Haaye Ye Maine Kya Kiya
Posted on: August 1, 2026
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Shamshad Begam solo | Shamshad Begam songs | Song of Dejection | Song of Regret | Song of remorse | Songs of 1940s (1941 to 1950) | Songs of 1949 | Vagaries Of Love | 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 : | 6588 | Post No. : | 20484 |
Today’s song is from a flop, obscure film, with a good star cast – ‘Garibi’ (1949).
Based on overall rating, there are 3 types of films….
1) Memorable Films – due to powerful story, acting, direction or music.
2) Films refreshed by memory when referenced in later years – films popular or hit for a short period and then forgotten till referenced in later years.
3) Totally forgettable films – from day one, due to poor/weak/unbelievable story, direction, music or outdated theme.Top actors, directors or MDs also can not save the film.
Today’s film falls under the 3rd type, though it had good actors, a young director, and a good MD. Due to the unbelievable story, the audience could not digest the film – in spite of comparatively good music. The negative impact suppressed the good points like good actors, MD or director. Unfortunately for the film, the atmosphere of the film industry was also not conducive.
What a year 1949 was ! It not only gave superlative quality musical films but also was an eventful year for the industry setting benchmarks for various activities. Aptly,1949 can be called a ‘True First year of the GOLDEN ERA’ of Hindi film music. ‘Andaz’ and ‘Barsaat’ were the 2 films which set standards for such films for the future. ‘Andaz’ was Mehboob’s 3rd film after ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948), all were based on love triangles. The only film of Raj and Dilip together, ‘Andaz’ had songs which create the same magic even today.
‘Barsaat’ established RK Banner, gave it a monogram (DP in today’s lingo) in the pose by Raj and Nargis from the film, and launched several artistes for a successful career like, Shankar-Jaikishen, Shailendra, Hasrat Jaipuri, Ramanand Sagar and Nimmi for whom all this was a debut film. ‘Andaz’ gave introduction to platonic love and ‘Barsaat’ gave prestige to Llove stories in films.
‘Mahal’, the first film of Kamaal Amrohi as a director, established Madhubala as a star, and started a trend for mystery and suspense based films. It also made Lata an All India Phenomenon !
In 1949, South and East productions also contributed substantially. After the stunning success of ‘Chandralekha’ (1948), SS Vasan of Gemini Films, Madras brought his second blockbuster in Hindi, Telugu and Tamil (‘Chandralekha’ was made in Hindi, Tamil, Telugu and Simhali, and all 4 were super hits). ‘Nishan’ (1949) had Ranjan and P Bhanumathy in the lead, even in the Hindi edition. Ranjan (Ramanarayana Venkataramana Sarma) a multi-talented internationally known artiste was a popular hero. Vasan also cast him in his 3rd Hindi/Tamil/Telugu film ‘Mangala’ (1950)
From Calcutta came Shanta Apte’s ‘Swayamsidha’ (1949), a story of a strong woman. Many films were made on this story, in almost every decade later on. ‘Chhota Bhai’, also from Calcutta in the same year represented India in a Canada Film Festival.
‘Ek Thi Ladki’ (1949) made “Lara Lappa” a national song. Meena Shorey was known as the ‘Lara Lappa Girl’ till she died in poverty unsung and unknown in Pakistan. ‘Badi Behan’, with music by Husnlal-Bhagatram, ‘Dillagi’ and ‘Dulari’ – music by Naushad Ali, ‘Bazaar’, music by Shyam Sunder, and ‘Patanga’, music by C Ramchandra were the other hit musicals in 1949.
In 1949, the Censor Board started the ‘A’ category. The Films Division was established, India’s first luxury theatre – Liberty, was opened in Bombay. Navketan Productions of Dev Anand was established and ‘Movie Times ‘ magazine started publishing film news.
By 1949, Naushad Ali and C Ramchandra were competing with each other for the No. 1 slot. Both respected each other. Next few years, their competition gave superlative music to Indian music lovers. This was everybody’s gain. The playback singers’ group was coming to a final shape with Lata, Asha, Geeta, Shamshad and all others in that order, for female singers. For males, it was Mohd Rafi, Mukesh, Kishore, Talat and Manna Dey and all others in that order. Very shortly, the first 3 in each group were the survivors for a longer run, the rest remaining on the scene without any consequence !
Out of the music directors, those who debuted or excelled in the late 40s only survived and prospered. Naushad, Shankar-Jaikishen, SD Burman, Roshan, C Ramchandra, Husnlal- Bhagatram and all others in that order. In due course, the first few proved to be long distance runners. By late 70s this generation of composers was slowly getting replaced by the next generation composers.
Film ‘Garibi’ was made by Ranjit Movietone. I don’t know whether Chandulal Shah ever knew what storylines their movies were being produced on the assembly line, because not only all 4 set-sections of Ranjit studios were always shooting some films but sometimes they used to hire the neighbouring Sharda studios also.
The film was directed by Ramchandra Thakur and the star cast included Geeta Bali, P Jairaj, Nirupa Roy, Usha Kiran, P Kailash, Tarabai, Bhupat Rai, Jawahar Kaul and others.
This was one movie which eulogized the virtues of poverty (garibi) as compared to riches (ameeri). Geeta Bali, hailing from a poor family, loves and gets married to rich Jairaj. She finds it difficult to adjust to the rich ways of her sasural, particularly the Saas-Sasur (Tarabai-Bhupat Rai),while her poor mother (Nirupa Roy) and father (P Kailash) get poorer. The parents have very high ideals and come to the rescue of their rich relatives’ family, when there is a problem with their daughter (Usha Kiran),who is in trouble with her husband (Jawahar Kaul). Having learnt that only money can not give happiness, the rich family respects the poor and poverty. This was a very unconvincing storyline and badly handled too. The only saving grace was its superb music.
One name in the starcast is Jawahar Kaul. He was born to a Nehru family on the 27th of September in the year 1927 in the place revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme, and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to portray supporting characters in big films. He made his debut while playing the role of Kishor Sahu’s younger brother in ‘Veer Kunal’ (1945). In this year, he was also seen in the role of Humayun Mahawat in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.
In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, (brother of stunt film actor Navin Yagnik). In the same building, the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like ‘Azadi Ki Raah Par’, ‘Apni Chhaya’, ‘Kathputli’, ‘Pehli Jhalak’, ‘Laal Batti’, ‘Sahib Biwi Aur Ghulam’, etc. He was a legend of the black and white cinema. Throughout his career, he worked only in a few selected films, but he was able to efficiently enrapture the audience’s attention.
Jawahar was never happy about his career, the way it went. He had wanted it to be more successful. Anyway after his last film ‘Zalim’ (1980), he left acting and joined as a production manager with Jwala Pictures of Sandeep Sethi. After two years he became his secretary for the next 17 years. Meanwhile he produced a film ‘Agniputra’, with Mithun Chakravarti. It took a long time to finally release in 2000. Not only was it a flop, it also put a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. He died peacefully in Andheri, Mumbai, on 15-4-2019. Till the end, he looked after his school and college ‘Children’s Welfare Centre’, nearby.
One more interesting actress in the cast was Tarabai. She is none other than the elder sister of famous dancer actress Sitara Devi. Born in 1905, she was a good dancer. She started film career with silent films like ‘Malti Madhav’, ‘Bambai Ki Sethani’ etc. She started working in talkie films with ‘Vasantsena’ (1931). She played the role of Princess Octavia in the film ‘Yahudi Ki Ladki’ (1933), along with KL Saigal.
She acted in many films like ‘Shehar Ka Jaadu’ (1934), ‘Savitri’ (1937), ‘Narsi Bhagat’ (1940), ‘Sasural’ (1941). She acted in film ‘Haiwaan’ (1940), along with her two other actress sisters, namely Alaknanda and Sitara Devi. This may be the first Hindi film, in which 3 sisters played roles in one film.
It seems the mother of Alaknanda and Tara was different from that of Sitara, but the father was the same – Pt Sukhdev. Alaknanda and Tara were not their real names. In fact, the real name of Tara/Tarabai was Triveni.
She married co-star Marutirao Pehelwan, left films and they settled in Dhule, in Maharashtra. They started a dairy business. Their son was the famous dancer Gopi Krishna. Marutirao was already married, but still Tara married him. His surname was Gawali (Milkman).
Soon they separated and Tara married a small businessman Sonthalia from Calcutta. We do not know why, but Tarabai returned to Bombay and started working in films. But now she was reduced to a Junior Artiste (Extra) and got only negligible roles. She lived in Bandra slum. There is no information about her after this.
Her son Gopi Krishna (real name Gopal) stayed with his maternal grandfather, Pt Sukhdev, who trained him in dancing. Gopi Krishna came to Bombay, with the name Gopi Krishna Sonthaliya and stayed with Sitara Devi, but he was soon thrown out. He spent difficult days, staying in chawl etc, before he became famous as a choreographer and actor.
[Some information from RMIM forum, with thanks.]
Here is a good song from today’s film, sung by Shamshad Begum. Enjoy….
Song – Haaye Ye Maine Kya Kiya (Garibi) (1949) Singer – Shamshad Begum, Lyricist – Shewan Rizvi, MD – Bulo C Rani
Lyrics (Provided by Sudhir)
haaye ye maine kya kiya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
haaye ye maine kya kiya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
hum samjhe the dillagi
ho gayi dil ki lagi
hum samjhe the dillagi
ho gayi dil ki lagi
ro ro kar ab kah hi diya
ro ro kar ab kah hi diya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
haaye ye maine kya kiya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
jab tum paas paas the
main thi tumse door door
jab tum paas paas the
main thi tumse door door
jab tum door ho gaye
dil hua majboor
sun lo sun lo o piya
sun lo sun lo o piya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
haaye ye maine kya kiya
kyun tumhe thukra diya
tum to mere saajan ho
mujhko tumse pyaar hai
Hindi script lyrics (Provided by Sudhir)
हाय ये मैंने क्या किया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
हाय ये मैंने क्या किया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
हम समझे थे दिल्लगी
हो गई दिल की लगी
हम समझे थे दिल्लगी
हो गई दिल की लगी
रो रो कर अब कह ही दिया
रो रो कर अब कह ही दिया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
हाय ये मैंने क्या किया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
जब तुम पास पास थे
मैं थी तुमसे दूर दूर
जब तुम पास पास थे
मैं थी तुमसे दूर दूर
जब तुम दूर हो गए
दिल हुआ मजबूर
सुन लो सुन लो ओ पिया
सुन लो सुन लो ओ पिया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
हाय ये मैंने क्या किया
क्यों तुम्हें ठुकरा दिया
तुम तो मेरे साजन हो
मुझको तुमसे प्यार है
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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