Bina dosh Seeta maata ko
Posted by: Atul on: August 20, 2026
- In: Asha Bhonsle songs | Asha Bhonsle-Hridaynath Mangeshkar duet | Beggar's song | Duet | Final (YIPPEE) song of movie in the blog | Guest posts | Lord Ram related songs | Post by Arunkumar Deshmukh | Song sung by relatives | song sung by siblings | Songs of 1950s (1951 to 1960) | Songs of 1954 | 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.
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Today’s song is the last and final song from a less known film- Bazuband-1954.
When I came across this film for the first time, I was wondering as to what Bazuband meant. That time there was no Internet, so I could not ask Google. Finally, one day I came to know its meaning when I heard my mother and her friends talking about jewelry. I learnt that Bazuband is an ornament worn by women on the upper hand !
Film Bazuband -1954 was produced by Ashalata Biswas – wife of music director Anil Biswas. It was directed by Ramanand Sagar and the music was by Mohd. Shafi. The film had a good starcast of Sulochana Chaterjee, Balraj Sahni, Roopmala, Anwar, Om Prakash, Noorjahan(sr), Indira, Guest artist Radha kishen and a few other artists. Lyricists were prem Dhawan, Pt. Chandrashekhar and Daag Dehalvi. The story and screenplay was by Ramanand Sagar.
The main theme of the story of the film is that in a well-settled family, a distraction by way of some vices especially when ‘other woman’ comes into the life of the husband, can wreck the family – both financially and emotionally. It is the faith and the trust with which an understanding wife can steer the husband from the wrong path. The problem with the film is that the story is too familiar for the audience as they would have watched many films with such a story in the 40s and early 50s. There is no harm making one more film on such a story provided the director has presented the story in a different cinematic presentation. But it is not.
The story of the film was….
Seth Surajmal (Balraj Sahni), his wife, Radha (Sulcohana Chatterjee) and his two children are a wealthy and happy family. But Surajmal has one weakness. Come evening and he is magnetically attracted to make a visit to Amma’s kotha where he is under the magical spell of the dancer Chanda (Roopmala). He watches her dance and gifts costly jewelry to her on each visit . By mid-night, he returns home fully sozzled in alcohol. This is Surajmal’s daily routine. The regular patrons of Chanda include Saanwariya (Om Prakash) and Bankelal (Anawar Hussain). Saanwariya, once upon a time a wealthy merchant, has now become almost pauper and spends his entire time in the kotha. Bankelal on the other hand is financially weak and looking for some way to raise money so that he and his foreign fiancé Josephine (Noreen Linford) can settle abroad. For this, Bankelal has found a way out by joining hands with Chanda to financially fleece Surajmal with a false promise to her that when she has collected sufficient money from Surajmal, he will marry her and settle abroad.
Radha’s mother and younger sister try to impress upon her to confront Chanda but she takes a stand that the fault lies with her husband who is mesmerised by Chanda. So, she has to take measures to bring her husband to the correct path. She is sure that her devotion towards her husband and the children would one day bring him back to senses. But would it not be too late for Radha?
In the meanwhile, hearing the news that her mother is unwell, Radha leaves for her mother’s place leaving the children with Surajmal. Bankelal finds an opportunity to place Chanda in Surajmal’s house in the guise of looking after his children. One day, when Surajmal is under the influence of liquor, Chanda gets him to sign a will that after his death, Chanda will be the sole owner of all his assets including the house.
Bankelal’s next move is to get Surajmal killed in such a way so as to appear as an accidental fall from a hill top while under the influence of liquor though he would be pushed to death by Chanda. This plan is accidentally heard by Saanwariya. He cautions Radha and at the same time, he decides to tackle Bankelal. While both Bankelal and Saanwariya seem to be enjoying their drinks in the former’s house, Saanwariya mixes poison in the drinks as a result of which Bankelal dies.
Simultaneously, as per plan, Chanda after making Surajmal drinks a lot, takes him to a hilltop in the pretext of a romantic walk. However, Radha has been following them. When Chanda is struggling to push Surajmal from the hilltop, Saanwariya also reaches the spot and kills Chanda by stabbing. He throws her dead body from the hilltop. Radha reaches the spot and rescues Surajmal. Police arrive and arrest Saanwariya when he tells them that he had killed Bankelal by poisoning him and stabbed to death Chanda. Surajmal is now a changed man spending his evenings with his family. All’s well that ends well.(Thanks to Sadanand Kamath ji).
The 50’s decade was called the Golden Era of HFM, not for nothing. Year after year, the films provided excellent songs, different film Genres, convincing stories, superb acting and Full Paisa Vasool Entertainment. In such a scenario an average music, beaten track stories, mediocre acting, poor direction and lustreless short lived songs had no chance of winning. Today’s film was one such film. Naturally the film Bazuband-1954 did not do well at the Box Office.
Producer of this film, Ashalata Biswas (17/10/1917 – 26/05/1992), was born as Mehrunissa Bhagat in a Gujarati Kutchi Muslim family based in Bhuj. She was well educated. She had to join filmline to help her family. Started her filmy career as an actress in ‘Sati Toral’ (1935) with the screen name of ‘Ashalata’. However her Debut film was Azaadi-1935, with Vijay Kumar as her first Hero. She was well versed and spoke Hindi, English, Marathi, Katchi, and Sindhi. After marriage she learnt Bengali too. While working in the film, ‘Manmohan’ (1936), Ashalata and Anil Biswas, the film’s music director got married. She continued to work in films which included ‘Jwaala’ (1938) with Chandramohan, ‘Premveer’ (1938) with Master Vinayak, ‘Deepak’ (1940) with Prithviraj Kapoor, ‘Zindagi’ (1940), ‘Sukhi Jeewan’ (1942), ‘Chaar Aankhen’ (1945) among 20 odd films till 1949.
Towards the end of 1940s, Ashalata Biswas retired from acting and set up a film production company, ‘Variety Pictures/Productions’ with her husband, Anil Biswas in 1948. Under this banner, ‘Laadli’ (1949) was the maiden film she produced. This was followed by ‘Lajwaab’ (1950), ‘Badi Bahoo’ (1951), ‘Hamdard’ (1953) and ‘Baazooband’ (1954). She produced ‘Mehmaan’ (1953) and gave break to Ramanand Sagar as a director. ‘Andher Nagari Chaupat Raja’ (1955) was her last Hindi film as a producer. Thereafter she occasionally worked as an actor in supporting roles in Hindi and Gujarati films. ‘Biradari’ (1966) was her last Hindi film as an actor. Her later years were spent away from the spotlight until her death on May 26,1992 due to old age.
She had 3 sons and 1 daughter. Her son Utpal became Music Director and daughter Shikha got married.
Anil Biswas married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep,Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information,hitherto not known much, brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.
Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.
After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse.
Composer Mohd. Shafi ( 25-12-1925 to 30-4-1980 ) was one of those talented artistes of Hindi Film Music who was only used by others and never got enough credit for his work.He is honoured as “The original Arranger” in the industry.He was an excellent Sitar player. He started with the Imperial Film company-where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films Kapal Kundala-39 and Aandhi-40, as an assistant to Pankaj Mullick and K.C.Dey. He played the sitar in the film “Ujala”-42. In this film, the Hero-Prithviraj kapoor was shown as a Sitar player,hence the expertise of Shafi was fully utilised in this film.
Starting with the film ‘Haqdaar’-46, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and Arranger, for 14 years.He was considered a ‘Dada’ in Background music.He gave Background music to about 70 films( for Naushad and others). For Mughal E Azam, K.Asif used to send his personal car to fetch him to studio. It was said that Shafi gave the first break to Suman Hemmadi(Kalyanpur) in Mangu-54 and Hemlata in the unreleased film Iraada.
Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days , except Rafi, no one came for his help. In the final few months, his memory had gone. His Begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! “
It is said that the entire music of Sohni Mahiwal-58 was done by him. Naushad was sick during this period and did not attend even one recording. “Do hanson ka joda”and “Dhoondo dhoondo re saajna” Gunga Jamuna-61 were his creations. He used to give tunes to many composers too-whoever asked for help.
It is believed that Shafi also acted in 2 films, namely Jungi Jawan-43 and Diler Detective-48. As a MD, he gave music to 19 films and composed 125 songs.
Film Chini jadugar-1959 had music by Shafi M Nagari. Now, who is this composer ? A search on HFGK gives 7 more names of films for him, namely Krishna Kanhaiya-52, Shamsheerbaz-53, Sher dil-54, Carnival Queen-55, Diler Daku-57, Circus Queen-59 and Chini Jadugar-59. Well known Music expert and collector Shri Girdharilal Vishwakarma ji has confirmed that it is none other than composer Mohd. Shafi only. In this name he gave music to 8 films and composed 48 songs.
During the Studio system and later on, few known MDs too availed of this trick to find a way out of the rules. For example, Snehal Bhatkar used different names to give music as long as he worked in HMV. C.Ramchandra used the name Annasaheb or P Ramakant when giving music to action/stunt films. Even Anil Biswas is said to have used the name Bhola to give music(validation reqd.), Lata Mangeshkar gave music in the name of Anandghan, Hafiz Khan Mastana used the alias Gunjan and S D Batish used Nirmal Kumar. So, it is no wonder that while assisting Naushad for so many years, Mohd. Shafi used an alias for giving music to outside films.
Today’s song is the last and final song of this film. It is sung by Asha Bhosle with her brother Hridaynath Mangeshkar. With this song all songs are covered and the film is YIPPEED !
Audio
Video
Song- Bina dosh Seeta Maata ko (Baazooband)(1954) Singers- Asha Bhosle,Hridaynath Mangeshkar, Lyricist- Prem Dhawan, MD- Mohd. Shafi
Lyrics (Based on audio link):
bina dosh Seeta maata kodiya Raam ne ghar se nikaal
ajee diya Raam ne ghar se nikaal
mat poochho kya kya dukh jhele
kahaan kahaan bhatke behaal
ajee kahaan kahaan bhatke behaal
bina dosh Seeta maata ko
diya Raam ne ghar se nikaal
ajee diya Raam ne ghar se nikaal
arey mat poochho kya kya dukh jhele
kahaan kahaan bhatke behaal
ajee kahaan kahaan bhatke behaal
phir bhee hardam kahtee thhee wo o o o
arey phir bhee hardam kahtee thhee wo
apne Raam ka karke khyaal
Raam Raam Raam
jai jai Raam Raam Raam
jai jai Raam ho
naaree kee mahima mat poochho
uskee mahima kahee na jaaye
arey uskee mahima kahee na jaaye
uske ehsaanon ka badla
is duniya mein kaun chukaaye
arey is duniya mein kaun chukaaye
pyaar mein apnee jaan bhee de de ae ae ae
arey pyaar mein apnee jaan bhee de de
par mukh se na nikle haaye
Raam Raam Raam
jai jai Raam Raam Raam
jai jai Raam ho
duniya waalon
is duniya mein kab hoga naaree ka maan
arey kab hoga naaree ka maan
jiskee god mein khele
kitne yodha aur kitne vidvaan
yodha aur kitne vidvaan
jiskee kokh se paida hoke ae ae ae ae
haaye jiskee kokh se paida hoke
jag mein aaye khud Bhagwaan
Raam Raam Raam
jai jai Raam Raam Raam
jai jai Raam ho
bina dosh Seeta maata ko
diya Raam ne ghar se nikaal
ajee diya Raam ne ghar se nikaal
mat poochho kya kya dukh jhele
kahaan kahaan bhatke behaal
ajee kahaan kahaan bhatke behaal
bina dosh Seeta maata ko
diya Raam ne ghar se nikaal
ajee diya Raam ne ghar se nikaal
mat poochho kya kya dukh jhele
kahaan kahaan bhatke behaal
ajee kahaan kahaan bhatke behaal
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