Mera naam hai Flory
Posted on: September 1, 2026
- In: "Nok-Jhonk" song | Asha Bhonsle songs | Asha Bhonsle-Sharda duet | Dance song | Duet | Final (YIPPEE) song of movie in the blog | Guest posts | Introduction song | Jaishree T Dance Songs | Lyrics by Sadanand Kamath | Lyrics contributed by readers | Mumtaz Dance Song | Post by Arunkumar Deshmukh | Showdown song | Songs of 1970s (1971 to 1980) | Songs of 1973 | 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 : | 6619 | Post No. : | 20535 |
Today’s song is the last and final song from a social film-Pyar ka Rishta-1973.
Made by Golden films, Bombay, the film was directed by Sultan Ahmed and the music was by the successful pair of Shankar- Jaikishen. The lyricists were Shakeel Badayuni and Indivar. The cast included Balraj Sahni, Nirupa Roy, Mumtaz, New find Sameer, Vinod Khanna, Shatrughna Sinha, Nadira, Johnny Walker, Jayashree T. and many more artistes.
I find that usually there are 3 types of filmmakers….
- Those who make films on family life, the usual problems and a Happy ending.
- Those who try offbeat themes, combined with usual saleable stuff for safety and
- Those who make films on basic qualities of human beings, on a limited budget, but make an interesting and successful film. However, for them the risk is greater than the other 2 types.
Today’s film belongs to the first category. An expert Cine-goers can easily guess the type of film story just by looking at the cast. Here one can see the pair of Balraj Sahni and Nirupa Roy in the cast and he can conclude that it is a film discussing family problems of a joint family.
If one sees the names of Chitra and Azad in the cast, one can close their eyes and conclude that it must be a Jungle or stunt movie.
If one sees Rajesh Khanna and any of the good looking Heroines, it indicates a love story with complications and solutions.
So on and so forth…..
Indian films are so predictable !
There is an undying market for films based on family problems and usually the investors recover their money with reasonable profits. This is irrespective of what the other films in the times are showing. Let us first see the story of the film Pyar ka Rishta-1973….
Pyar Ka Rishta (1973) is a heartfelt Bollywood family drama directed by Sultan Ahmed that explores the fracturing and eventual reunification of a close-knit family due to domestic conflict and greed. The primary narrative revolves around the strong sibling bond between Ashok and his sister Radha, and how external pressures test their family ties.
Ashok (Balraj Sahni) and his sister Radha (Nirupa Roy) live happily under one roof with their respective families. Ashok’s son is Anil (Vinod Khanna), and Radha’s son is Raju (Sameer Khan).
The peaceful household is disrupted by bitter ideological and personal differences between Radha and Ashok’s manipulative wife, Kamla (Nadira). Kamla fiercely resents Ashok’s deep devotion to his sister, especially when he gifts property to Radha as a token of his brotherly love.Unable to bear the constant friction and insults from Kamla, a heartbroken Radha decides to leave the ancestral home to maintain whatever dignity is left. She takes her son Raju with her to start a separate life in another house.
Capitalizing on the family’s division, the scheming Munimji, Dharamdas (Shatrughan Sinha), along with his father Bhagwandas, works from the shadows to exploit their wealth and deepen the emotional gulf between the separated family members.As the cousins Anil and Raju grow up, they navigate their own romantic lives—featuring Madhu (Mumtaz)—while confronting the web of misunderstandings created by Kamla and Dharamdas. After a series of dramatic confrontations, sacrifices, and the exposure of the villains’ greed, the family finally realizes the true value of their emotional bonds and reunites.
Now let us see what the industry was making for the audience in 1973…
The year 1973 once again proved that the Indian audience gives first preference to happy ending Love stories. For a change, Parallel Cinema is okay but the mainstay of the industry was Love stories which ended happily.
This year 2 unexpected successful films surprised everyone. The first was Zanjeer. Rejected by top stars of the day, the film came to Amitabh Bachhan, who was still a struggling star. This film not only became a Hit and made the Big B an Angry Young man, it also proved the magic of writers Saleem-Javed.
The other surprise was Bobby. Made with 2 Newcomers, the film was not only a Hit, but it also re-established Raj Kapoor as the real Showman. After the let down by Mera Naam Joker, he got the much needed Energy Pill with this film.
Hrishikesh Mukherjee brought 2 films- Abhiman and Namak Haram, proving that AB was the real Diamond after his earlier film Anand.
Yash Chopda’s first film as a Director Daag was about having 2 wives. Nasir Hussain came with Yaadon Ki Baaraat. For Dharmendra, it was in addition to his Kahani Kismat ki, Loafer, Jheel ke uss paar, Keemat and Jugnu.
Other films worth mentioning, out of the total 137 Hindi films in 1973, were Dharma, Aa gale lag Jaa, Saudagar and Achanak.
Some ‘Hat ke’ films were Garm Hawa (last completed film of Balraj Sahni), 27 Down, Duwidha and Avishkar.
First Haryanvi film Veera Shera was released. Rajesh Khanna- Dimple, Raakhi-Gulzar, Amitabh- Jaya and Tanuja- Shomu got married. Balraj Sahni died on 13th April 1973.
Few years back, when I first wrote about Balraj Sahni, I had said that Balraj Sahni was a different type of person than all other film actors. It is surprising how he came into the film line, in the first place. Basically he was a very sensitive writer and stage actor, but having once entered the film world, he continued for the sake of earning a livelihood, making a lot of compromises on his journey of life. I still stand by what I had said. It is worthwhile to even repeat it.
In the days when not many educated people came into films,Balraj-a double MA in English and Hindi joined the films. In the conventional way he was not a handsome person,but his superior acting prowess compensated for this. In an industry,which is a ‘show’ business, he was never counted amongst the Top grade stars, though critics and learned viewers always found him excellent. You can never imagine a Raj Kapoor or a Dev Anand in a film like Seema or Kabuliwala, nor can a Dilip Kumar fit into ‘Do Bigha Zameen’. For such roles Balraj was matchless. After the film Do Bigha Zameen, he and Nirupa Roy became India’s most loved, poor and uneducated, good natured and simple couple for many subsequent films. Together, they acted in 12 films.
Due to this, Balraj never got any romantic or Glamorous roles. However, to earn his daily bread satisfactorily, he compromised and worked in several B grade movies, like Black Cat-59, opposite a Non actress Minu Mumtaz !
Yudhishthir Sahni aka Balraj Sahni was born in Rawalpindi, Punjab, British India (now Pakistan) on 1st May, 1913 to a Punjabi family. After completing his Bachelor of Arts (Hindi), and post graduation in Masters of Arts (English Literature), both from Punjab University; he got married to Dayamanti. It was in the late 1930s that both husband and wife moved to Bengal to join Rabindra Nath Tagore’s Visva Bharati University in Shantiniketan as English and Hindi teacher. It was about the same time that in 1936 Balraj wrote his first compilation of Hindi fiction called “Shahzadon ka Drink”. It was also in Bengal that Balraj and Damayanti’s son, Parikshit was born. In 1938, Sahni went to work with Mahatma Gandhi for a year and the very next year went to England to join the British Broadcasting Network’s Hindi service as a radio announcer. In 1943, he returned to India.
It was in 1944 that Sahni moved to Bombay and joined the Indian People’s Theatre Association (IPTA), a group with which he also started his acting career, albeit through plays. In the same year, he bagged a role in the film “Insaf”, which marked the beginning of his acting career in the Hindi film industry. “Dharti ke Lal” and “Door Chalein” were his next releases in the same year. (In 1947, after doing the Heroine’s role in the film Gudiya-47, Damayanti expired. Two years later, Balraj married his first cousin Santosh Chandhok and they had 2 children.) It was, however, the film “Do Bigha Zameen” that established his strengths as an actor. The movie was directed by Bimal Roy and came out in 1953; it also won the international prize at the Cannes Film Festival. The film is now considered a classic.
In the years that followed, he played many leading roles in commercial films opposite actresses like Nargis, Meena Kumari, Vyjayanthimala, and Nutan in films “Lajwanti” (1958), “Ghar Sansar” (1958), “Satta Bazar” (1959), “Kathputli” (1957), and “Sone Ki Chidiya” (1958) respectively. These films further established his position as a versatile actor. In the 1961, film “Kabuliwala”, written by Tagore, went on to become another of his classics. To prepare for the role, Balraj lived with kabuliwalas in a Bombay suburb. His character roles with strong performances in films like “Haqeeqat” (1964), “Waqt” (1965), “Do Raaste” (1969), “Ek Phool Do Mali” (1969), and “Mere Humsafar” (1970) further left an indelible mark in the film fraternity and fans alike. The legendary song “Ae Meri Zohra Jabeen” from the film “Waqt”, picturized on Balraj Sahni and Achala Sachdev is still etched deep in peoples’ memories and is loved by the current generation as well. They acted in 3 films.
Along with successfully proving his acting prowess, he also displayed exceptional directing skills through the film Lal Batti (1957), where passengers are forced to spend a night together at the railway platform at the time of India’s independence. Balraj co-directed this movie along with Krishan Chopra. His performance in the film “Garm Hava” (1973) is considered to be the best, till date. Sadly, this was his last film before his death.
Sahni’s writing career began with “Shahzadon Ka Drink” that came out in 1936. This was his first compilation of Hindi fiction. He went on to become an esteemed writer in Punjabi literature. He wrote “Mera Pakistani Safar” shortly after his visit to Pakistan in 1960. After a tour to the Soviet Union in 1969, he wrote “Mera Rusi Safarnama”. This book also earned him the Soviet Land Nehru Award. He also wrote his autobiography called “Meri Filmy Atmakatha”. Sahni even penned the screenplay for the 1951 released film “Baazi”, starring Dev Anand and directed by Guru Dutt. Apart from this, he wrote a number of poems, short stories, and contributed to the Punjabi magazine Preetlari.
Going through depression for some time after his young daughter Shabnam’s untimely death, Balraj Sahni passed away on 13th April, 1973 at the age of 59 following a cardiac arrest. He is survived by his son Parikshit, who is also an actor in the Hindi film industry.
Balraj Sahni received the Padma Shri Award in 1969. Balraj Sahni earned the ‘Soviet Land Nehru Award for his book Mera Rusi Safarnama in 1969. Balraj Sahni starrer movie ‘Do Bigha Zameen’ won the international prize at the Cannes Film Festival in 1953. Balraj Sahni joined the BBC-London’s Hindi service as a radio announcer from 1939-43. ‘Punjabi Kala Kender’, founded in 1973 at Mumbai by Balraj Sahni, gives away the annual Balraj Sahni Award’. ‘All India Artists Association’ also gives away the annual ‘Balraj Sahni Award’.
The other day, I was reading the Autobiography of Balraj Sahni. His style of narration is very good. He does not miss even the smallest details.The part of his life when he entered the Hindi films is extremely readable.
When he was with BBC, London,he was deputed to attend a seminar in Poona,India. He came down with his wife Damayanti and they stayed with a friend-Appasaheb Pant, the scion and Yuvraj of Aundh-a princely state in British India, in Maharashtra.( He later became the High Commissioner to Britain, post Independence). One evening they all went to see a film “Manoos'(Aadmi-39) of Prabhat, directed by V.Shantaram. After seeing the film,he was terribly impressed with Shantaram’s direction and was all praise for him.
When Balraj left the BBC and returned to India,he was again in Poona. This time he went to see Shantaram, with prior appointment. When he reached the Gate, a person was waiting for him. He was taken to the reception room. That man left. In the room there was one more person with a Black cap-which was very common for Maharashtrians, those days. Balraj thought he too was another visitor like him. After a few minutes, that man asked in excellent English if he was Balraj Sahni. Balraj was astonished and nodded affirmatively. That man got up and said,’I am Shantaram. Nice to see you’. Later Shantaram took him around the studio etc.
Balraj returned to Bombay absolutely mesmerized with Shantaram. While in Bombay they were loitering, when they suddenly met Chetan Anand- his old friend. They were very happy to see each other. Chetan took them to his 4 bedroom spacious flat in Pali Hill,Bandra.They stayed with him for a few days. Balraj had decided to work in films and was negotiating for his role in film Insaf, while Chetan was busy in his Neecha Nagar-46. One evening they went to see the film ‘Shakuntala’, made by Shantaram. After seeing the film Balraj was very much upset and started criticising Shantaram that his standard has gone down, compared to Aadmi-39.
Chetan Anand smiled and said, “Shantaram has made a film for Box office.” Balraj did not understand. Chetan Anand explained, “One can not go on making art films alone. To run the studio, you need money. Shantaram being a good businessman, he makes such films which earn him money. With this money he can make more meaningful films. For example after Shakuntala, Shantaram made Parbat pe apna Dera-44 and then his memorable film Dr. Kotnis ki amar kahani-46. This is how the maths of cinema works”.
There are many such incidents described in his Autobiography which is highly readable, not only for his story but also for glimpse into the film scenario of the 40s and 50s. I can not go on,due to constraints of the length of this article. Maybe some other time I will tell you more from his book.
Balraj had done 101 films. His first film was ‘Insaaf’-46 and the last film of Balraj, to be released well after his death was “Amaanat”-77, though the last film which he had completed just before his death was Garma Hawa-1973.
Here is the last and final song from “Pyaar Ka Rishta”, sung by Asha Bhosle and the favourite of Musician Shankar- Sharada. With this song, the film gets YIPPEED !
(My thanks to Sadanand Kamath ji for providing the video / audio song links and the Lyrics, when he saw me writing on YIPPEE songs).
Video Clip:
Audio Clip:
Song-Mera naam hai Flory (Pyaar Ka Rishta)(1973) Singers-Sharda, Asha Bhonsle, Lyricist-Shakeel Badayuni, MD-Shankar JaikishanLyrics (Based on Video Clip):(Provided by Sadanand Kamath)
mera naam hai Floryunderstand
mera naam hai Flory
mere reshmee baal
mere chikne gaal
main dilon ke maal karoon choree
kya
jo bhee thhaam le haathh
kare meethhee baat
bane uske saathh meree jodee
jaa
angrezee chhoree
chal chal
angrezee chhoree
gore rang waalee
khulee taang waalee
aadee maang waalee
o ree goree
o o
na dikha tu aankh
mujhe ye mijaaz
gayee kahaan re laaj arre toree
mera naam hai Flory
Flory
angrezee chhoree
jaa re jaa re paglee
tu hai kaisee junglee
bane kaahe ko aisee anjaanee
hmm
main hoon up to date
tu hai third rate
arre o ganwaar deewaanee
mujhe aata pyaar
main hoon jaan nisaar
tu har ek baat mein hai koree
thhahar to abhee bataatee hoon
jaa re jaa re paglee
tu hai kaisee junglee
bane kaahe ko aisee anjaanee
main hoon up to date
tu hai third rate
arre o ganwaar deewaanee
mujhe aata pyaar
main hoon jaan nisaar
tu har ek baat mein hai koree
angrezee chhoree
shut up
angrezee chhoree
gore rang waalee
khulee taang waalee
aadee maang waalee
o ree goree
na dikha tu aankh
mujhe ye mijaaz
gayee kahaan re laaj arre toree
teree aisee taisee
tu hai mardon jaisee
tu lage na des kee naaree
git pit na bol
na akad ke dol
kyun teree gayee hai mat maaree
ho jaisa des
rakh waisa bhes
sun baat pate kee ye moree
shut up
teree aisee taisee
tu hai mardon jaisee
tu lage na des kee naaree
git pit na bol
na akad ke dol
kyun teree gayee hai mat maaree
ho jaisa des
rakh waisa bhes
sun baat pate kee ye moree
mera naam hai Flory
chal chal
mera naam hai Flory
mere reshmee baal
mere chikne gaal
main dilon ke maal karoon choree
waah waah waah
jo bhee thhaam le haathh
kare meethhee baat
bane uske saathh meree jodee
hahaha
angrezee chhoree
angrezee chhoree
gore rang waalee
khulee taangen waalee
aadee maang walee
o ree goree
aaha
na dikha tu aankh
mujhe ye mijaaz
gayee kahaan re laaj arre toree
mera naam hai Flory
Flory angrezee chhoree mera naam hai Flory Flory angrezee chhoree
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 1, 2026 at 12:32 pm
Thank you Arunkumar Ji for discussing the films made in 1973. It was this year that defined my unusual attraction towards Hindi cinema. I was not even a teen in this year. Regards.🙏🏻🙏🏻🙏🏻
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