Phool see meree khiltee jawaanee
Posted on: July 2, 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 : | 6558 | Post No. : | 20410 |
Today’s song is from the film Ghar Ki Rani-1940, a bilingual film made in Hindi and Marathi (as Ardhangi).
The film, made by Huns Pictures-Bombay, was directed by Master Vinayak and the music director was Dada aka Shankar Vishnu Chandekar. The cast included Leela Chitnis, Vinayak, Meenakshi, Kusum Deshpande, Baburao Pendharkar, Damuanna Malwankar, Dada Salvi and others.
Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.
Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.
His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.
Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.
Every person in this world likes to talk about himself. More so, if the person is from the film line and now retired. Some of them write their autobiography and some others get someone to write for them. Autobiographies (AB) are of two types. One in which the author talks about the times he spent in the studios, about the film, people connected with it, anecdotes and generally gives information about those times, in his book. Such ABs are considered the best from the point of view of Film History. Such ABs are less in number.
The other type of autobiography is, in which the author writes more about his personal life mainly, giving negligible space to other matters like film, people and related matters. Such authors are under the wrong impression that the world is dying to know about him and his life, while the facts remain that they had lives like the majority of people in India working in films.
Overall, the statistics say that women wrote more autobiographies than the men. Among the many ABs are the ones by Durga Khote, Leela Chitnis, Shanta Apte, Shanta Hublikar, Kanan Devi, Hansa Wadkar (one of the very few in the world, on whom a film was made – ‘Bhumika’ (1977), Sulochana Latkar, Jayashree Gadkar, Snehprabha Pradhan etc etc. Among the males, some ABs are those of Bimal Roy, Nabendu Ghosh (I found that most film male personalities in Bangla cinema wrote their ABs), Sachin Burman, Salil Chaudhari, Hemanta Kumar, Vithal Pandya, Ramchandra Thakur and C. Ramchandra. Bangla artists wrote in Bangla only. Some have been translated into English.
Among these autobiographies, I would rate Durga Khote, Sulochana and Kanan Devi and Vithal Pandya’s books as the best in the first category. The worst AB is that of C Ramchandra from the second category in my personal opinion.
When I write about a film or a song, I try to first read the related part from the AB of the concerned artist, if any, so that my information becomes factual and reliable. In case of today Leela Chitnis was the heroine of the film ‘Ghar Ki Rani’ and today’s song is also by her, so naturally, her autobiography came handy to me for additional information. It is a matter of coincidence that one of my previous articles was from the film ‘Fashion’ (1943) and today’s film ‘Ghar Ki Rani’ (1940) – both had, by chance, a similar story in content. The difference is I had not seen ‘Fashion’, but I saw the Marathi version of ‘Ghar Ki Rani’ .The story and lyrics of the Marathi version of this film were written by Acharya PK Atre, but for the Hindi version Pt Indra translated them.
The story of the film ‘Ghar Ki Rani’ was-
Satyavan (Vinayak) is a University professor. Though he is highly educated, his wife Savitri (Meenakshi Shirodkar) is a simple housewife devoted to husband and his family. One day Satyavan’s colleague introduces his wife to Satyawan. Arundhati (Leela Chitnis) is a modern, educated, English speaking and cigarette smoking beautiful woman. Satyawan gets mad after her and takes every opportunity to meet and flatter her. In his mind he starts comparing Arundhati with his wife Savitri and feels ashamed of his wife. He feels Savitri is an absolutely illiterate, old styled useless woman and avoids taking her with him anywhere.
He appoints a tutor to teach Savitri European manners and English speaking etc. It is difficult for Savitri, but for husband she does them and soon picks up, being an intelligent woman. When Satyawan tries to impress Arundhati, she gives him freedom. Soon he comes very close to her to have an affair. However Arundhati humiliates him and makes him do all her domestic work. Then one day, she abandons Satyawan for the rich Zamindar Marotirao (Baburao Pendharkar).
Satyawan realises that he has been a fool to run after such a woman and returns happily to his wife Savitri, little knowing that it was Savitri who instigated Marotirao to go for Arundhati, to save her husband going away from her. Thus the Mahabharata story of Savitri who wins back her husband from Yama, comes to a close in Kalyug !
Film ‘Ghar Ki Rani’ aka ‘The Better Half’ was a bilingual film, as per those day’s practice by producers of Maharashtra. The film was in Hindi and Marathi. In Marathi, the title was ‘Ardhangi’. It was made by Master Vinayak for his own Huns Pictures. Huns Pictures was in financial crisis during this period due to the failure of their ambitious film ‘Jwaala’ (1939), in which Chandramohan had acted in both versions, dubbing his own dialogues in Marathi himself, fluently.
When Master Vinayak had started Hans Pictures, the first film was ‘Chhaaya’ (1936). He had called Leela Chitnis to Kolhapur from Karachi to work in ‘Chhaaya’. Prior to that about a year or so earlier, Leela and Vinayak had been introduced in Poona. That time they had developed an attraction for each other, though Leela was already married and had 2 children. When they met again for the film ‘Ghar Ki Rani’ at Poona, no such feeling had remained. That time Master Vinayak had married Susheela – sister of actress Indira Wadkar, and he too had 2 daughters by then. One of them was Baby Nanda. During the shooting of the film Leela fell from her cycle and had fractures. One month was lost in that.
Leela had just completed ‘Bandhan’ (1940) made by Bombay Talkies and ‘Jhoola’ (1941) was nowhere in sight. After completing this film in Poona, when she went back to Bombay, she learnt that Bombay Talkies owner Himanshu Rai was serious and in the hospital. Soon he died and the studio was divided into two groups. Work was to start for her next film ‘Jhoola’. In between this period, she went to Gwalior to meet her son who was studying there in a Public school. In this period, a sad but funny thing happened.
Some British soldiers caught and raped an young girl whose name was Leela Chitnis. The soldiers were arrested and the newspapers in Bombay announced that Leela Chitnis was raped by soldiers and that she is not well. Her mother telephoned her in Gwalior and started inquiring about her health in a serious tone. This was followed by her sister’s call who said that she is reaching next day to take care of her health. Leela Chitnis was confused. Not aware of the drama in Bombay, she did not know why suddenly her health was questioned. Next day her sister came and then everything was clarified. After she came back to Bombay she contacted the papers and clarified the matter.
One prominent actor from the old times was Baburao Pendharkar. Baburao Pendharkar(22-6-1896 to 9-11-1967) was a Pioneer Marathi actor and producer born in Kolhapur.
Baburao was closely related to V Shantaram and Master Vinayak also. This is how….Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.
Baburao was the actor-manager of Maharashtra Film (1919); then a manager in Prabhat (1929); manager and main star at Kolhapur Cinetone (1933) and for several years associated with Master Vinayak at Huns Pics (1936) and Navyug Chitrapat; then producer with Navhans (1943). Best-known work after the mid-40s was with V. Shantaram at Rajkamal Kalamandir, including the classic role of the Chinese general in Dr Kotnis Ki Amar Kahani-46, and with his brother, the director Bhalji Pendharkar. Noted actor as a villain in mythologicals (e.g. in Shantaram’s Ayodhyecha Raja/Ayodhya Ka Raja, Kans in Vasant Joglekar’s Nand Kishore, and Keechaka in Pethkar’s Keechaka Vadha) and for character roles in socials by Atre (the crotchety grandfather in Shyamchi Aai; the title role of Mahatma Phule). Directed Prabhat’s only major Tamil film, Seeta Kalyanam, a landmark in Tamil cinema. Also a noted stage actor. His autobiography (1961/1983) is also an important record of Marathi film history. From Jalti Nishani-1932 to Amrapali-1966, he worked in 69 films in all.
Filmography (from indiancine.ma)
1920: Sairandhri, 1921: Sharashandri (Director), 1926: Sarkari Praser (Director), Vande Mataram Ashram (Producer, Cast), 1930:Swajara Toran (Director), Udaykal (Writer, Cast), 1932: Agnikankan, Ayodhyecha Raja, Jalti Nishani, Maya Machhindra, 1933:Chandrahasa, Seeta Kalyanam (Director), Sinhagad, 1934: Akashwani, Prem Pareeksha, 1935: Vilasi Ishwar/Nigah-e-Nafrat, 1936:Chhaya, Chhaya, 1937: Dharmaveer, 1939: Devata, Mera Haq, Sukhacha Shodh, 1940: Ardhangi, Lapandav, 1941: Amrit, Amrit, 1942:Bhakta Damaji (Producer, Cast), Pahila Palna, 1943: Nagad Narayan (Producer, Cast), Paisa Bolto Aahe (Producer, Cast), 1944: Draupadi(Producer, Cast), 1945: Pahali Nazar, 1946: Black and White, Dr. Kotnis Ki Amar Kahani, Jeevan Yatra, Rukmini Swayamvar, Valmiki, 1947: Jai Malhar, 1948: Adalat, Bhagya Rekha, 1949: Manacha Pan, Mazha Ram, Meeth Bhakar, Sakharpuda, Shaukeen, Shilanganache Sone, 1950: Chalitil Shejari, Kalyan Khajina, Mi Daru Sodli, 1951: Jashaas Tase, Nand Kishore, Nand Kishore, 1952: Chhatrapati Shivaji, May Bahini, 1953: Shyamchi Aai, 1954: Mahatma Phule, 1955: Kalagi Tura, Punavechi Raat, Ye Re Majhya Maglya, 1956: Deoghar, Gaath Padli Thaka Thaka, Jagavegali Goshta, Paidali Padleli Phule, Pasant Aahe Mulgi, Pavankhind, 1957: Dev Jaga Aahe, Devagharcha Lena, Do Aankhen Barah Haath, Naikinichi Sajja, Preetisangam, 1959: Keechaka Vadha, Navrang, 1961: Stree, 1963: Bayko Maheri Jaate, Mohityanchi Manjula, Sehra, Te Mazhe Ghar, Thoratanchi Kamala, 1965: Iye Marathichiye Nagari, 1966: Ladki Sahyadri Ki .
Here is a song from today’s film, sung by Leela Chitnis. Enjoy….
Song- Phool see meree khiltee jawaanee(Ghar Ki Raani)(1940) Singer- Leela Chitnis, Lyricist- Pt. Indra, MD- Dada Chandekar
Lyrics:
Phool see meree khiltee jawaanee
Phool see meree khiltee jawaaneev phool see haan
phool see meree khiltee jawaanee
phool see meree khiltee jawaanee
mast jawaanee
main to raat kee raanee
mast jawaanee
main to raat kee raanee
raat pade main phaanee (?) re
haan
raat pade main phaanee re
meree khiltee jawaanee
phool see meree khiltee jawaanee
saanjh pade main baaz khilaaoon
saanjh pade main baaz khilaaoon
bhor ko utre paanee re
haan
bhor ko utre paanee re
meree khiltee jawaanee
phool see meree khiltee jawaanee
haan aan
maalee tu jaane naheen een
hamre man kee preet
naam hamaaraa phool hai
kaanta bhayo shareer
bhanwra kare manmaanee re
haan
bhanwra kare manmaanee re
meree khiltee jawaanee
phool see meree khiltee jawaanee
poonam kee ratiyaa
aana sanwariya
poonam kee ratiyaa
aana sanwariya
haan
haa aa aa aan
aa aa aa aan
poonam kee ratiyaa
aana sanwariya
naam deewaanee meree jaat deewaanee
naam deewaanee meree jaat deewaanee
chandan saa ??nishaane re
chandan saa ??nishaanee re
meree khiltee jawaanee
phool see meree khiltee jawaanee
haan aan aan
haan aan aan
haan aan aan
haan aan aan
haan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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