Kaisa Jaadoo Nazar Teri Kar Gayee Re
Posted on: July 12, 2026
- In: "Aankh" song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | sad song | Separation song | Songs of 1950s (1951 to 1960) | Songs of 1956 | Songs of Loneliness | Yearwise breakup of songs
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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 : | 6568 | Post No. : | 20455 |
Today’s song is from a Costume film ‘Awaara Shahzadi’ (1956).
1956 was the Silver Jubilee year of Indian Talkie Films. This year, the most successful films were entertainers. There were of course some films carrying social messages. One of them was ‘Jaagte Raho’ (‘Ek Din Ratre’ in Bangla), which tried to bring out the upper middle class hypocrisy in a metro city like Bombay. Initially, the film did not make any ripples, but after it won international awards, it became very popular. (People of other nations have to tell us that our film is good !). A social message, excellent music and solid story – the hallmarks of an RK film were all there in it.
Then, the film ‘Ek Hi Raasta’ tackled the issue of widow re-marriage and acceptance of a new father by the child. Comedy entertainer ‘Nai Dilli’ emphasized the need for inter language marriages in India. Satyajit Ray’s ‘Aparajita’- the sequel to ‘Pather Panchali’ (1955), hit the screens in India after winning accolades internationally.
Musical entertainers like ‘CID’, ‘Chori Chori’, ‘Basant Bahar’, ‘Rajhath’, ‘Bhai Bhai’, ‘Funtoosh’ and ‘Inspector’ were quite popular. Amongst all these, a powerful tear-jerker like ‘Toofan Aur Diya’ from Rajkamal stood out. It also brought actress Nanda into limelight and made her drop “Baby” from her name.
Film ‘Awara Shehzadi’ was produced by Hind Pictures and the Producer/Director was one Pyarelal. I do not know anything about this Pyarelal, but Hind Pictures was originally established and owned by the successful Actor and Director Nazir Ahmed Khan. During the Partition riots, Hind pictures studio was burnt by the mob. Nazir Ahmed stood there,smoking a cigarette,watching his property turn into ashes. He must be glad, nobody recognised him. He knew that in Lahore, the same type of frenzied mob had burnt Dalsukh Pancholi’s studio to ashes and he had expected its repercussions in India too. After this, shortly, he left everything he had earned in India here only and with only clothes on his back, left for Pakistan. There he started from scratch again and became Pakistan’s successful producer/director. This time he had his third wife, actress Swarnalata with him. His second wife Sitara Devi had eloped with his nephew K Asif (who ran a tailoring shop then and later on made the film ‘Mughal e Azam’ (1960)) to Delhi. Under the “Enemy Property law” of 1948, Hind picture studios must have been allotted to some person who had lost everything in Pakistan. Maybe this was Pyarelal. I do not know. He produced and directed 4 films under the same banner-Hind pictures.
The cast of the film was Meena Shorey, Daljit, Johnny Walker, Sheila Ramani, Sheikh, Habeeb, Azeem, Heera Sawant and many others. In this film there were 2 MDs, namely Jimmy and Nashaad. Though the film was a Costume film, HFGK labelled it as a Social film !
The story of the film was…..
Meena is an unfortunate princess, who was abandoned by her father, because she was declared as a girl with a lot of misfortune. A loyal maid took her and brought her up for 20 years. When she comes to know the truth, she decides to regain her position and heads to the capital of the kingdom.
On her way, she meets a dancer. She takes her costume and proceeds. She meets the hero, who is like a Robin Hood. They fall in love. After completing the mandatory songs around trees etc, they proceed to the city. There are a series of funny and daring incidents. They are arrested as thieves, jailed, put in mental asylum and also sentenced to death. However with the help of good luck, friends and the team of director and script writers they finally reach the king and reveal their identity. Everything is fine after that and the lovers sing a song before the film closes.
I was a great fan and admirer of C grade action/stunt/costume films from my young age. The decorative sets and the unusually long, shining and attractive costumes in the films, the daredevil stunts and the hand or the sword fighting in these films impressed me. Unfortunately, as I grew older, the number of such films was reducing and by the time I almost stopped running after films by the 1970 beginning, C grade action, stunt and Costume films almost disappeared from the theatres. Perhaps their regular audience thinned out or the stuntmen became old or producers of such films turned to other more respectable genres. Whatever the reason, reality was that the end of such films had occurred !
When I started writing on old films and songs, I happily realized that I was not the ‘unique’ person in today’s times who liked action/stunt/costume films and there were many like me – not necessarily as old as me ! Mike Barnum, an American, runs two websites viz. ‘Cinemajadoo’ and ‘Pedro the Ape’ exclusively for such films. He has done a historical work by reviewing at least 500 such movies of yesteryears, in different categories like Action, Stunt, Costume, Horror, Mystery, Jungle stories, Space travel, Ghost stories, Superpower people and such non-traditional types of films. Another fan of such films was Ms. Greta Kaemmer, who is more popular as ‘Memsaab’ and runs her own site memsaabstory.com, wherein she has discussed many such films of old times. The hundreds of comments she gets on her blog is proof of how such films are popular even today. Her liking for old Hindi films is so strong that she has already visited Bollywood in Mumbai 2 times and has met several heroes and others.
The heroine of this film was Meena Shorey. She was born on 15-9-1921, as Khursheed Jehan, the second of four children, in Raiwind in a small rural household, in Punjab . She had two sisters and a brother. Wazir Begum was the elder sister. Rukhsana and Siddique were younger to her. Their father Mian Barkat Ali was an agriculturist from Multan. But due to his irresponsible ways, all lands had to be sold off one by one, and ultimately they shifted to Lahore. Here, he started a dyeing business, but this too failed. Money problems led to domestic squabbles and things became very very difficult. Her elder sister then got married to one Aslam, who was from Bombay and had some connections with the film industry. After some time, she called her mother and the other siblings to come over and live with her in Bombay. Rather than feel sad, her father was in fact happy at getting rid of his “liabilities”. Soon afterwards, he remarried.
Times were hard. Bombay was a much costlier city. Meena wanted to join the film industry. Once she accompanied her brother-in-law Aslam to attend the muhurat of a film. It was Sohrab Modi’s ‘Sikandar’. One of her friends had loaned her a beautiful dress to wear. Though she was only about 12 years at the time, she looked a little older and was the cynosure of all eyes at the studio set which was very crowded. Some people even thought that she was the heroine of the film. Actually, Vanmala had been cast in this film opposite Prithviraj Kapoor. Sohrab Modi was busy arranging the lights etc. but, seeing the commotion, he came to where they stood, looked her over, and straightway told Aslam that he wanted to cast her in his next film. He said that he was in fact on the look-out for a beautiful girl like her, who could pose a worthwhile challenge to Naseem Banu, who was renowned for her beauty. Meena was of course overjoyed and succeeded in persuading her mother to let her join films and thus her career began. Sohrab Modi gave her the name Meena.
Modi, taken in by her beauty, offered her a supporting role in the film and bound her to a contract to work exclusively for him. He also gave her the name Meena. ‘Sikandar’ did extremely well and Meena was on her way. Modi then cast her as the second lead in ‘Phir Milenge’ (1942) and ‘Prithvi Vallabh’ (1943). In ‘Prithvi Vallabh’, she was paired opposite Al Nasir, whom she later married. The marriage did not last very long due to Nasir’s womanizing ways.
Meena first met the Lahore based filmmaker Roop K Shorey, when he came to Bombay to look for a heroine for his forthcoming film, ‘Shalimar’ (1946). Though he wanted Meena as the heroine of the film, Sohrab Modi’s rigid contract came in the way. According to Meena, the contract again prevented her from doing Mehboob Khan’s ‘Humayun’ (1945) as well. Further, on a visit to Lahore, she met producer Dalsukh Pancholi, who signed her on for two films ‘Shahar Se Door’ (1946) and ‘Arsi’ (1947). Immediately, Sohrab Modi took her to court asking for damages of Rs 3 lakhs. According to Meena, taking advantage of her illiteracy, Modi bound her for three years whereas the contract was supposed to be for a year only. She added that Modi then demanded Rs 60,000 to release her and seeking help from Modi’s wife, Mehtab, the matter was finally settled for Rs 30,000. (Modi had cheated C Ramchandra also when he joined him.) Meena was now free. She returned to Lahore and fulfilled her contractual obligations by starring in ‘Shahar Se Door’ and ‘Arsi’.
Meena’s last film in Lahore was ‘Pathjad’ (1948). Following the Partition of India, she came to Bombay where she did films like ‘Actress’ (1948) and ‘Dukhiyari’ (1948). In this period she heard that Roop K Shorey had also moved to India following partition. His studio having burnt down in Lahore, he was financially hard up in Bombay. Meena and Karan Dewan got together and helped him make his first film in India, ‘Chaman’ (1948) in Punjabi. The film, with music by Vinod, was the first ever Punjabi film in which Lata Mangeshkar lent her voice. Her songs in the film like “Galiyan Che Firdey Dhola Nikke Nikke Baal Wey” and “Chan Kithe Guzare-e-Raat Wey” were highly appreciated.
Meena hit the apex of her screen career with Roop K Shorey’s ‘Ek Thi Ladki’ (1949) co-starring Motilal. The film, a comedy thriller, looks at a girl (Meena) on the run after she witnesses a murder and shows a new facet of Meena exploring her comic talents, which were considerable. But above all it was the popularity of the song “Lara Lappa Lara Lappa” that was chiefly responsible for the film’s success. The song was hummed in every nook and corner of the country and as mentioned, Meena became known as the ‘Lara Lappa girl!’ She also got married to Roop K Shorey, becoming Meena Shorey.
After ‘Ek Thi Ladki’, Meena did a steady lot of movies, mostly with Roop K Shorey, but none measured up to ‘Ek Thi Ladki’. Perhaps, the best of the lot was ‘Ek Do Teen’ (1953) re-uniting the Shoreys with Motilal. By the mid 1950s though she was still doing the odd film or two every year, it was obvious her career was in decline. She acted in 25 films in India. Her first film was ‘Sikandar’ (1941) and the last film was ‘Rang Reliyan’ (1962). Meena Sang one song in the film ‘Prithvi Vallabh’ (1943).
At this point, the Shoreys were invited to come to Pakistan and make a film. The result was ‘Miss 1956’ (1956), a copy of Guru Dutt’s ‘Mr and Mrs 55’ (1955) starring Meena Shorey, Santosh Kumar, Aslam Pervez, Shamim Ara, Zarif and Charlie with music by the great GA Chisti. Though the film did just average business, the adulation that Meena got on returning to Lahore was tremendous. She decided to relocate to Pakistan, even at the cost of her marriage.
Meena’s most successful film in Pakistan was ‘Sarfarosh’ (1956) co-starring Sabiha Khanum and Santosh Kumar. According to Meena, she was signed on to play the lead role of a princess in the film, but later on Sabiha was given the role and Meena was asked to play the ‘lesser’ role of a bandit queen. She says she walked out of the film but on the pleading of the director, Anwar Kamal Pasha and his father, she relented. Nevertheless, she still made a strong enough impact in the film and perhaps the best song in the film, “Teri Ulfat Mein Sanam”, sung by Zubaida Khanum was picturised on her. She also became the first Pakistani actress to model for Lux Soap, thus becoming the ‘Lux Lady of Pakistan.’
Meena lived the last few years of her life in abject poverty in Pakistan. She had no savings and was reduced to living in a couple of rooms in Lahore’s Mohni Road. There was no one to look after her and she subsisted on a small stipend paid to her by the Pakistan Arts Council and sometimes the Rotary Club. It is said she compared herself to a dried up tree in a grove full of green young saplings that everyone was out to destroy and burn.
Meena Shorey died on 3-9-1987, a lonely and poor actress. Her burial was arranged with charity money and few came to attend her funeral.
[Adaptated with thanks from the article on Meena’s Memoirs from the book ‘Ye Un Dinon Ki Baat Hai” by Yasir Abbasi, and an interview that appeared in RMIM.]
Here is a song from this film, sung by Bimla. I am not aware who this singer is. Enjoy the song composed by Nashaad.
Song – Kaisa Jaadu Nazar Teri Kar Gayee Re (Aawaara Shahzaadi)(1956) Singer – Bimla, Lyricist – Sartaj Rahmani, MD – Naashaad
Lyrics:
kaisa jaadu nazar teri kar gai re
tere sar ki qasam main to mar gai re
tere sar ki qasam main to mar gai re
jhoothi umeedon ke chhoote sahaare
ho o o chhoote sahaare
dekh liye hain sab vaade tumhaare
ho o o vaade tumhaare
dil pe qayaamat guzar gai re
tere sar ki kasam main to mar gai re
o tere sar ki kasam main to mar gai re
aaja aaja. . .
aaja aaja. . .
aaja aaja
phoolon mein dekha tujhe taaron mein dhoondha
ho o o taaron mein dhoondha
saare jahaan ke nazaaron mein dhoondha
ho o o nazaaron mein dhoondha
meri jahaan tak nazar gai re
tere sar ki kasam main to mar gai re
o tere sar ki kasam main to mar gai re
kaisa jaadu nazar teri kar gai re
tere sar ki kasam main to mar gai re
o tere sar ki kasam main to mar gai re
aaja aaja. . .
aaja aaja. . .
aaja aaja
loote sahaare tu ne meri khushi ke
ho o o meri khushi ke
kaise guzaarungi din zindagi ke
ho o o din zindagi ke
main to muhabbat se darr gai re
tere sar ki kasam main to mar gai re
o tere sar ki kasam main to mar gai re
kaisa jaadu nazar teri kar gai re
tere sar ki kasam main to mar gai re
o tere sar ki kasam main to mar gai re
aaja aaja. . .
aaja aaja. . .
aaja aaja
Hindi script lyrics (Provided by Sudhir) :
कैसा जादू नजर तेरी कर गई रे
तेरे सर की क़सम मैं तो मार गई रे
तेरे सर की क़सम मैं तो मार गई रे
झूठी उम्मीदों के छूटे सहारे
हो ओ ओ छूटे सहारे
देख लिए सब वादे तुम्हारे
हो ओ ओ वादे तुम्हारे
दिल पे क़यामत गुजर गई रे
तेरे सर की क़सम मैं तो मार गई रे
ओ तेरे सर की क़सम मैं तो मार गई रे
आ जा . . .
आ जा . . .
आ जा
फूलों में देखा तुझे तारों में ढूंढा
हो ओ ओ तारों में ढूंढा
सारे जहां के नज़ारों में ढूंढा
हो ओ ओ नज़ारों में ढूंढा
मेरी जहां तक नजर गई रे
तेरे सर की क़सम मैं तो मार गई रे
ओ तेरे सर की क़सम मैं तो मार गई रे
कैसा जादू नजर तेरी कर गई रे
तेरे सर की क़सम मैं तो मार गई रे
ओ तेरे सर की क़सम मैं तो मार गई रे
आ जा . . .
आ जा . . .
आ जा
लूटे सहारे तूने मेरी खुशी के
हो ओ ओ मेरी खुशी के
कैसे गुजारूँगी दिन ज़िंदगी के
हो ओ ओ दिन ज़िंदगी के
मैं तो मुहब्बत से डर गई रे
तेरे सर की क़सम मैं तो मार गई रे
ओ तेरे सर की क़सम मैं तो मार गई रे
कैसा जादू नजर तेरी कर गई रे
तेरे सर की क़सम मैं तो मार गई रे
ओ तेरे सर की क़सम मैं तो मार गई रे
आ जा . . .
आ जा . . .
आ जा
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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