Jamuna ke teer Raadhe
Posted by: Atul on: July 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 : | 6561 | Post No. : | 20424 |
Today’s song is from a bilingual film- Suhagan-1954, made in Marathi as ” Suvasini “-1953, and subsequently remade in Hindi as Suhagan.
It was made by Alhad Chitra, Poona. The banner was owned by Datta aka Dada Dharmadhikari. Alhad was his son’s name, who did child roles in many of his early films, including today’s film.The music was by a pair- Vasant-Ramchandra and the cast included Geeta Bali, Sulochana (Latkar), Vijayalakshmi, Shyam Kumar, H. Prakash, Janaki Das, Shakuntala and many others.
Dada Dharmadhikari was not just a Marathi Director,but he,thru his Alhad chitra,produced not less than 13 films in Hindi, and most films were directed by him too.He has directed films of other producers as well. SUHAGAN-1954 was a remake of a Marathi film, “Suwasini”-1953 was a Hit in Marathi, so a Hindi remake was made. It was directed by Marathi’s famous and successful director Anant Mane. Of course, when he directed this film, he was an assistant to Datta Dharmadhikari, but very soon he became a big name in Marathi.
The film Suhagan-1954 had music by a New pair…Vasant- Ramchandra. No one knew who was in the pair. Most people thought that it was a pair of Vasant Desai and C. Ramchandra. I was also under this impression and I had said so in my comments in 2012 also. Few years later I read a book ” Marathi Chitrapat Sangeetkar” by Madhu Potdar and then I learnt that this was the pair of Vasant Pawar and Ramchandra Wadhavkar, both composers from the Marathi film world. Together they gave music to 5 Hindi films. Individually, Vasant Pawar gave music to 50 Marathi films and 8 Hindi films. Ramchandra Wadhavkar gave music to 5 Marathi and 5 Hindi films.
Famous director Datta Dharmadhikari gave break to this pair of Composers- Vasant-Ramchandra ( Vasant Pawar and Ramchandra Wadhavkar ) for 5 of his films in Hindi, but they could not get any work from other banners and their career in Hindi, as a pair, ended with these 5 films only.
Vasant Pawar ( 1927 to 6-8-1965) was from Kolhapur. He was professionally trained in Sitar. He was also proficient in playing Flute,Sarangi and harmonium etc. He was assistant to Khemchand Prakash in Ranjit. From 1946, he worked for Sudhir Phadke. He gave music ( under guidance of Sudhir Phadke) to film Jai Bhim-52, Earlier he had composed one song in film Do kaliyan-49,where his co-composer was P.Shankar. Finally, he composed music for Shivleela-52 (Bilingual in Hindi/Marathi). His music was extremely popular in Marathi films and also for NFS of Lata,Asha and many others. His Bhavgeets became very popular and were sung by leading Marathi singers like Lata Mangeshkar, Sudhir Phadke, Manik Verma, Sulochana Kadam and many others.Due to alcoholism,he died in 1965 at the young age of just 38 years.
Ramchandra Wadhavkar ( 1919 to 2-12-1972) started with Prabhat films in 1935 as a Harmonium player. He also played Organ and Sitar. Along with V Shantaram,he too left Prabhat and joined Rajkamal. For a few years he worked in a private company too and hence could not accept Shantaram’s offer for films twice. He joined Vasant Pawar in 1952 as a composer. He died in 1972.
Vasant Ramchandra gave music to 5 films.
- Nanhe munne-52 ( Remake of Marathi film-Chimni Pakharen चिमणी पाखरें ), 2.Mahatma-53 (Trilingual in Hindi, English and Marathi), 3.Suhagan-54 ( Remake of Marathi film Suvasini सुवासिनी ), 4. Kalakaar-54 and 5.Savdhaan-54.
All the above films were produced by Datta (Dada) Dharmadhikari, under the banner of his “Aalhad Chitra-Poona”. He also directed 3 films. Only Kalakaar and Suhagan were directed by his protege Anant Maane.
The film emphasises that the grass is always greener outside the window,but when one goes close to it,he can see that it is only an illusion. A Suhagan’s happiness is in her home and not in money,is the message given here. The story of the film was….
Radha,a young unmarried girl paints rosy pictures of a married life.when she gets married to Shyam,on the suggestion of her saheli Jamuna and her husband Govind,she finds that Shyam is a very good person,he loves her also,but he earns so less that Radha’s dreams are not fulfilled.
Slowly,she starts fighting with Shyam and one day,after a big fight,she leaves home.Their neighbours Rambha and Ramesh,who are crooks,give her support and send her to Bombay.Radha becomes a singer in Bombay.She is now happy with the money and free life.One day Shankar,sent by Rambha tries to rape her and tells her that she has to pay back the fees for all this good life.She runs away and joins a “Abla Nari Niketan” which in fact runs immoral traffic.She is also trapped and she saves herself and reports the matter to Police.
Police rescue her.She now realises that there is no place like a Home and real happiness is in Husband’s love,for a Suhagan.She accidentally meets her friend Jamuna and Govind in Bombay and they convince her to return home,where Shyam is still awaiting her with open arms. Radha comes back home.By now,Shyam also has become well to do with money, but Radha now only wants his love as a SUHAGAN and not money.
There are 2 names in the cast which are not known much. Born on 22-3-1930, as Kamla Verma, in a tiny, unpublicized town called Nagina, in Uttar Pradesh, the twenty five year old Vijayalakshmi left her birthplace when only five months old. She did her schooling in Mussoorie, where she was a boarder, her parents’ home being in Kotah. The war scare made her parents recall her while she was doing her Junior Cambridge, and she eventually matriculated from Delhi.
Both her parents being doctors (her father was an eminent surgeon), Vijayalakshmi naturally drifted to the study of science in college at Agra, although she admits to being indifferent where the medical profession was concerned. After the Inter-Science examination, she was found to be under age for entrance to the medical college. So she did a three-year course in science and during this period was “discovered” for films.
In 1947, while still at college, Vijayalakshmi was offered a contract by a film company. Taken with the idea of becoming a film star, she told her parents about it.
Her father objected strongly (he never reconciled himself to his daughter’s choice of profession), but her mother stood by the little girl. “My mother has a habit of giving in to me on most occasions,” said Vijayalakshmi with a grateful smile. “And it was she who signed the contract on my behalf, because I was still under age.”
Vijayalakshmi came to Bombay, with a contract to work exclusively for the film company which had engaged her. Unfortunately, the film was never completed. But while she was in Bombay, Kamal Amrohi spotted her talent and invited her to work in “Mahal” which he was making for Bombay Talkies.
Then she went back to her home in Kotah, later to come back with her aunt to settle in Bombay – her mother being unable to accompany her because of her medical practice.
“Mahal”, in which she played “the other woman”, was a great success and Vijayalakshmi went on to make it good in other films: “Shadi Ki Raat” “Sagai”, “Bhola Shankar”, “Murliwala”, “Gohar”, “Bahu Beti”, “Bawre Nain”, “Gunah” and Raj Kapoor’s “Aah”. Vijayalakshmi didn’t really mind playing “the other woman,” but it was her contention that really good seductive roles were not forthcoming in Indian films. Besides, she felt that critics and audiences alike had liked her more in her “good girl” roles.
In “Aah” she once again played “the other woman.” “But that is because I have a great regard for Raj Kapoor,” she added.
Listing her other preferences, Vijayalakshmi said that Nargis and Geeta Bali were her favorite stars, while she considered Ashok Kumar to be an outstanding actor. She had worked with both Ashok and Raj Kapoor and would have liked to be co-starred with Dilip Kumar.
Frank and outspoken, Vijayalakshmi was of the opinion that the Film Industry was no place for a girl to be entirely on her own, especially in matters of business. Now that her mother had retired and had joined her in Bombay, she consulted her mother about her contracts. Vijayalakshmi entered into matrimony – with unfortunate results. Speaking frankly about her hasty marriage and her divorce, she said with head held high, “I am not ashamed of it.” And it seemed to be with her a case of “once bitten, twice shy,” for Vijayalakshmi said she wouldn’t think of marriage again.
Vijayalaxmi started her career in Hindi films perhaps around late 1940s and Shanti (1947) might be her debut Hindi film. She gained prominence with Mahal (1949) where she was cast as Ashok Kumar’s jilted wife. Later, she kept on playing supporting roles in many films including Bawre Nain (1950), Aah (1953) [where she played Nargis’ elder sister], Toofan (1954), Marine Drive (1955), Tatar Ka Chor (1955) and Mughal-e-Azam (1960). She also played the lead in few films including Rishta (1954) where her role got favorable reviews as “a beautifully balanced role, very well sustained. Vijayalaxmi is utterly charming as the unfortunate bride and plays the part with sympathy, understanding, poise and grace.” Although mostly cast in supporting roles, she did bag some of the best songs composed in Hindi films including Khayalon mein kisi ke is tarah aaya nahin kartey (Bawre Nain), Ghabra kai jo hum sar ko takrayien to acha ho (Mahal, 1949) and Sunte the naam hum jinka bahaar sai (Aah, 1953).
She acted in 45 films. Her first film was Shanti-1947 and her last appearance was in the film Kalakaar-1983. No information about her anymore.
Another actor is H. Prakash. The real name of actor Prakash was Hashmat Ullah Khan. He was born on 3-8- 1914 at Gwalior, where his father was a businessman.The family was originally Punjabi Muslim. Hashmat studied somehow upto Inter arts and left the college. He was an overactive child , interested in acting in films.Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in the film Village Girl-1936. Not satisfied with this, he travelled to Calcutta.
In Calcutta, Hashmat worked in 3 films-Taqdeer ka teer aka Premlakshya-36,Hawai Daku aka Bandit of the Air-36 ( this was the first film of K N Singh as a Hero. Mazhar Khan was the villain here) and Dangerous woman aka Khatarnak Aurat-38. He also got a miniscule role in New Theatre’s film Abhagin-38. Not getting what he aspired to, Hashmat shifted to Delhi and worked in A.I.R. as a singer. True to his nature, within two years he left this job and landed in Bombay again.
It is reported that he was very arrogant, untrustworthy and a first rate Cheat. It seems he was quarrelsome, a liar and short tempered. His experiences,perhaps, taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In Bombay first he worked in Garib ki ladki-40, but the film got delayed and was released in 41 only. Meanwhile he did Rani saheba and Pyar also. This time his career took a good turn. Till film Garib ki ladki, he used his name Hashmat for credits, but then he took a new name Prakash thereafter till the end.
A changed actor Prakash became acceptable to the industry and films were on his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action,stunt and C grade films. Once director W Z Ahmed met him and Prakash went to Shalimar Pictures Poona to do 3 films for them, namely Ek Raat, Prem Sangeet and Mann ki Jeet. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.
After Partition he migrated to Pakistan and did few films there. He came back to India and started working here again as an actor. He was billed as H.Prakash or as simply Prakash also. His last film was Zamaane se poochho-1976. He did 62 Hindi films in all. He died in India on 3-5-1978.
Here is a song from the film Suhagan-1954, sung by Lata Mangeshkar. Enjoy….
Song- Jamuna ke teer Raadhe (Suhaagan)(1954) Singer- Lata Mangeshkar, Lyricist- Ehsan Rizvi, MD- Vasant- Ramchandra
Lyrics:
Jamuna Ke teer
Raadhe
Jamuna ke teer
ho o o o o
Baajee Shyam kee muraliya
Jamuna ke teer Raadhe
Jamuna ke teer
Baajee Shyam kee muraliya
Jamuna ke teer Raadhe
jamuna ke teer
Baajee Shyam kee muraliya
Jamuna ke teer
Murlee sureelee taal raseelee
Murlee sureelee taal raseelee
Thhar thhar kaanpe sareer
Thhar thhar kaanpe sareer
Jamuna ke teer Raadhe
jamuna ke teer
Baajee Shyam kee muraliya
Jamuna ke teer
Jeewan ke saare sapne saja ke
Jeewan ke sare sapne saja ke
Milne chalee goree sudh bisraa ke
Haan sudh bisraa ke
haan sudh bisraa ke
Mann kee umangen adheer
Man kee umangen adheer
Jamuna ke teer Raadhe
jamuna ke teer
Baajee Shyam kee muraliya
Jamuna ke teer
Chalee le ghunghroo koi na boley
Chalee le ghunghru koi na boley
Saajan se milne ka bhed na kholey
Sajaan se milne ka bhed na kholey
Dheere se aaye Raghuveer
aa aa aa
Dheere se aaye Raghuveer
Shyam Raghuveer aaye
Shyam Raghuveer
Shyam Raghuveer aaye
Shyam Raghuveer
Baajee Shyam kee muraliya
Jamuna ke teer
Share this:
- Email a link to a friend (Opens in new window) Email
- Share on Tumblr (Opens in new window) Tumblr
- Share on LinkedIn (Opens in new window) LinkedIn
- Share on Reddit (Opens in new window) Reddit
- Print (Opens in new window) Print
- Share on Pinterest (Opens in new window) Pinterest
- Share on Facebook (Opens in new window) Facebook
- Share on X (Opens in new window) X
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment