Suno Nath Deenon Ke Dukhiyon Ke Pyaare
Posted by: skapur01 on: August 4, 2026
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Rare song | Remonstrating with the Almighty | Song of Dejection | Song with incomplete details on HFGK | Songs Available Only on Film's Soundtrack | Songs of 1960s (1961 to 1970) | Songs of 1961 | Songs of 1970s (1971 to 1980) | Songs of 1974 | Songs reused again in subsequent movies | Songs with missing details in HFGK | Songs with missing details on HFGK | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, 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 : | 6591 | Post No. : | 20488 | Movie Count : | 5248 |
‘Badi Maa’ (1974) was produced by GD Agarwal and directed by Ram Gabale. The cast included Usha Kiran, Surekha, Dilip Raj, Purnima, Jagirdar, Karan Diwan, Gulab, Iftekhar, Shivraj, Chaman Puri, Rashid Khan, Johny Whisky, Krishnakant, Dr. Vasantrao Deshpande, SD Narang, Baby Guddi etc. Probably, the film had a restricted theatrical release as I have never heard of this film. The film is in black and white which indicates that it was a delayed film.
Interestingly, there was a film with title, ‘Tanhaai’ (1961) with the same director, Ram Gabale with Usha Kiran, Purnima, Karan Diwan, Jagirdar, Gulab, Narang etc. It appears that ‘Tanhaai’ (1961) was repackaged as ‘Badi Maa’ (1974). Five songs written by Satyendra Athaiya from ‘Tanhaai’ (1961) was retained in ‘Badi Maa’ (1974) with an additional song in double version written by Indeewar as the background song. Mohammed Shafi was the music director for both these films.
The film’s director, Ram Narayan Gabale (20/03/1924 – 09/01/2009) was born in Kolhapur. He started his career as the harmonium player in a Marathi theatre group in which he was also doing bit roles. For professional opportunity, Gabale shifted to Mumbai in early 1940s and joined Rajkamal Kala Mandir. He worked as assistant director to V Shantaram and Master Vinayak. Later, he joined Prabhat Films in Pune and got the opportunity to direct his first film, ‘Vande Mataram’ (1948) in Marathi in which PL Deshpande and his wife Sunita worked as the lead pair. Thereafter, he directed about a dozen Marathi films mostly in the genre of social and patriotic films.
Gabale directed his first Hindi film, ‘Phool Aur Kaliyaan’ (1960) with children’s subject. The film won him the Prime Minister’s Gold Medal. ‘Kale Gore’ (1960) received a special mention at the Leipzig International Film Festival. ‘Rahul’ (1964), ‘Dharti Aakash’ (1983) and ‘Sher Shivaji’ (1987) were other Hindi films which he directed. He also directed many short/documentary films. In later years, Gabale devoted his time in administrative work relating to Indian cinema. He was the Vice-Principal of FTII, and was associated with Film City in Goregaon, Mumbai and the Films Division in Mumbai.
‘Badi Maa’ (1974) is available for watching on a video sharing platform with a wrong caption which says that it is a 1945 film with Noorjehan. This was the reason that I was not aware of the existence of this film on the video sharing platform. I watched for the credit title of the film, ‘Badi Maa’ (1945) when I came to know of the wrong caption. I have watched the film very recently which gave me a feel of a 1950s film with themes relevant immediately after post-independent India. The two main themes covered in the film is that in the context of untouchability, a person can be judged not by his class of birth but class of work. Secondly, in the context of thousands of orphans in India, the person who looks after that child after becoming an orphan is a greater mother (Badi Maa) than the mother who gave birth to that child.
The story of the film in detail is as under:
The film opens with (Shivraj) and his minor daughter, Munni, returning from the forest after collecting dry woods. On the way, he stops outside a temple to pay his obeisance to the temple deity. However, Munni enters the temple when the priest reprimands her, being harijan, and asks his subordinates to drive her out of the temple. In the melee, Munni’s father falls and dies leaving the daughter orphaned. The villagers handover Munni to an orphanage called ‘Maa Kaa Ghar’ which is run by Badi Maa (Usha Kiran).
Years pass. Munni has grown up to become Anuradha (Surekha) and has completed her education. She leaves the orphanage after she gets a job as assistant to Dr. Nandkumar Sharma (Dilip Raj) in his eye clinic. She manages his clinic efficiently and also takes care of Dr. Sharma for his breakfast and lunch. Both have started liking each other but refrain from expressing their feelings for each other. One day, Anuradha learns that Dr. Sharma’s mother is arriving to stay with Dr Sharma for a few days and that she practices untouchability. Being harijan, Anuradha leaves her job without assigning any reason to Dr. Sharma, and returns to her orphanage.
One day, while playing with the children of the orphanage, Badi Maa falls down and loses her eyesight. Anuradha brings her to Dr. Sharma for treatment. As a part of diagnosis, he asks Badi Maa whether there was any incident which affected her eyesight as he finds her eyes are stressed and dry. Badi Maa reveals that due to the emotional upheavals she faced throughout her life, she has wept so much that she has lost moisture of her eyes. Her story goes in flashback mode.
About 25-30 years back, Aruna (Usha Kiran) was the happiest person. Her father was the priest of the temple and Nath (Dr Vasantrao Deshpande) was the temple singer under whom Yashwant (Karan Diwan), the stage artist in Mumbai was undergoing training as a singer. Nath has arranged the for the marriage of Aruna with Yashwant and they are engaged. One day, when they are strolling together in a forest, a sudden storm forced them to spend the night in a shelter and they indulged in physical relations.
On the day of Rath Yatra of Maa Bhagwati in the village, Yashwant falls down and dies while pulling the chariot of Maa Bhagwati. With this shock, Aruna’s father commits suicide. His friend, Balkrishna (Jagirdar), a theatre artist in Mumbai, takes Aruna to their house in Mumbai where he stays with his wife (Gulab). After a few days, Balkrishna, whom Aruna calls Uncle, arranges another match for her marriage. At this stage, she reveals to her aunt that she is pregnant with Yashwant’s child. Aunt is devastated as her family’s prestige is at stake. Aunt expels Aruna from her house. However, Uncle brings her back home when he comes to know that she is pregnant. He reprimands his wife for letting her to run away from home under such circumstances.
Aruna gives birth to a baby boy. To supplement the income of the household, Aruna joins the same theatre group her Uncle is working as a singer and dancer. With both Uncle and Aruna working in theatre, requiring them to frequently take tours outside Mumbai and the Aunt being hostile to Aruna, Uncle convinces Aruna that it is in the best interest of the child that she admits her child in an orphanage where he would be better treated than in his home. Aruna reluctantly agrees to this arrangement, assuming it to be a temporary arrangement. The child is admitted to an orphanage with the name, Nandkumar.
Aruna has joined films and become a star with the screen name of Shobha Rani. On the day, the orphanage is celebrating Nandkumar’s 3rd birthday, a childless couple, Shyam Sharma (SD Narang) and Manorama Sharma (Purnima) have shown interest in adopting Nandkumar. On the same day, Balkrishna visits the orphanage to take back Nandkumar to his house. However, the orphanage suggests to Balkrishna that the theatre environment will not be good for Nandkumar. On the contrary, he would get better facilities with the adopted parents.
Shobha Rani even thinks of quitting the film industry to be with her child. But with so many films on the floors, she cannot quit the film industry abruptly. Nevertheless, the motherly love for her child takes her to the doorstep of Sharma family with a request to release Nandkumar to her. Shyam Sharma understands Shobha Rani’s predicament especially when he was briefed by Balkrishna the background before adopting Nandkumar. Somehow, he convinces his wife to handover Nandkumar to Shobha Rani. However, within a couple of days, Nandkumar refuses to call Shobha Rani as his mother and creates trouble for her forcing her to take him back to her adopted mother.
After handing over Nandkumar back to Sharma family, Shobha Rani decides to renounce her filmy career to take care of hundreds of orphans in India. In the back of her mind, Shobha Rani feels as to why not she become the mother of all such children and why not she sees in them her own child. She joins an orphanage. At this stage, the film’s story comes back to Badi Maa’s present situation.
Dr Nandkumar performs the eye operation of Badi Maa. The success of the operation will be known after a few days when the bandage over her eyes is removed. Dr Nandkumar proposes to Anuradha for the marriage but Anuradha is hesitant to agree as she would not be acceptable to his mother because of her caste. After failing to convince his mother, Dr Nandkumar is in a dilemma. He does not want to displease his mother. But at the same time he does not want to deviate from his ideology of not believing in the practice of untouchability. Anuradha on the other hand, does not want to put Dr Nandkumar in a fix. She is waiting for the day when the bandage of Badi Maa’s eyes is opened and her eyesight is regained after which they will go back to the orphanage.
On the day of reckoning, both Nandkumar’s mother, Manorama and Anuradha visit the same temple separately. While Manorama prays for her son’s successful eye operation and also for bringing a bright light in her house by way of a good daughter-in-law, Anuradha prays for restoring eyesight of Badi Maa so that she continues in the orphanage as a ‘lead kindly light’ for hundreds of orphans. After the prayer, Manorama meets Anuradha without knowing her as such and blesses her that her wish be fulfilled by God.
Nandkumar, with his mother, comes to the clinic and removes the bandage on the eyes of Badi Maa. Her eyesight is restored as she sees Anuradha and Nandkumar. However, when she sees Manorama also, both are surprised as she knows her as Nandkumar’s adopted mother. Now things become clear to Badi Maa that Nandkumar is her son who wants to marry Anuradha. With these developments, Manorama gives up her rigid stand of practicing untouchability and accepts Anuradha as her daughter-in-law, as she feels that it was God’s wish that made her to bless Anuradha when they had met in the temple.
The film ends with Badi Maa leaving alone for the orphanage to look after her ‘children’. She says to Manorama that she is the real mother of Nandkumar, having brought up and provided higher education to him to become a doctor and now the owner of a clinic.
When I picked up this film to watch, I did not have a great expectation as there was an inordinate delay in releasing the film. The film turns out to be good to watch thanks to director, Ram Gabale who made this socially relevant film of that period. He is superb in handling the emotionally charged scenes with softening melodramatic impact on the audience. He mainly focused on the theme rather than adding ‘masala’ elements for which there was the good scope like creating a villain’s character, adding love affairs when the protagonist becomes the star heroine etc. KA Abbas-Jagdish Kanwal deserve credit for their joint efforts in screenplay and dialogues in retaining the emotionally sensitiveness of the story written by PL Deshpande. Usha Kiran, Surekha, Dilip Raj and Purnima have given good performances in their respective roles. Though the film’s story was ‘out of date’ by the time it got released, I wish that this film could have got the normal theatrical release to get at least critical accolades.
The film had the melodious five songs of which one song had two versions. The songs were written by Satyendra Athaiya (4) and Indeewar (1) which were set to music by Mohammed Shafi. It appears that the film’s songs were not released on gramophone records. The film makes a debut on the Blog with its first song, “Suno Nath Deenon Ke Dukhiyon Ke Pyaare’ rendered by Lata Mangeshkar and picturised on Usha Kiran. The interludes music also includes an unknown male voice in the background which I guess is that of Manna Dey.
The context of the song is that Aruna (Usha Kiran) is engaged to Yashwant (Karan Diwan) and they are to shortly get married. In between, the village has a Rath Yatra of Maa Bhagwati. While pulling the chariot, Yashwant falls and due to stampede, he gets killed. Aruna is devastated and on top of it, she is carrying Yashwant’s child before her marriage. With these shock, her father commits suicide. Under the circumstances, Aruna rushes to the temple and sings the song of lamentation.
The song gives a feel of the golden period of Hindi film music.
Editor’s note:-This song is a great discovery. It is clearly from “Tanhaai”(1961), a movie whose songs were unavailable because their records were not made. Details of singers are not mentioned in HFGK for “Tanhaai”(1961) as well as in “Badi Maa”(1974). What is more, this song is not listed in Lata Mangeshkar Gandhar Swaryatra in the years 1961 and 1974. To the credit of Mr Snehashish Chatterjee, he has mentioned this song in his Lata Geetkosh (1971-1975) under “Badi Maa”(1974). But he has assumed this song to be penned by Indeewar. This song was not included during Lata Mangeshkar list of songs series in the blog when her songs were being covered one year at a time.
Video
Song – Suno Nath Deenon Ke Dukhiyon Ke Pyaare (Badi Maa) (1974) Singer – Lata Mangeshkar, Lyricist – Satyendra Atthaiya, MD – Mohammed Shafi
Female Chorus
Unknown Male Voice
[Ed Note: There is a wonderful amalgamation of chorus voices and a male voice, that repeat certain lines throughout the song, The refrains of “gopal govind hare muraare” (in female chorus voices) and “ho gopa..aal” (in a male voice) can be heard in the background as the song progresses.]
Lyrics:
gopal govind hare muraare
gopal govind hare muraare
ho o
gopal govind hare muraare
gopal govind hare muraare
ho o
gopal govind hare muraare
gopal govind hare muraare
suno naath deenon ke dukhiyon ke pyaare
suno naath deenon ke dukhiyon ke pyaare
gaye toot bandhan hamaare tumhaare
gaye toot bandhan hamaare tumhaare
suno naath deenon ke dukhiyon ke pyaare
gaye toot bandhan hamaare tumhaare
gaye toot bandhan hamaare tumhaare
gopal govind hare muraare
gopal govind hare muraare
ho o
gopal govind hare muraare
gopal govind hare muraare
ho gopa..aal
gopa..aal
gopa..aal
thhi sankat ki lahron mein jeewan ki naiyaa
thhi sankat ki lahron mein jeewan ki naiyaa
tamaasha samajh hans raha thha khiwaiya
tamaasha samajh hans raha thha khiwaiya
bhanwar ban gaye doobton ko kinaare
gaye toot bandhan hamaare tumhaare
gaye toot bandhan hamaare tumhaare
gopal govind hare muraare
gopal govind hare muraare
ho o
gopal govind hare muraare
gopal govind hare muraare
ho gopa..aal
gopa..aal
gopa..aal
jo apno se itni doori rahegi
doori rahegi
to pooja tumhaari adhoori rahegi
pooja tumhaari adhoori rahegi
sisakti gayi raat toote sitaare
gaye toot bandhan hamaare tumhaare
gaye toot bandhan hamaare tumhaare
suno naath deenon ke
suno naath deenon ke dukhiyon ke pyaare
gopa..aal
dukhiyon ke pyaare
gopa..aal
gaye toot bandhan
gopa..aal
gaye toot bandhan hamaare tumhaare
gopa..aal
gaye toot bandhan
govind gopal
govind gopal
govind gopal
govind gopal
govind gopal
Hindi script lyrics (Provided by Sudhir)
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो ओ
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो ओ
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
सुनो नाथ दीनों के दुखियों के प्यारे
सुनो नाथ दीनों के दुखियों के प्यारे
गए टूट बंधन हमारे तुम्हारे
गए टूट बंधन हमारे तुम्हारे
सुनो नाथ दीनों के दुखियों के प्यारे
गए टूट बंधन हमारे तुम्हारे
गए टूट बंधन हमारे तुम्हारे
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो ओ
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो गोपा..आल
गोपा..आल
गोपा..आल
थी संकट की लहरों में जीवन की नैया
थी संकट की लहरों में जीवन की नैया
तमाशा समझ हंस रहा था खिवैया
तमाशा समझ हंस रहा था खिवैया
भंवर बन गए डूबतों को किनारे
गए टूट बंधन हमारे तुम्हारे
गए टूट बंधन हमारे तुम्हारे
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो ओ
गोपाल गोविंद हरे मुरारे
गोपाल गोविंद हरे मुरारे
हो गोपा..आल
गोपा..आल
गोपा..आल
जो अपनों से इतनी दूरी रहेगी
दूरी रहेगी
तो पूजा हमारी अधूरी रहेगी
पूजा हमारी अधूरी रहेगी
सिसकती गई रात टूटे सितारे
गए टूट बंधन हमारे तुम्हारे
गए टूट बंधन हमारे तुम्हारे
सुनो नाथ दीनों के
सुनो नाथ दीनों के दुखियों के प्यारे
गोपा..आल
दुखियों के प्यारे
गोपा..आल
गए टूट बंधन
गोपा..आल
गए टूट बंधन हमारे तुम्हारे
गोपा..आल
गए टूट बंधन
गोविंद गोपाल
गोविंद गोपाल
गोविंद गोपाल
गोविंद गोपाल
गोविंद गोपाल
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3 Responses to "Suno Nath Deenon Ke Dukhiyon Ke Pyaare"
2 | Sadanand Kamath
August 5, 2026 at 7:36 am
Sudhir ji,
Thanks a lot for adding some vital information about the song. I did not know that this song was not listed in Lata Mangeshkar’s Gandhar Swaryatra.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 4, 2026 at 10:18 pm
This song absolutely captivated me. It is a truly magnificent composition. Underlaying the song with a chorus and a solitary male voice is absolutely a master-stroke in composition, lending the piece remarkable depth and emotional richness. This creates a three-layered structure, not only in its musical arrangement but also in the range of moods it evokes.
Lata’s voice is, as always, pitch-perfect and crystal clear. Although the song carries both a melancholic and devotional tone, the lyrics seem less like a prayer and more like a heartfelt confrontation with the Almighty.
I thoroughly enjoyed listening to it. Thank you for introducing this beautiful gem to us.
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August 5, 2026 at 7:31 am
harveypam ji,
Thank you very much for nicely analysing the song in more details.
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