Bharee mehfil se tujhe na uthhaa doon
Posted on: September 9, 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 : | 6627 | Post No. : | 20555 |
Today’s song is the last and final song from the Crime/Social film- Jurm aur Saza-1974.
The film was made by Bundelkhand Films, Bombay. It was directed by N.A.Ansari, who also did a role in this film. Music was by Laxmikant-Pyarelal, for the 5 songs written by Shakeel Badayuni, Asad Bhopali and Ram Bharadwaj. The cast of the film was Nanda, Vinod Mehra, N.A.Ansari, Johnny Walker, Helen, Viju Khote (the film opens with his scene) and many other artistes.
It was claimed and believed that the film was based on the famous novel by Fyoder Dostoevsky- Crime and Punishment, published in 1866. I have checked the film credits, but it is not mentioned anywhere. However, the film booklet does say “inspired by this novel”. One thing is sure. The film story has no similarity with this world famous novel. I have read the novel and also the film’s story.
When I was in school, our English period was divided into 3 ways. For 2 days- regular English Text book studies. Next 2 days- grammar lessons and next 2 days- Non-Detail novels.
Now, today’s generation might wonder what these Non Detail Novels are ? Our school had decided to initiate the students of 8th ,9th and 10th standards into world famous literature and inculcate liking in their minds for it. So, every year there used to be one world famous novel to study and in the Annual examination there used to be 2 questions on it, in the English paper.
The teachers taught us the nuances of these novels, thus increasing our interest. In the 10th standard, we had this novel- Crime and Punishment. This method truly developed our interest in world literature and later in my life, I read many English novels, dramas etc.
Anyway, this is besides the main issue. In the Hindi film world right from the first Talkie year i.e. 1931, the film makers tried to make Hindi films based on English novels. The first such film made was by Lalita Pawar- Duniya kya hai-1938, based on the famous novel by Leo Tolstoy – Resurrection.
As far as Crime and Punishment is concerned, 3 Hindi films were made on this novel. The first film was Phir Subah Hogi-1958, starring Raj Kapoor and Mala Sinha. The second film was today’s film and the third film was Shiksha-1978, which was a Remake of a Telugu film- Neramu Siksha-1973.
Out of these 3 films, only the original Telugu film was true to the English novel story. Phir Subah Hogi was to a great extent honest to the English novel. However, today’s film went wayward and ended up being a regular Crime story.
The novel, ‘Crime and Punishment’ attempts to go deep into the consequences of committing a serious crime. The protagonist, after killing a person, comes under immense psychological guilt and paranoia. He is alienated from society both physically and mentally. His punishment is not only the impending prison term but also the psychological sufferings out of guilt. Though he cannot avoid the legal punishment for his crime, the only way he can come out of the psychological punishment is to reconnect with human beings. This main theme of the novel is missing in the film under discussion. In fact, the film is a regular crime thriller from the stable of N A Ansari covering ‘traitors or patriots’ theme with his regular, Neelofer being the partner in crime with him.
The story of the film is….
The film starts with a plane’s pilot, Vikram (Anand Tiwari) declaring emergency who is an secret agent working for Sohan (N A Ansari) to bring a microfilm which has the dossiers of five traitors working against the nation including Sohan himself. The plane has crash landed in a desert in Rajasthan. It turns out that Vikram is a secret agent with the Intelligence Bureau (IB) who was assigned to get hold of the microphone. Both the Government and Sohan are after Vikram to get hold of the microfilm who has double-crossed Sohan.
The injured Vikram calls a villager from a passing caravan and handover the microfilm in the form with a half portion of the letter to be handed over to his daughter, Ricky in the city, and the other half portion of the letter to be handed over to the Thakur of Peeli Haveli. This villager has sent his son to the city to hand over the other half of the letter to be delivered to Ricky.
Sohan has put on his men to trace the whereabouts of Vikram while a couple of his men are keeping track of Ricky who is staying with her brother, Raju who is a minor. The villager’s son delivers the microfilm to Ricky but gets killed by Sohan’s men. The message in the half letter to Ricky with a map is to be handed over to Rajesh of Intelligence Bureau. Since it is the question of life and death of her father, Ricky, covering herself with a burkha, proceeds to meet Rajesh with a map whom she does not know. After Ricky has left the village, soon, Sohan’s men kidnap Ricky’s brother who is kept with a governess, Jamila.
While traveling in a train, Ricky meets Ratan (Vinod Mehra) who pretends to be a loafer who sometimes helps victims from harassment for a fee. But on reality, he is an agent, Rajesh, who works for IB. He has his partner, Arif (Johnny Walker). Ricky finds Ratan to be a person she will need in her risky venture. So, she employs him as her bodyguard and invites him to her hotel in Bhawanipur where she stays with an assumed name, Pramila. Sohan tells the hotel manager (Ranveer Raj) to keep a track of his new guest, Pramila and her visitors. He also tells him to install an audio bug to record conversations in her room.
Rajesh meets IB Chief (Abhimanyu Sharma) who tells him to keep a close watch on Ricky as she would be under surveillance of Sohan and his gang. He also reveals that Ricky does not know who Rajesh is even though both had been engaged during their childhood. As a bodyguard, Ratan visits Ricky in the hotel where he is physically confronted by Sohan’s men. But he overcomes their resistance with the help of Arif. With the audio bug, Sohan comes to know that Ratan will hand over Ricky to the police which was actually a ploy played by him to get close to Sohan and his men.
Sohan uses Raju, Ricky’s minor brother to blackmail Ricky to disclose the whereabouts of Vikram and the conversations she had with a person who was found dead in her house. Having failed to get any response from Ricky, Sohan gives her an ultimatum that if she does not disclose the information, her brother, Raju will be killed. At the appointed time, Sohan sends his men to kill Raju but Ratan reaches in time to foil the attempt. While Ricky and Raju escape, Ratan is caught by Sohan. As usual, Ratan says that it is a profession to help those who give money for such work. Ratan also tells him that both the police and Sohan are looking for the microfilm in which the names of the traitors are mentioned. At this juncture, Sohan employs Ratan with a huge sum to get the microfilm for him since he is close to Ricky through which he can get access to Vikram.
With the deal with Sohan, Ratan along with Ricky and Raju have reached their hotel, Ricky sees Rajesh’s mother (Shaukat Azmi) who is known to her as her son Rajesh was engaged to Ricky in their childhood. She takes her to the hotel room where she is surprised to see Rajesh/Ratan. For the first time, Ricky comes to know that her bodyguard, Ratan, is none other than Rajesh. All these conversations are heard by Sohan which puts him in doubt whether Ratan is Rajesh or vice-a-versa, acting as a double agent. But soon Sohan consoles himself that if Ratan was working for IB, he would not have killed a police officer, Rajesh (a dummy created by police) during a party hosted by him with that task for Ratan.
Ratan, now Rajesh for Ricky, decides to visit Pilee Haveli in Bhawanipur where the other half of the letter is lying with Thakur. Based on the surrendering of the first half of the letter which is with Ricky, Thakur will disclose the whereabouts of Ricky’s father, Vikram. This conversation is heard by Sohan. Raju is kidnapped by Sohan’s men while going with Jamila to the airport to catch the flight to Bhawanipur. Now all action is at Bhawanipur as Rajesh, Ricky and Arif are traveling in a car which is followed by a car of Sohan’s goons. Rajesh abandons the car and they join a wedding party, disguised as folk singers. They reach Bhawanipur.
Before Thakur could take Rajesh to Vikram’s hideout, Sohan has reached Bhawanipur in advance and he has tied Thakur to a tree while Rajesh is approaching him with the other part of the letter. Sohan appears from behind the tree. Rajesh is cornered. A fight ensues between Rajesh and Sohan in which the latter gets temporarily incapacitated. Rajesh escapes and meets Ricky in Thakur’s house and both travel to meet Vikram who has been hiding in a villager’s house. Vikram hands over microfilm to Rajesh.
Rajesh, Ricky and Vikram are now proceeding to Binari village where they can get protection from the police outpost. They are caught directionless in the desert where Sohan and his goon are waiting for them to be cornered. In the police control room, after getting the information that Rajesh, Ricky and Vikram are in the desert with microfilm, police commandos are sent from the nearby post to protect Rajesh. A surveillance helicopter is also sent to locate Rajesh. With three of the sharpshooters of Sohan already found killed in the desert, it is now a car and jeep chase between Rajesh and Sohan with whom Raju is also traveling as a bet.
In the middle of the desert, both Rajesh and Sohan are at a distance. At this point, Sohan tells Rajesh to hand over the microfilm otherwise Raju will be killed. Rajesh asks Sohan to come to him and collect the microfilm. Rajesh gives the microfilm to Sohan and Raju is released. Sohan runs away with microfilm. But soon Rajesh starts looking for Sohan in the vast desert and catches him. In a fight, Sohan gets killed with his own knife. Rajesh retrieves microfilm and a police helicopter picks him from the desert. Rajesh joins Ricky and her brother Raju. In this long fight, Rajesh recovers the microfilm but at the cost of the death of Vikram.( Thanks to Sadanand Kamath ji for this.)
This was the last film for the Director and actor-N.A.Ansari.
Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in the Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.
Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.
By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential.
He believed that it is not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had a friendly smile on his face . In his films , he used to be the boss of a criminal syndicate and had an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five .
With a hit movie ‘Mangu’ , he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although he had to look after his own company and permanent staff ,he did not disappoint other filmmakers ,who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .
Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of the golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.
With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat ,Aadha Fasana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.
He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.
Beside Sheikh Mukhtar, he directed movies, like Black Cat,Tower House,Jara Bach Ke,Wanted for other producers and playing the main villain .He had no qualm for working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.
He could not say “No” to film maker Sultan Ahmad, when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes forever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi, much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74.
(Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks, and my notes)
Here is the last and final song from this film. It is sung by Rafi and Asha. This makes the film YIPPEED !
Video
Audio (Longer)
Song- Bharee mehfil se tujhe na uthha doon (Jurm Aur Saza)(1974) Singers-Rafi,Asha Bhonsle, Lyricist- Asad Bhopali, MD-Laxmikant PyarelalLyrics (Based on Audio link):
bharee mehfil se tujhe na uthha doon oonbharee mehfil se tujhe na uthha doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
sare bajm tujhe na nacha doon
sare bajm tujhe na nacha doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
din mein taare tujhe na dikha doon
din mein taare tujhe na dikha doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
seedhe thhaane tujhe na pahuncha doon
seedhe thhaane tujhe na pahuncha doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
ja ja aisee hazaar hamne dekhee hain
ja ja aisee hazaar hamne dekhee hain
tu to sui hai kataar hamne dekhee hain
ek unglee pe tujhe na nacha doon oon
ek unglee pe tujhe na nacha doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
mujhe mittee ke sher tu daraata hai
aisee aankhen kyun mujhko dikhaata hai
mujhe mittee ke sher tu daraata hai
aisee aankhen kyun mujhko dikhaata hai
tujhe sher se na billee bana doon oon
tujhe sher se na billee bana doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
era andaaz ye bada teekha hai
tera andaz ye bada tikha hai
isi husn mein angar hamen deekha hai
is aag ko na paanee bana doon
is aag ko na paanee bana doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
jab phande mein tu mere aayega
dekhoon phir kaun tujhko bachaayega
jab phande mein tu mere aayega
dekhoon phir kaun tujhko bachaayega
doodh chhattee ka yaad na dila doon oon
doodh chhattee ka yaad na dila doon
to mera naam naheen
to mera naam naheen
to mera naam naheen
to mera naam naheen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 9, 2026 at 7:15 am
YYIIPPEEEE!
I am surprised that this song was yet to appear on the log. It was probably waiting for this highly informative post.
I had seen this film a few months back on DD. I found the pairing of Nanda with Vinod Mehra interesting.
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