Chandan ko choom choom mast hai pawan
Posted on: August 28, 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 : | 6615 | Post No. : | 20528 |
Today’s song is the last and final song from an ‘Unusual’ film- Dil akhir dil hai-1982.
The producer was M.S.Gulati and the film was directed by Esmayeel Shroff.
Esmayeel Shroff (12 August 1950 – 26 October 2022) was a film director and writer, born in Kurnool, Andhra Pradesh. He was noted for his work in Bollywood. His hit film Thodisi Bewafaii -1980 was famous among the crowd of the 1980s. The movie was written by his brother, Moin-Ud-Din.
Shroff graduated in Sound Engineering from National Institute of Technology, Tiruchirappalli. He later went to Bombay, now Mumbai, to pursue his interest in films. He worked as Assistant Director to Bheem Singh and later directed his first film Thodisi Bewafaii-1980, followed by other films in Bollywood.
Shroff directed Thodisi Bewafaii-1980 followed by Agar – If, God and Gun, Ahista Ahista, Zid, Police Public, Majhdhaar, Dil Akhir Dil Hai, Tarkieb, Bulundi, Nishchaiy, Surya and Jhuta Sach. He was directing the movie – Nazuk sa Modh which was to be shot in Delhi. “I am going to be in Delhi during the shoot and would like to see the film should move in the right direction” said Shroff while leaving Mumbai for Delhi.
Shroff died on 26 October 2022, at the age of 72 after suffering a heart attack one month earlier.(Thanks to Indian Film Directors by K.Suryakant and my notes.)
The cast of the film was Nasiruddin Shah. Raakhee, Parveen Babi, Jalal Agha, Rehman, A.K.Hangal, Deena Pathak, Murad, Leela Mishra etc.etc. It is said that originally the Hero was to be Rishi Kapoor, but when he heard the story he backed out. Looking at the very unusual story, Nasiruddin Shah agreed to work in this film. However, he was never happy during the film shooting. He even accepted once that he had made a blunder by doing this film.
What was in the story of the film, that no hero was to do the film ? The film was unusual in a sense that it was almost a story of a Psychiatric- person. I have seen hundreds of films, but found that there was only one more film where the Hero was shown as a Psychiatric (read derailed personality, who is unable to cope up with any partner in life.) That film was Sohrab Modi’s film Jailor-1938 – remade in 1958, with the same same story but of course, with different cast.
In both these films, the directors tried to make amends to the story in the last by indicating that the hero had learnt a lesson of normal behaviour. let us see the story of the film Dil akhir dil hai-1982….
Arvind Desai (Rehman), his wife, Shobha Desai (Deena Pathak) stay with their 30-year old daughter, Kusum (Rakhee) who is yet to get married. Arvind has a family friend, Ashok Mehta whose son, Vimal Mehta works in his company where Rakhee also works who is a senior to him both in age and the company’s hierarchy. Arvind is worried about the delay in Kusum’s marriage. Ashok helps him by convincing his friend in fixing his son’s marriage with Kusum. However, on the marriage day, the bridegroom travels to Japan to avoid the marriage. Ashok feels let down by his friend and instead emotionally pressurises his 25 year old son, Vimal (Nasiruddin Shah) to marry Kusum. He marries Kusum very reluctantly.
While Kusum becomes a devoted wife to Vimal, he is not able to get a feel of her as his wife due to his immense respect for her as an elder. While Vimal continues to respect her, he is short of his duties as a husband. Because of Kusum’s encouragement, Vimal, after passing LLB, takes up the profession of a lawyer. While Kusum is yearning for his love as a wife, Vimal neglects her as his wife though his respect for her continues. He resents her when she does his work as a wife. He does not like her to undertake fasting rituals for the betterment of him as a husband. This creates some tension in their relationship.
One day, a client, Sapna (Parveen Babi) comes to Vimal’s office in connection with her company’s legal case. He is mesmerised by her presence and imagines her to be an ideal wife. She also reciprocates to his advances. He dreams of her day and night. Vimal starts regularly meeting Sapna on the beach, in the restaurant and in the park while at home, he works late avoiding Kusum. They stay together yet they are far away from each other. Kusum and her mother take the services of a counsellor (Shammi) who feels that Vimal’s respect for Kusum as an elder person and also a senior in the office has created an inferiority complex in him. For him, respecting her has become a worship. And sensual desire and worship do not go together. The counsellor suggests that both of them go out of the city and spend a few days together where both of them start feeling the need of each other. But this does not work as Vimal is completely engrossed in Sapna who is constantly in his image. One day, he even tacitly indicates Sapna to be his wife. When she is on the official trip outside, Vimal visits her in the guise of his client’s meeting.
Kusum comes to know about Vimal’ relationship with Sapna when she had seen them together. Vimal reveals that he likes Sapna from his heart while he has married her due to pressure from his father to whom he cannot displease. While they are going through the turmoil in their married life, Vimal’s father, Arvind dies in a plane accident while travelling to Kolkata. Vimal gives up his lawyer’s profession to run his father’s business. With his father’s death, the restraints in the artificial married life for both Vimal and Kusum no longer exist. For the happiness of Vimal, Kusum decides to give him divorce.
Vimal consults his friend, Fazal (Jalal Agha) who was his classmate in the college and also now a lawyer. More than his legal advice, Fazal tries to convince Vimal that Kusum is his ideal wife who is prepared to sacrifice her marital life for the happiness of her husband. But Vimal is mesmerised by Sapna to such an extent that he decides to take his own decision regarding the divorce rather than relying on his friend’s advice. Fazal warns Vimal that he will not allow the divorce to take place and fights the divorce case. However, in the court, Kusum makes divorce for Vimal easy by presenting herself as an ascetic who has renounced the world. Court grants divorce to Vimal. Kusum shifts to Pune with her mother. Vimal marries Sapna.
Within a few days, the differences between liberal and independent-minded Sapna and the conservative Vimal surface. Initially, Vimal takes it as temporary hiccups which he assumes will get adjusted over a period of time. But both of them realize that they are not compatible. One day, Vimal accidentally meets Kusum in a restaurant who has come to Mumbai for some official meetings. Vimal pours his problems with Sapna, to Rakhee who tries to bring rapprochement between them. But this does not work as Sapna sees the trait of male chauvinist in Vimal who does not like her dancing with other male friends and also organising the get-together of her friends in the house and her partying with them at the cost of neglecting him. Fed up with his everyday tantrum, Sapna seeks divorce from him and he agrees for the divorce in the court.
After the divorce, Vimal goes to his lawyer friend, Fazal’s house and requests him to draft a document in which he transfers all his assets in the name of Kusum to financially assist the needy divorced women. He visits Pune to hand over the document to Kusum. She is surprised by his sudden visit. He reveals to her that Sapna has divorced him and post-divorce, he has decided to transfer all his assets to her to take care of the divorced women in need of financial help. He tells her that his life is like a story written on a paper which has gotten wet which cannot be read and on which one cannot rewrite a new story. He hands over the property document to Kusum and tells her that he has decided to go for a long pilgrimage. Kusum is speechless because of the sudden developments. As Vimal is leaving her house, Kusum follows him and takes him in her arms who reciprocates by hugging her for the first time. She says to him that it is better late than never to realise their true relationship.(Thanks to Sadanand Kamath ji).
The film did not do well at the Box Office, maybe due to its mind boggling story. The audience probably could not cope up with the thought that such people too existed in this world !
One interesting cast member of the film was Deena Pathak. She was one of the few artistes who had a different name in the initial part of their career and later on stuck to a new name. DEENA PATHAK….who was Deena Gandhi…Deena Sanghvi…..and finally Deena Pathak.
Dina Pathak was born as Dina Gandhi, in Amreli, Gujarat on 4 March 1922. She was enamoured of fashion and films, and while a teenager, started acting in plays and won acclaim from critics. She attended and graduated from a college affiliated to the University of Bombay (Mumbai). Rasiklal Parikh trained her in acting while Shanti Bardhan taught her dancing.
At a young age, she joined the Indian National Theatre as an actress. She became known for her student activism, where Bhavai theatre, a folk theatre form from Gujarat, was used extensively to create awareness about the British rule, in the pre-independence era; this led to her close association with Indian People’s Theatre Association (IPTA), along with her elder sister Shanta Gandhi and younger sister Tarla Mehta; while in Mumbai, she had an important hand in reviving the Gujarati theatre there, along with fellow Gujarati actors like Kailash Pandya and Damini Mehta.
At age 44, she made a comeback into films, with Basu Bhattacharya’s Uski Kahani (1966), for which she won the Bengal Journalists Association Award. She made four films in the 1960s, including Hrishikesh Mukherjee’s classic Satyakam (1969), Saat Hindustani (1969), starring Amitabh Bachchan in his debut role and the Merchant Ivory Productions, The Guru (1969). By the 1970s, she had become a favourite of art and commercial films alike, playing powerful motherly and grandmotherly roles. It was in these films that she became recognised as the Grand-Old-Mother of Hindi films.
Films that stand out in this era are Gulzar’s Mausam (1975), Kinara (1977) and Kitaab (1977), and sweet comedies like Basu Chatterjee’s Chitchor (1976), Gharaonda (1977) and also in an art cinema classic, Shyam Benegal’s Bhumika (1977), which saw her standing tall alongside another acting legend, Smita Patil, in her career’s best performance.
Just as the 1970s ended, she was seen in the comedy classic, Hrishikesh Mukherjee’s Gol Maal (1979), where she essayed the role of Kamala Shrivastava, a middle-aged woman who sportingly plays mother to Amol Palekar, who went on to direct her in his 1985 film, Ankahee. The next decade began with another career best, as a stern disciplinarian matriarch in Hrishikesh Mukherjee’s Khoobsurat in (1980), closely followed by Bhavni Bhavai (1980). In 1980, she was also awarded the Sangeet Natak Akademi Award. In all, she acted in 150 Hindi films.
Her first marriage was with Ramesh Sanghvi, but they separated soon. It was at this stage , she sang two songs in her first Hindi film Paraya Dhan-43, as Dina Sanghvi. Later she married Baldev Pathak and had two daughters, actresses Supriya Pathak (b. 1961) and Ratna Pathak (b. 1957 ). She completed her last film, Pinjar (2003), but died before its release, of heart attack, following a prolonged illness, on 11 October 2002 in Bandra, Bombay. ( I thank Late shri Harish Raghuwanshi ji for providing me with a Gujarati article on Deena Pathak and for confirming that Deena Sanghvi and Deena Pathak were the same ).
Here is the last and final song from this film, sung by Asha Bhosle. This makes the film YIPPEED !
Song- Chandan ko choom choom mast hai pawan (Dil Aakhir Dil Hai)(1982) Singer- Asha Bhosle, Lyricist- Nida Fazli, MD- Khayyam
Lyrics :
chandan ko choom choom mast hai pawansaahil ko choom choom mauj hai magan
samjho sajan
pyaar kee lagan
chandan ko choom choom mast hai pawan
sahil ko choom choom mauj hai magan
samjho sajan
pyaar ki lagan
chandan ko choom choom mast hai pawan
patthar kee moorat mein pyaar pala hai
rangon mein chhandon mein pyaar dhala hai
patthar kee moorat mein pyaar pala hai
rangon mein chhandon mein pyaar dhala hai
simtee hai honthon mein man kee agan
simtee hai honthon mein man kee agan
samjho sajan
pyaar kee lagan
chandan ko choom choom mast hai pawan
sar se paanv tak pyaar ho piya
raushan kar dega man deh ka diya
sar se paanv tak pyaar ho piya
raushan kar dega man deh ka diya
dekho to chhoo ke kora badan
dekho to chhoo ke kora badan
samjho sajan
pyaar kee lagan
chandan ko choom choom mast hai pawan
baandhhe thhe agni ke aage bandhan
sweekaara thha mujhko apnee dulhan
baandhhe thhe agni ke aage bandhan
sweekaara thha mujhko apnee dulhan
kar do tum poore wo pyaar ke vachan
kar do tum poore wo pyaar ke vachan
samjho sajan
pyaar kee lagan
chandan ko choom choom mast hai pawan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment