZNAVI ( popularly known as Al Nasir ) was born on 27-11-1922 in Kabul. His father was a big shot-Chancellor of Law.He was related to the Begum of Junagadh and also to the Nawab of Bhopal. His schooling was done in Dehradun upto Sr. Cambridge and degree was obtained from Kabul college. He was a tall and handsome young man,who was keen on joining the AirForce. He went to Bombay in 1941 for this purpose. While in National studios to meet a friend, Mehboob spotted him and offered him a job. He was taken on the rolls of the studio.
For the next 6 months there was only pay, but no work. In 1942 National Studios closed down, but Mohan Sinha offered him a Hero’s role in the film Preetam-42. His father did not like this. However Al Nasir worked in 17 films till 1957.
Being handsome and polished he impressed women. He was a womaniser. During Prithvi vallabh-43 ‘s shooting he married Khursheed Jehan commonly known as Meena ( Shorey). Whenever she was away, he would run after women. He had an affair with Nigar Sultana. After the divorce with Meena, he married actress Manorama, when he had gone to Lahore.
He divorced Manorama in 1946 and married actress Veena. They had 2 children. Daughter Huma became a Professor and his son was Altamash. Al Nasir was fond of hunting and reading English books.
He acted in Preetam, Prithvi vallabh, Pathron ke Saudagar, Shehar se door, Dhamkee, Shalimaar, Khamosh Nigahen, Aarsi, Ek roz, Daastaan, Bewee, Kashmir, Mr. and Mrs. 55, Hatimtai ki Beti, Sakhi Haatim, Indra sabha and Mera Salam-57. Al Nasir died at the age of only 35 years,on 17-10-1957 due to Tetanus. ( There were two other artists who also died of Tetanus – Music Director Vinod and actress Kuldeep Kaur).
One of the actresses in the cast is Veena. How she came into films is an interesting story. Veena was born as Tajwar Sultana, on 4-7-1926, at Quetta in Balochistan (now in Pakistan). Her father was in Railways, so he was transferred many times and her education was done at various places, including Delhi. After her Matriculation, she was sent to a women’s college, with Hostel, in Amritsar. In those days, her brother Shehzada Iftekhar was an assistant Cameraman at Northern India Studios, Lahore. This studio advertised for a Heroine, for their new Punjabi film ” Gawandi “.
A Bangali lecturer from Veena’s college had applied. A few days later, a team (including her brother) from Lahore came to interview her, but she was rejected as she did not know Punjabi well enough. Veena was very keen to apply, but her brother warned her about the family resistance. She prodded him to give her photo to the visitors. Seeing her photo, she was called to Lahore for a Screen Test. All this was without letting the family know.
One Saturday, Veena left for Lahore. Next day she gave the screen test, mouthing dialogues written by Wali Saheb. She was selected and offered the role. One of the producers- Sheth Kishorilal, suggested changing her name for the screen as Veena ( it was his daughter’s name) and she became Veena.
She completed the film ‘Gawandi-42’, opposite Hero Shyam, in just one month and in the next one month, she did another film ‘ Ravi Paar-42’, opposite Hero S.D.Narang. All this was without the family’s knowledge, but she was aware of the impending storm. She returned to college. News about her film work had already reached the college. She was thrown out of the college and the hostel for this.
When she returned home, as expected there was a great scene. She was scolded and locked in a room. Her family wanted to get her married, which she vehemently opposed. Her family went to the producers and demanded that the films be destroyed. Of course, this was not accepted. Meanwhile, Veena had received film offers from Mazhar Khan, Mehboob, Bombay Talkies and Ranjeet. She left her house with brother and reached Bombay. Mazhar khan paid her Rs.2000 per month with a Bungalow and a Car. She did her first Hindi film ” Yaad “-42. Then came Najma-43 from Mehboob, Rajputani-44 from Ranjit etc etc. She earned One lakh rupees per film.
Veena had a long career of more than 40 years. She acted in 110 films,in all,including a few Punjabi films. In fact she had begun with Gavandi,a Punjabi film. Some of the well known films she acted in were,Najma, Humayun, Dastaan, Afsana, Halaku, Naya Zamana, Mehendi, Chalti ka naam gaadi ( she was the lady-love of Ashok kumar), Kagaz ke phool, Chhoti behan, Taj mahal, Phir wohi dil laya hoon, Ashirwaad, Do Raaste, Banarasi Babu, Chhupa Rustom, Shatranj ke khiladi and Razia Sultan-1983 (last film).
Veena was a famous character actress. She was born in Quetta, Balochistan (present day Pakistan). At some point in time, her family shifted to Lahore’s Chuna Mandi.
If ever there was a competition for the most beautiful woman on the screen in olden days, it would undoubtedly narrow down to two actresses—Veena and Naseem. And the result would be a close tie.
God Almighty Must have had a great deal of time to spare when he created Veena. Her features were chiselled, like a work of art done by a Renaissance master: the perfect aquiline nose, the high forehead, rose-petal lips and those limpid heavy lidded eyes, with that regal look in them, which at once gives everybody around her an inferiority complex. Tall, stately, dignified, endowed with a statuesque figure, Veena looked every inch a Queen from the Indian monarchy.
Her facial bone structure was classic. Coupled with all this was her well modulated voice, her superb delivery of dialogue. Another striking feature of Veena was her enchanting smile—her whole face lights up. While speaking Veena opened only one side of her mouth giving a downward tilt to her lips. In Bombay filmdom they have pet names for stars. Madhubala was called ‘Venus of the Indian screen’, Saira Banu the ‘beauty queen’, Hema Malini the ‘dream girl’, Veena was called ‘the Mona Lisa’.
Sexy women could be described as fiery volcanoes but there is something in Veena which makes one think of an iceberg. She was the touch-me-not type. From her youth Veena had a very apparent line between her eyebrows when she frowned. There was something so powerful in her glare that everyone around her feels nervous. Veena’s regal personality and her beauty was a curse rather than a blessing for her. She could never fit into the image of a gharelu Hindu bahu, nor could she play a village belle, the two types without which the Hindi screen cannot survive.
She started to play supporting roles in many films of which Mehboob Khan’s Najma (1943), Humayun (1945) and K. Asif’s Phool (1945) are notable. During the early phase of her career, one of her best performances was as a sexually repressed woman in Dastaan (1950) who ends up causing grief to all who knew her. She was also cast as a heroine in Afsana(1951) opposite Ashok Kumar. The movie was a box-office hit telling the story of the adulterous wife (Kuldip Kaur) having an affair with her husband’s friend, played by Pran. However, it was the vamp Kuldip who easily stole the show with her strong performance as the adulterous wife and Veena was reduced to playing character roles again. She was cast in many films in supporting roles including Chalti Ka Naam Gaadi (1958) and Kaagaz Ke Phool (1959). In Kaagaz Ke Phool, she was the snobbish upper-class wife of Guru Dutt looking down on his work in the film industry.
In the latter part of her career, her most memorable role was as Meena Kumari’s sister and aunt (Meena Kumari in double role) in Pakeezah (1971). The way she yelled “Shahabuddin!” during the climax of the film showed what a fine actress she was and her full control over her dialogue delivery.
Among the Muslim actresses of her times, Veena was the most educated. It is said that she was paid Rs. one Lakh by Ranjit Movietone. She married Al Nasir in 1947. Though a womanizer himself, Al Nasir was very jealous and did not allow her any Heroine roles so as to avoid romance. She lost the Heroine’s role in ‘Daastaan’ and had to do Raj kapoor’s sister’s role.
All of Veena’s successful roles have been of royal characters, or downright haughty, bitchy she-dragon types. In person she was one of the most courteous, amiable and kind women. She never had ‘star airs’ nor the nakhra. She never acted as a lackey to filmwallahs. In Film-land where nearly every hero and heroine have had affairs (the resulting publicity upgrading their box-office value) Veena is one exception whose image was un tarnished. Maybe that is the reason why she never achieved the high fame she deserved. The love of her life was the handsome actor Al-Nasir. They made a beautiful couple. Their children are as beautiful as their parents: one wonders why they have not taken to movies.
She retired in 1983 after the release of Razia Sultan (1983) in which she played Empress Shah Turkhan. Al Nasir died on 17-10-1957 at just 33 years of age. She was also only 31 years old, but she preferred not to marry again to look after son Altamash and daughter Huma. She died in Bombay on 14-11- 2004 after 21 years of retirement when she was 78 years old after suffering from a protracted illness.
Veena did about 110 films in her career, till she retired in 1983. Even after her husband, Al Nasir’s death in 1957, she continued to stay and work in India with her children. Veena died on 14-11-2004. ( adapted partly from her interview in Shama, November 1981. Thanks to the book ” ye un dinon ki baat hai” by Yasir Abbasi and my own notes on her).
Here is today’s song, sung by Geeta Roy. Enjoy….
Song-Bhagwan meree taqdeer ke likkhe ko mita de (Biwi)(1950) Singer- Geeta Roy, Lyricist- Nazim Panipati,MD- Khayyam
Lyrics
bhagwan meree taqdeer ke likkhe ko mita de
kya tera bigadta hai jo bigdee ko bana de
bhagwan meree taqdeer ke likkhe ko mita de
kya tera bigadta hai jo bigdee ko bana de
jab tu hee gareebon ka sahaara na banega
phir koi bhee duniya mein hamaara na banega
hamaara na banega
manjhdhaar mein naiyya hai kinaare se laga de
kya tera bigadta hai jo bigdee ko bana de
rotey huye insaan ko rulaana naheen achcha
rulaana naheen achcha
jo mit hee chuka usko mitaana naheen achcha
mitaana naheen achcha
rotee hain nigaahen tu unhen hansna sikha de
kya tera bigadta hai jo bigdee ko bana de
bhagwan teree duniya mein insaan hai majboo oo oor
bhagwan teree duniya mein insaan hai majboor
insaan hai majboor kyun
ye kaisa hai dastoor
ye kaisa hai dastoor
ya mujhko mita ya mere dukh dard mita de
kya tera bigadta hai jo bigdee ko bana de
bhagwan meree taqdeer ke likkhe ko mita de
kya tera bigadta hai jo bigdee ko bana de ae
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