Uyee main mar gayee sharam ke maare
Posted on: September 4, 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 : | 6622 | Post No. : | 20541 |
Today’s song is the last and final song from a social film Hanste Ansoo-1950.
This strangely titled film was made by Akash Chitra Bombay and it was produced and directed by K.B.Lal, born in 1911 at Meerut-U.P. Known for films like Lal Haveli-1944, Lal Dupatta-1948 and Hanste Aansoo-1950 etc. Died on 25-8-1975. He wrote the story as well as the screenplay. The music was by Ghulam Mohammed and the lyricists were Shevan Rizvi and Majrooh Sultanpuri. The cast included Madhubala (just 17 years), Motilal (only 40 years),Gope, Manorama, Mirza Musharraf, Janki Das and others.
The sudden and unexpected death of Saigal, followed by India’s partition had disturbed the entire film industry.The major centres – Calcutta and Bombay – both had benefited with the songs of Saigal. A large number of Muslim community, working in different departments of filmmaking, had migrated to Pakistan, disturbing the set up. Luckily, India had a very capable second line of talented artistes waiting in the wings. It took 2-3 years for them to show their abilities, thus the period of 1947 to 1950 was full of uncertainties and testing the new entrants.
These 3 years saw the rise and assured performances of the newer Music Directors like Shankar-Jaikishen, S.D.Burman, Roshan, Khayyam, Madan Mohan etc. They were ably helped by the lyricists like Sahir, majrooh, Shailendra, Hasrat, Shakeel Rajendra Krishna, RMA Khan etc. with their meaningful songs. Rafi, Mukesh, Talat, Manna dey, Kishore and Lata, Asha, Shamshad, and Geeta brought the Hindi film music on track and took the industry successfully into the “Golden Era” of HFM.
The film companies made some Milestone movies in 1950.
DAHEJ by V.Shantaram was a powerful comment on the evil custom of Dowry in India. The film- a tragedy- not only conveyed the right message but also paved the way to get an Anti Dowry Law enacted.
JOGAN, a Love story between a Hindu Nun and an atheist lover, made by ranjit movietone had excellent songs and Bhajans.
SAMADHI, by Filmistan brought to light a familial conflict of ideologies between two brothers, with a background of Subhash Babu’s Indian National Army. Its song ” Gore gore, o banke chhore’ became an evergreen popular song.
BAWRE NAIN – the second film of the new Music Director Roshan had lovely songs. This tragedy film had Raj Kapoor and Geeta Bali.
SARGAM was by Filmistan, but C.Ramchandra’s music made it his film and the songs to remember.
MASHAL, SANGRAM and MUQADDAR, though had good songs, could not save the sinking Bombay Talkies.
The most successful hit film was ” Har Har Mahadev“, a surprise Blockbuster. It heralded a surge of Mythological films for the next 10 years, with 124 Religious films.
Based on a world famous popular strong story ” The Inspector General”, the Hindi film AFSAR could not come up to its level, mainly due to Dev and Suraiyya’s private love affair during the making of this film. However two of her songs in the film became evergreen songs.
The year 1950 brought many Tragedy films and BABUL was one such film.
SHEESH MAHAL, ARZOO and vPEHLA ADMI entertained the audience.
Some other good films were Dastaan, Aankhen, Beqasoor, Anmol Ratan, Dilruba, Gauna, Khel, Khiladi, Lajawab, Nirala, Nirdosh, Pyar and a few others which gave memorable songs too.
The story of the film was….
This is the story of a Middle class, educated girl Usha (Madhubala), who is a girl of independent thinking and progressive philosophy. Her marriage is fixed with an uneducated but rich boy, Kumar (Motilal), by her father who is a drunkard and a man without normal thinking. Her mother is no more. Her father takes a large sum from the middleman and the marriage takes place. From the day one Kumar, her husband envies her education and modern outlook. They have frequent arguments. Both are unhappy with each other. She gives birth to a son. Now there are more quarrels in the house and one day Usha leaves the house with her son. She starts working in a Factory office. Here the co-workers ridicule her.
Luckily, the old age owner of the factory supports her. She starts doing social work for women. Few years have passed. One day she is bestowed with an honour by the Government for her social work and she gets felicitated. She enters her name instead of the father’s name for the child’s school. The school opposes but the Government supports her.
One day, in the market, she meets her husband. She is surprised to know that he is now educated in the night school. He seems to be much improved as a person. He gets emotional seeing his own son. He attempts to meet her often and one day he apologizes for how she was treated. He begs her to return home and give him one chance in life. For the sake of the child, she returns home and everyone is happy !
The film, as such, though an ordinary one, was very successful. One of the main reasons for its success was that it was the FIRST Hindi film to be awarded an ” A ” certificate by the film Censor, after the rules were revised in 1949. The Censor also passed several (some of them were ridiculous) remarks on the film in general.
In my library, there is a hefty 650 page Hard cover fat book titled ‘Golden Era of Film Music 1931 to 1960 ‘ ( Marathi original title….” चित्रपट संगीताचा सुवर्ण काळ १९३१ ते १९६० ” ), written by the noted Film Historian, Editor of several Film Magazines and books/articles writer in Marathi/Hindi/English, (Late) Isak Mujawar.
The book confirms that this was the First film to get the ‘A’ Certificate, after the Indian Cinematograph Act of 1918 was amended in December 1949. The film was censored in that month itself. The reason for awarding A, as per the book, was “the film was too unrealistic and against Indian culture. It promoted mutiny against the Indian traditions.” It also objected to one song in the film for its obscene dancing and filming of a dance with chorus girls. The dance was by Cuckoo Moray. They also objected to the film’s double meaning title. It concluded that the film’s story was Bold and immoral.
Baburao Patel’s Magazine Film India said -“there is nothing objectionable in the film. This act of censors only describes the regressive mentality of the Censor Board members”. Due to all this hangama, the film became popular and the theatres overflowed with the audiences.
Reading all this I was disgusted at how the censor Board thought in those days. Fortunately, more films with such philosophy came and the scene changed completely for the Hindi films. Same year film “Sangram” also got an A certificate. That was of course understandable because it showed – for the first time -that a police officer father (Nawab Kashmiri) shoots his criminal son dead (Ashok Kumar). Later film Shakti-1982, a remake of this film camne but by then, shooting etc had already become common in Hindi films, so no question of an A certificate arose.
During the course of the last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 1931 to 1970 please). Is it the good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heroes ?
For girls too the same logic applies. In the early era, most Heroines were uneducated, like Meena Shorey- who could not even sign her name. All aspirants were not Handsome or beautiful. I sincerely feel, it is neither Talent nor good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated, 1 or 2 film’s Heroes could not sustain themselves for long. Similarly, good looking girls like Vijayalaxmi, Bimla Kumari, Krishnakumari,Tabassum, Yashodhara Katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.
One can understand that people in India, with whatever avocation they followed were attracted to the film industry, but even a person with exceptional achievements at International levels, one who represented India 3 times in International games and established records – he too ? Yes, surprisingly one gentleman of this description and calibre, was keen to join films. His name was JANAKIDAS MEHRA.
Jankidas Mehra was born on 13 th June 1916. He completed his M.A. from Punjab University. He was an athlete and a Cycle champion. By the age of 22 years, he represented India in 3 International meets and in 1938 had established a record for 1/2 mile race. He was the First and the only Indian to win the British Empire Games Distinction Medal.
Janakidas was also an author. He wrote and published books like, ” Mahatma Gandhi in his own words”, “Extinction of Tasmanian race”, “From brothel to Victory Stand”, and ” My sports ventures”. He was described as ” a rare combination of Student, sportsman, idealist, Aristocrat and Democrat” by Australia’s leading weekly ” Smith Weekly”, dated 22nd January 1938 !
Jankidas was keen to join the film industry. His first role was in Pancholi’s ” Khazanchi”-41. On coming to Bombay, he found that his high qualifications and achievements were deterrents for most illiterate producers, to get him roles. Frustrated, he told a lie to a Producer that he was illiterate and he got a role in the film ” Her highness”-46, but he was not credited. Disgusted, on some friend’s advice, he contacted V. Shantaram. Here he got a role in the film ” Jeevan Yatra”-46 and ” Dr. Kotnis ki amar kahani”-46.
Janakidas went on to do 344 films in his career of 60 years. In the later stage of his career he became India’s First ” Production Designer “. ( Nowadays, this is a very important post in the industry). As a production designer, Jankidas was responsible for the founding of many famous Indian actor’s careers. He was responsible for Madhubala’s role in Sohrab Modi’s Daulat in 1947, and introduced Meena Kumari in Nanabhai Bhatt’s Hamara Ghar, and Khushboo in Sunil Dutt’s Dard Ka Rishta. He also introduced actress Mala Sinha in Hamlet, produced and directed by Kishore Sahu.
In 1985, he wrote the script for the film Yaadon Ki Kasam. Jankidas was the recipient of numerous national and international awards. In May 1996, he was honored with the Lifetime Achievement Award given by the Indian Motion Pictures Producers’ Association.
Janakidas always remembered what his dear friend Dalsukh Pancholi told him, just minutes before his death. A film tycoon who carved a film empire at Lahore & made Khazanchi in 1941, which celebrated Golden Jubilee, breathed his last, as he got into his car, while returning from the office of his distributor, who refused to pay him the installment. Actor Janki Das was with his mentor, when Pancholi uttered his last words “Janki Das ! Never put your children in films’. It was 10th october 1958 & Dalsukh Pancholi was of 53 years. He was driving his own car himself that time. He got an attack and stopped the car and died on his seat itself. Jankidas expired on 18th June 2003.
Here is the last and final song of this film, sung by Shamshad Begum. This makes the film YIPPEED !
Song- Uyee main mar gayee sharm ke maare (Hanste Aansoo)(1950) Singer- Shamshad begum, Lyricist- Majrooh Sultanpuri, MD- Ghulam MohammedUnknown male voice
Chorus
Lyrics:
uyee eeuyee main mar gayee
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee
hmm
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee ee haa
itne aashiq ek haseena
itne aashiq ek haseena
?? dil par aaye paseena
?? dil par aaye paseena
jisko dekho ankhiyaan maare
uyee
uyee main mar gayee
umm
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee ee aa
bhaunkat(?) mujhpe paas bulaa ke
?? pe
bhaunkat(?) mujhpe paas bulaa ke ae
bole hazaaron qasmen khaa ke ae
bole hazaaron qasmen khaa ke
ghaayal manwa nain kinaare
uyee
uyee main mar gayee
umm
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee ee aa
ho o o o
haathh chhuda ke main jo bhaagee ee ee
piya ?? ne ?/ dil kee lagaa dee
haathh chhuda ke main jo bhaagee ee ee
piya ?? ne more dil kee lagaa dee
hoy
dil le chala hai
dil le chala
ho dil le chala hai
dil le chala ho dil le chala aa aa
dil kee choree
dil kee choree
?? ne lagaa dee
?? nain bichaare
uyee
uyee main mar gayee
umm
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee ee
uyee main mar gayee
sharam ke maare
haya ke maare
uyee main mar gayee ee aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment