Naina hamaare neer bahaayen
Posted on: September 23, 2026
- In: "Aankh" song | Calling the beloved | Final (YIPPEE) song of movie in the blog | Geeta Dutt solo | Geeta Dutt songs | Guest posts | Melancholic song | Missing the beloved | Pathos | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | 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 : | 6641 | Post No. : | 20581 |
Today’s song is the last and final song from a not so well known, but deserving film – Saudamini (1950).
In Hindi (and in almost all Indian languages) films, well known and popular dramas, Novels, Stories and the famous writers have played a significant role in providing material to make logical and meaningful films with a message to the people or a particular society. I can say that films based on famous and popular writings have been made into more qualitative presentations than films on Folk stories and Historical Myths.
In the early era of films, as far as I know, Marathi and Bangla films were in the lead in making films based on well known Authors’ works, whether it was a popular book or a not so popular one. Even good short stories made it to be an inspiration for filmmaking. Literature and a habit of reading was prominent amongst these two communities. Tamil and Telugu, that were as old as the Hindi/Marathi/Bengali languages in making films also used the popular stories, but since they came into the All India market only after S.S.Vasan’s adventurous foray into it with his BlockBuster “Chandralekha” (1948), their numbers were less in this Hindi films sphere. I have done some work on Marathi, Hindi, Telugu and Kannada film Histories and published articles on them, I know for sure that Kannada and Malayalam films were latecomers into the All India picture, comparatively. Of course, when they came up strongly, they too were not anyway less into making films on published popular and famous literature.
In the infant stage of every language filmmaking, the stress was on Mythology and Folk stories, but during the ascent to adulthood, they all graduated to make use of local literature, which appealed to the audiences of their languages. Many authors, poets and dramatists actually joined the film industry and contributed their themes, stories, poems etc. Even the giants like Rabindranath Tagore, Kazi Nazrul Islam or Kanhaiyalal Munshi, could not stay away from the film industry by participating personally !
The 2 famous Bengali writers on whose stories/novels Hindi films were made since the 50’s are Ravindranath Tagore and Sharad Chandra Chaterjee. Their films are.. Sharat Babu Films…Devdas-1936,1955,2002, Dev D.-2009, Daas Dev-2018, Parineeta-1953, 2005, Biraj bahu-1954, Majhli Didi-1967, Chhoti Bahu-1971, Swami-1977 and Apne paraye-1980. Films of Tagore….Do Bigha Zamin-1953, Ghunghat-1960, Kabuliwala-1961, Geet gaata chal-1975, Lekin-1991,Chaar Adhyay-1997, Kashmakash-2011 and Bioscopewala-2018.
All this narration is because today’s film Saudamini(1950) was also based on the short story (later a novel, I believe) by the famous Bengali author Sharad Chandra Chatterjee. The film was made by National Screen Service, Bombay. It was directed by Prabhash Chandra Joshi, who has only this film to his credit as a director, as far as I know. He also acted in this film and wrote a few song/s also for this film. Which ones and how many are not mentioned in the HFGK, however, individual Records may have the Lyricists’ names.
The music Director was S.N.Tripathi, who had also acted in this film. He was a multi-faceted artist. He acted in 83 films for which he gave music, as an MD he had 107 films, he sang 13 songs in 7 films and he even directed 18 films ! What a varied output !! There were 4 Lyricists in this film – P.C.Joshi, Anjum Pilibhiti, Arjun and B.D.Mishra. The cast of the film was Sona Chaterjee, P.C.Joshi, S.N.Tripathi, Bikram kapoor, Leela Chitnis, Rampyari, Shyamsundar, Cuckoo etc.
The story of this film was very powerful, but this film did not become very successful, for whatever reasons. In fact, later on when the ”Offbeat films” (New Wave, Parallel etc.) started, the same story with some changes were made into films which became Hits. Like today’s film, Saudamini, some similar story films were Rajanigandha, Swami, Dhadkan, Hum dil de chuke sanam etc.
Here is the film story. After reading this story, readers may remember more films,in different languages too, having almost a similar story…..
Sarat Chandra Chattopadhyay’s Bengali novel by the name Swami, is set in the early 20th century. The word “swami” could be translated as ‘lord and master’, not in the sense of a tyrant but as the traditional master of a Hindu household, based on the concept of an ideal husband: gentle and protective, dependable, and considerate, the perfect grihastha or householder .
Saudamini is an educated girl, a rare phenomenon at the turn of the century. Her uncle and guardian, who has imbibed liberal ideas of the time, offers her a measure of freedom that girls of that time were largely denied. Her widowed mother is critical of the girl’s headstrong nature; she considers the uncle’s handling of the girl indulgent and irresponsible, particularly with regard to marriage.
Saudamini is romantically involved with Narendra, the boy-next-door who is pursuing studies in the nearby city of Calcutta. Under repeated prodding from the mother, the uncle sets out to inspect a prospective groom, Ghanshyam. Though a widower, Ghanshyam is a respectable man who is considered eligible in the marriage market, as the eldest son of a well-to-do business family. Unfortunately, the uncle suffers a heart attack while coming back. As he lays dying, he pleads with his niece to accept Ghanshyam who he feels will make an ideal husband for her.Saudamini, who has been given her way thus far, suddenly finds the reins drawn in. In a desperate bid for freedom, she writes a letter to her lover in Calcutta, asking him to come to her rescue. He does not turn up. In her new household, Saudamini finds Ghanshyam’s shrewish stepmother and step-family – a married brother, and an unmarried sister. Forced into an unwanted relationship, she feels alienated, not only from the family but also from her husband. Ghanshyam, sensing her state of mind, does not force his attention upon her.
Slowly Saudamini observes how Ghanshyam, though he is the actual breadwinner in the family, is treated with neither respect nor care. Even the servants ignore his request for water to wash with or for food, while the stepmother lavishes love and sweetmeats on her own son. Ghanshyam seems to accept this situation with, what may be called, gentle stoicism. Saudamini finds her attitude changing to one of concern for her husband and decides to stand up for his rights. When a prospective bridegroom for Ghanshyam’s step sister ridicules the poor girl, at the same time demanding an exorbitant dowry, Ghanashyam puts his foot down for the first time. She is not a commodity on sale in the market, he says in defiance of his stepmother, who is only too eager to rid herself of her burden.
This is a key incident in Saudamini’s changing attitude towards her husband. Just as prospects seem to be growing pleasant, Narendra enters Saudamini’s life again. Narendra pleads with Saudamini to come away with him, leaving her in a state of conflict. Their tete-a-tete is discovered by the wicked stepmother, who accuses her of infidelity and forces the situation to a point where Saudamini has no choice but to leave. However, there is still one last twist remaining. Waiting for the train at the railway platform, Saudamini recalls the simplicity, gentleness and tolerance of her husband. As she loses herself in memories, her eyes well with tears.
The train arrives. But so does Ghanashyam…She embraces Ghanashyam and he pats her. Streaming tears from her eyes tell him that she is repenting for leaving the home. No words are necessary and both realise their true love. ” A crime is no longer a crime when you ask for forgiveness with a clean heart ! “
After a long time, I saw two names of old time artists in the cast of this film. One was actress singer Ram Pyari and the other was actor singer Shyamsunder.
Shyamsunder was a case of “Same Name Confusion’ with the more famous Music Director Shyamsunder (Gabba). They operated in the same period, but actor Shyamsunder outlived the Music Director Shyamsunder, confirming that they were two different persons. Here is some information about the actor singer Shyamsunder.
As per an extract from a book published in 1938, SHYAMSUNDER – the actor, was introduced by Krishna Film Co., as a Child Star,who could also sing.
His first film was Sakhi Lutera-34 in which he sang 2 songs also.
From 1934 to 1955, he acted in more than 50 films. He sang about 22 songs in 11 films during his career.
As he was operating ,when the famous composer Shyamsunder (Gabaa) was also in the film industry, sometimes there was a confusion that composer Shyamsunder acted and sang in films,which was not the case.
They were two different people.
Here are some of the films of actor-singer ShyamSunder:-
| Movie (Year) | Number of songs sung if any |
|---|---|
| Sakhi Lutera(1934) | 2 songs |
| Fashionable India(1935) | 1 song |
| Romantic India(1936) | 2 songs |
| Badhe Chalo(1937) | |
| Sneha Lagna(1938) | |
| Bijli(1939) | 2 songs (estimated) |
| Hero No. 1(1939) | 3 songs |
| Hukam ka Ikka(1939) | |
| Anuradha(1940) | 1 song |
| Dharma Bandhan(1940) | |
| Yaad Rahe(1940) | |
| Madhusudan(1941) | |
| Preetam(1942) | |
| Sewa(1942) | 3 songs |
| Sharda(1942) | 1 song |
| Hunterwali ki Beti(1943) | 1 song |
| Talaash(1943) | 1 song |
| Sanyasi(1945) | |
| Hoor-E-Jungle(1946) | |
| Naamumkin(1946) | |
| Toofani Queen(1946) | |
| Dil ki Rani(1947) | 2 songs |
| Stunt Queen(1947) | |
| 11 O’clock(1948) | |
| Mala,The Mighty(1948) | |
| Delhi Express(1949) | |
| Joker(1949) | |
| Dhoomketu(1949) | |
| Circuswale(1950) | |
| Jodidar(1950) | |
| Preet ka Geet(1950) | |
| Saudaminee(1950) | |
| Hamari Shaan(1951) | |
| Hyderabad ki Nazneen(1952) | |
| Jungle ka Jawahar(1952) | 2 songs |
| Shamsheerbaaz(1953) | |
| Sherdil(1954) | |
| Jai Mahadev(1955) | |
| Raaj Darbar(1955) |
Music Director Shyamsunder died on 15-7-1952 itself, while the singer/actor Shyamsunder continued upto 1955,which again confirms that both were different.
Here is the last and final song from this film, sung by Geeta Roy. This makes the film YIPPEED !
Song- Naina Hamaare Neer bahaayen (Saudaamini)(1950) Singer- Geeta Roy, Lyricist- Not known, MD- S.N.Tripathi
Lyrics :
Naina hamaare neer bahaayenaaja piya
tu aaja piya
chhaayee hain gham kee kaalee ghataayen
aaja piya
tu aaja piya
naina hamaare neer bahaayen
aaja piya
tu aaja piya
bhool gaye hain pritam pyaare
pritam pyaare
bhool gaye hain pritam pyaare
pritam pyaare
jiyara tadpe dard ke maare
jiyara tadpe dard ke maare
haal pe mere hanste hain saare
chanda kee kirnen dil ko jalaayen
aaja piya
tu aaja piya
naina hamaare neer bahaayen
aaja piya
tu aaja piya
aa morey sainyya
aa morey raaja
aa morey raaja
aa morey sainyya
aa morey raaja
aa morey raaja
man ko mere dheer bandhaa jaa
man ko mere dheer bandhaa jaa
sapnon mein aa ke roop dikha jaa
neend mein sapne ham ko rulaayen
aaja piya
tu aaja piya
naina hamaare neer bahaayen
aaja piya
tu aaja piya
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