Tera guroor tukde tukde hua
Posted on: September 6, 2026
- In: Artist's debut song/ movie | Asha Bhonsle solo | Asha Bhonsle songs | Debut song of artist | Debut Song of Artist (On Screen Performance) | Debut song of movie in the blog | Guest posts | Post by Archana Sapkota | Post by Pamir Harvey | Revenge song | Showdown song | Song picturised on an artist uncredited in the movie | Songs of 1980s (1981 to 1990) | Songs of 1984 | Yearwise breakup of songs
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This article is written by Pamir Harvey, 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 : | 6624 | Post No. : | 20549 | Movie Count : | 5267 |
Today’s post is Prakashchandrajee’s farmaish. He requested me to choose an Asha Bhosle song filmed on Daljeet Kaur Khangura. She is already represented on this blog with an Asha Bhosle song.
Daljeet Kaur Khangura was an Indian actress best known for her substantial contribution to Punjabi cinema, where she was one of the leading female stars of the 1970s and 1980s. She also appeared in Hindi films and worked in Punjabi cinema for several decades. She was sometimes referred to as the “Hema Malini of Punjabi cinema”, reflecting both her popularity and her status as a leading actress of her generation.
Daljeet Kaur was born (24 March 1954) and raised in Siliguri, West Bengal. She came from an educated family and attended a convent school. As a student, she was interested not only in academics but also in sports and the arts. She was particularly accomplished in hockey and kabaddi, and contemporary accounts describe her as having competed at national level. She later studied at Lady Shri Ram College in Delhi before pursuing her interest in acting at the Film and Television Institute of India (FTII) in Pune.
Her entry into films came while she was at the Pune Film Institute. During the early part of her training, she appeared in a short film titled Bonga, directed by fellow student Vidhu Vinod Chopra, who would later become an important figure in Hindi cinema. Her work at the institute brought her to the attention of filmmakers, and she soon received an opportunity to work in a Punjabi feature film.
Her feature-film debut was Daaj (1976), in which she appeared opposite Dheeraj Kumar. The film was successful and established her as a promising new actress in Punjabi cinema. She subsequently appeared in Giddha, including a role opposite Dharmendra, before taking on one of the more notable roles of her early career in Saidan Jogan (1979).
Saidan Jogan was particularly significant for Kaur because she played a double role, appearing opposite Veerendra and Satish Kaul. The film became a major success and helped establish her as a leading actress. According to contemporary accounts, its popularity was notable for attracting more women and families to Punjabi cinemas, with some theatres even making special seating arrangements for female audiences and families.
During the late 1970s and especially the 1980s, Daljeet Kaur became one of the most recognisable female stars in Punjabi films. Among her important films of this period were Putt Jattan De (1983), Mamla Garbar Hai (1983), Laajo (1983), Batwara (1983), Vairee Jatt (1985), Patola (1988), Kee Banu Duniya Da (1986), Sohni Mahiwal (1984), Anakh Jattan Di (1990) and Jagga Daku (1993). Her filmography also includes Roop Shaqinan Da (), Ishq Nimana (1984) and several other popular productions.
One of the most important films associated with her is Putt Jattan De (1983), in which she played Paali. The film became a major success and remains one of the better-known titles from the period of her prominence. Her other popular films included Patola (1988), in which she played Raani, and Batwara (1983), in which she played Preet.
Kaur also worked with several prominent actors of Punjabi cinema. As the industry changed during the 1980s and 1990s, she appeared opposite performers including Guggu Gill and Yograj Singh. Anakh Jattan Di and Jagga Daku were among the films that helped establish those actors as leading figures, with Kaur playing the female lead.
Although Punjabi cinema was the principal focus of her career, Kaur also worked in Hindi films. Her Hindi-film work included appearances in films such as Dhan Daulat (1981), Jeene Nahin Doonga (1984), Faasle (1985), Mahaul Theek Hai (1999), Ek Aur Ek Gyarah (1981) and other productions. Contemporary accounts put her Hindi-film appearances at more than ten, while her overall Punjabi film work exceeded 50 titles and some databases list more than 70 films across her career.
Kaur’s career as a leading lady was particularly prominent from the mid-1970s through the 1990s. As the Punjabi film industry went through periods of difficulty, however, opportunities for established actresses changed. She gradually reduced her work, and the death of her husband, Harminder Singh Deol, in an accident also affected her career and personal life.
She subsequently returned to Punjabi cinema and began taking on more mature and character-oriented roles. One of the films associated with this later phase was Mahaul Theek Hai (1999). She also appeared in Jee Aayan Nu (2002), a film that became important in the resurgence of modern Punjabi cinema. In the later part of her career she played mother and other senior female characters in films including Heer Ranjha: A True Love Story (2009), Singh vs. Kaur (2013), Jatt Boys Putt Jattan De (2013), Punjab Bolda (2013), Dil Pardesi Ho Gaya (2013) and Desi Munde (2016).
Her career therefore had two distinct phases. In the first, she was one of the principal leading ladies of Punjabi cinema, appearing in commercially successful films and working with many of the industry’s major male stars. In the second, she continued to contribute to Punjabi films in supporting and maternal roles, remaining active even after the type of roles available to senior actresses had changed. Her career consequently extended over approximately four decades.
Kaur was also notable for the breadth of her interests before and alongside her film career. Her background in sport was unusual among leading Indian actresses of her era, and her education at Lady Shri Ram College and FTII reflected an academic and professional path that was considerably different from that of many actresses who entered regional cinema at the time.
Daljeet Kaur Khangura passed away on 17 November 2022, aged 69, in the Sudhar area of Punjab following a prolonged illness. She had been living in the area during the latter period of her life. Her death was widely reported in the Indian press, with tributes noting her importance to Punjabi cinema and her status as one of its leading actresses of the 1970s and 1980s. She was cremated in the Sudhar area.
Although Daljeet Kaur acted in the film Jeene Nahi Doonga (1984) she is not represented in the credits of the movie. The film is produced, directed and written by Rajkumar Kohli. The film was released on 26 October 1984. The film also introduced the actress Roshni, who starred opposite Raj Babbar. There is an Asha Bhosle-Shabbir Kumar duet (ham bhee na maane) filmed on them.
The story of the movie focuses on the rivalry between two rival tribes, the Dilawars and the Jangawars, who have been enemies for generations. Their hatred has continued for so long that neither side is willing to forgive or forget the past. The film revolves around two brothers, Roshan and Raka, both played by Dharmendra, and their younger brother Badal (Raj Babbar), whose lives become caught up in this long-running conflict.
Roshan (Dharmendra) is the elder of the two twin brothers. Unlike most of the people around him, he does not believe that the feud between the two tribes should continue. He wants to bring peace between the Dilawars and the Jangawars. He falls in love with Chandni (Neeta Mehta), a girl from the Jangawar tribe, and decides to marry her. Roshan hopes that their marriage will prove that the two communities can forget their differences and live together peacefully.
However, the Jangawars do not accept this relationship. Instead of seeing Roshan’s marriage as a chance for peace, they regard it as an insult. The conflict between the two groups becomes even more violent, and Roshan is eventually killed.
Before his death, Roshan makes his twin brother Raka (Dharmendra) promise that he will not seek revenge. Roshan wants Raka to remember that revenge will only lead to more deaths. His wish is that Raka should work towards justice and peace instead. Raka is deeply affected by his brother’s death and naturally wants to punish the people responsible, but he has given Roshan his word.
Raka becomes a strong and respected figure among the Dilawars. He is a brave fighter and is not afraid to stand up against the Jangawars when necessary. He is also in love with Bijli (Anita Raj), who becomes an important part of his personal life.
The conflict takes another turn when Raka has an encounter with Jabbar (Raza Murad), the younger brother of the Jangawar leader Shaka (Shatrughan Sinha). Jabbar behaves badly towards a young Dilawar woman (Daljeet Kaur Khangura), and Raka intervenes to protect her. Raka defeats Jabbar, leaving him humiliated. Jabbar returns to his people, angry and ashamed of what has happened to him.
Jabbar’s humiliation deeply upsets his sister Reshma (Roshni). She decides to take revenge on Raka herself. Filled with anger and determined to protect her family’s honour, Reshma goes to the Dilawar side with the intention of killing Raka.
But things do not go according to plan. Reshma meets Badal (Raj Babbar), Raka’s younger brother. Badal is immediately attracted to her, even though he knows that she belongs to the enemy tribe. Reshma initially has no interest in him because she is focused on her mission of revenge. She sees Badal simply as another member of the family she hates.
Badal, however, treats Reshma with kindness and respect. He even risks his own life to protect her. Reshma is deeply moved by his selflessness. She slowly begins to understand that the people she has been taught to hate are not necessarily her enemies simply because they belong to another tribe. Her feelings for Badal gradually change, and she falls in love with him.
Badal and Reshma’s love creates a new problem. They come from two families and two communities that have spent generations fighting each other. Their relationship is therefore completely unacceptable to many people on both sides. Yet their love also represents the possibility of achieving the peace that Roshan had dreamed of.
Raka finds himself caught in a difficult situation. He has lost his twin brother because of the Jangawar-Dilawar feud, and he still carries the pain of that loss. At the same time, he remembers the promise he made to Roshan. He knows that if he gives in to hatred and revenge, the violence will never end. Badal’s love for Reshma gives him another reason to hope that the two communities might eventually put their differences aside.
But Shaka (Shatrughan Sinha), Reshma’s brother and the powerful leader of the Jangawars, refuses to accept the relationship. He is proud, violent and determined to protect his family’s honour. To him, the Dilawars are still enemies, and Badal’s relationship with Reshma is another insult that cannot be forgiven.
The situation becomes even more complicated when Badal wants to marry Reshma. Reshma agrees, but her family places a terrible condition on their marriage. Badal must kill Raka and bring back his severed head as proof that he has avenged the old enmity between their families.
Badal is now faced with an impossible choice. He loves Reshma and wants to spend his life with her, but Raka is his beloved elder brother. Raka has also protected him throughout his life and has been trying to honour the promise made to their dying brother Roshan. Killing Raka would mean destroying his own family and betraying everything Roshan stood for.
Raka, meanwhile, understands that the conflict has reached a point where someone must make a sacrifice if the cycle of revenge is ever to end. His personal struggle is therefore not simply about defeating Shaka. It is about deciding whether he should finally take revenge for Roshan’s death or continue to follow his brother’s dying wish for peace.
The story builds towards a dramatic confrontation in which the personal relationships of the characters become inseparable from the larger conflict between the two tribes. Raka and Shaka are finally forced to face each other, while Badal and Reshma’s love is put to its greatest test. The film ends with peace established between the two families, which somehow seems to need a self-amputation by Shaka. But as they say all is well that ends well with a proclamation for peace.
Although the film’s message is that of peace, it focuses primarily on violence and has gory scenes of violence as was ususal in the 80s movies. Even the song featured today is representative of it. The song is filmed on Daljeet Kaur. Also to be seen is Raza Murad, who is the recepient of the taunts in the song. Also to be seen is Dharmendra and Neeta Mehta, who plays his brother’s widow. The composers are Laxmikant-Pyarelal and the lyrics are written by Anand Bakshi.
Video
Audio
Song- Teraa guroor tukde tukde huaa (Jeene Nahin Doonga)(1984) Singer-Asha Bhonsle, Lyricist-Anand Bakshi, MD-Laxmikant-Pyarelal
Lyrics (Based on Audio link):
a haa haa haa haaa haa haa haahaa
is dhartee ke upar
sabke sar pe aasman bhee hai
o zalim tu bhool gayaa thhaa
duniyaa mein bhagwaan bhee hai
teraa guroor tukde tukde huaa
chhan chhan chhan
chhanan chhan chhan chhan chhan chhan
teraa guroor tukde tukde huaa
teraa guroor tukde tukde huaa
ye tukde uthhaa
o jaa jaa jaa jaa
le odh le ye dupattaa meraa aa
le odh le ye dupattaa meraa
apnaa munh chhupaa
o jaa jaa jaa jaa
teraa guroor tukde tukde huaa aa
teraa guroor tukde tukde huaa
ek kanwaaree ke sar se
kyun toone aanchal sarkaayaa
ek kanwaaree ke sar se
kyun toone aanchal sarkaayaa
o bedardee teraa karnaa aa aa aa aa
o bedardee teraa karnaa
dekh tere aage aayaa
tu ye sabak yaad rakhnaa sadaa
besharam behayaa
oye jaa jaa jaa jaa
teraa guroor tukde tukde huaa aa
teraa guroor tukde tukde huaa
hotaa hai insaaf
koi bhee mujrim
maaf naheen hotaa
hotaa hai insaaf
koi bhee mujrim
maaf naheen hotaa
tere munh pe daag
lagaa jo khoon se
saaf naheen hotaa
tujhse huyee hai aisee khataa
kam hai har sazaa
besharam behayaa
oye jaa jaa jaa jaa
teraa guroor tukde tukde huaa aa
teraa guroor tukde tukde huaa
toone mujhe kitnaa tadpaayaa
main bhee tujhe tadpaaoongee
toone mujhe kitnaa tadpaayaa
main bhee tujhe tadpaaoongee
aaj main jee bhar ke naachoongee ee ee ee ee ee
aaj main jee bhar ke naachoongee
geet khushee ke gaaoongee
jaa maine apnee tauheen kaa badlaa le liyaa
besharam behayaa
oye jaa jaa jaa jaa
teraa guroor tukde tukde huaa
ye tukde uthhaa
oye jaa jaa jaa jaa
le odh le ye dupattaa meraa aa
le odh le ye dupattaa meraa
apnaa munh chhupaa
jaa jaa jaa jaa
teraa guroor tukde tukde huaa
haa haa haa
aa haa haa
teraa guroor tukde tukde huaa
aa haa haa
haa haa haa teraa guroor
tukde tukde huaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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