Iss raat deewaalee ye kaisee
Posted on: September 27, 2026
- In: "Munh dikhaai" song | Asha Bhonsle songs | Dance song | Final (YIPPEE) song of movie in the blog | Guest posts | One singer singing for two actors | Post by Arunkumar Deshmukh | Rafi songs | Shamshad Begam songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1955 | 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 : | 6645 | Post No. : | 20588 |
Today’s song is the last and final song from a Family drama film- Sabse Bada Rupaiya-1955.
This film was made by Aalhaad Chitra, Poona. This banner was owned by producer, director of repute, Datta aka Dada Dharmadhikari. Aalhaad was his son’s name. He used to feature in his father’s films as a child artist. The film was directed by PL Santoshi. There were 2 MDs, namely Nashaad (3 songs) and OP Nayyar (6 songs). Lyrics were by PL Santoshi and Majrooh Sultanpuri. The cast of the film includes Shashikala, Agha, Aalhaad, Sunder, Nana Palsikar, Achala Sachdev, Krishnakant, Raja Gosavi, Premlata, Heera Sawant, Mubarak Begum, Vijaybala and others.
Actress Vijaybala was the sister of the renowned Bollywood playback singer Mubarak Begum. Vijaybala’s real name was Mumtaz Begum.
Here are a few interesting details about their relationship: Mumtaz Begum, under the screen name Vijaybala, worked as an actress in a few Hindi films during the 1950s and early 1960s, including ‘Paisa’ (1957), ‘Changez Khan’ (1957), and ‘Grihasthi’ (1963). In the 1957 film ‘Paisa’, Mubarak Begum sang a song that was picturized on her sister, Vijaybala. Unlike her sister, who continued her singing career, Vijaybala eventually left the film industry to get married and stepped out of the public eye.
There were two Music Directors in this film.
One can see a few more films where more than one Music Director is involved. Especially in Hindi films made in the south or remakes of a southern hit film into Hindi. In those cases, the purpose is different. However, in most other Hindi films, two Music Directors are found due to two reasons, generally. One, the first Music Director leaves the film on his own due to some dispute. For example, Anil Biswas left the film ‘Girls School’ (1949) because he had a dispute with Kavi Pradeep, who was the producer of the film. After that, C Ramchandra took over as Music Director. Secondly, when one Music Director usurps the first Music Director’s place with a planned mischief.
In today’s film, the second reason was the cause. The first Music Director was Nashaad. This is very interesting and not many people know these things. OP Nayyar’s films like ‘Aarpaar’, ‘CID’, ‘Mr.&Mrs 55’, ‘Baap re Baap’ etc became very famous but he did not get any payments from Guru Dutt. Once O P Nayyar went to Guru Dutt to ask for his payments, as his small child needed milk and he had no money, but, according to O P Nayyar, Guru Dutt who was fully drunk, threw away OP Nayyar without any payments.
O P Nayyar had become very bitter and to make quick money he started snatching films from other composers. Roshan was removed from ‘Mehbooba’ (1954), Mohd.Shafi was removed from ‘Mangu’ (1955) and ‘Naashad’ was removed from ‘Sabse Bada Rupaiya’. All these films went to O P Nayyar.
When Roshan was removed from ‘Mehbooba’, Lata Mangeshkar became very angry (she respected Roshan) and she announced that she will not sing the balance songs of ‘Mehbooba’, to which O P Nayyar retorted, “but I am not asking her to sing in Mehbooba”. Enraged, Lata managed to garner support of Naushad, Anil Bishwas and others who took this matter of replacing Music Directors in the Cine Music Directors’ association, which boycotted O P Nayyar. He was not getting recording studios, musicians nor any singers for his songs. At that time Shamshad Begum stood by him like a rock and did all his songs free for him.
Even to such a great helper, O P Nayyar ditched Shamshad Begum in preference to Asha Bhosle, just like he ditched Geeta Dutt !
The story of the film was about how a sudden windfall of good fortune changes honest and simple people. Only a calamity teaches them that in this life money is not the only important thing, but empathy and helping the needy is more important, whereas money is only a means to achieve an end. Here is the story of this film…..
Karodimal is a millionaire and thinks that he can get anything in this world with money. His son Kishen has a different opinion – money is only a means to achieve an end. The father and the son always argue on this issue. karodimal has given some loan to Gangaram for his son’s marriage.
Gangaram sends Kishen to get his money from gangaram. Same time Karodimal, finding Gangaram unable to pay him, sends a message to Gangaram, through the village barber, that the amount of loan can be waived if he gives his daughter Laxmi in marriage to karodimal. The helpless Gangaram has no choice and he agrees to this.
Knowing this situation, Laxmi tries to commit suicide, but kishen saves her. Kishen comes to know all the story behind this suicide attempt. For saving Laxmi’s life , Gangaram and his wife offer her hand to Kishen. Kishen gladly agrees, since he had been liking her.
Karodimal comes to know that the son of a rich person is getting married to Laxmi. He rushes to stop the marriage. Finding His own son as the groom, he is mad with rage and leaves from there. Meanwhile Laxmi finds a Tin box full of high value notes. She quietly hides that box in a room in Gangaram’s house in which all unwanted things are stored. Laxmi’s brother is a gambler and to raise money for his gambling, he sells all the things in that room, including the Tin Box. Learning this Laxmi starts searching for that box. The news spreads to few others and some more people also start searching the tin box. Hilarious situations arise.
Kishen, while loitering in a garden, finds that box. He shows it to Laxmi and both go to Gangaram to give it to him, so that he can repay Karodimal’s loan. Meanwhile Karodimal falls sick with a serious ailment and the doctor declares that he can not guarantee anything. Kishen and Laxmi start looking after Karodimal. With Laxmi’s dedicated nursing and proper care, karodimal starts showing improvement and in a month’s time he recovers fully. All are happy.
Now Karodimal realises that service to the needy is more important than money – which is only a means to an end, like Kishen says. He refuses the money Gangaram returns and embraces him as his ” Samadhi “.
The end is, everyone is happy. The happiest is the audience in the theatre for ending of this film !
One of the cast members and less written about actor is Nana Palshikar. Nana Palshikar aka Narayan Balwant Palshikar (20-5-1908 – 1 June 1984) was a film actor who appeared in over 125 Hindi films. He made his film debut in 1935 with Dhuandhar, and went on to play character roles in both Hindi mainstream and New wave films. He was also cast in small parts in a few international productions such as Maya (1966), The Guru (1969) and Gandhi (1982). Palshikar was awarded the Filmfare Award for Best Supporting Actor twice, in 1962 and 1965. He was recognised with an award in the same category by the Bengal Film Journalists’ Association in 1965.
Palshikar made his first film appearance in 1935 along with Leela Chitnis in Sukumar Chatterjee’s Dhuandhar. He appeared in two more films in this decade, Kangan and Durga (1939), both of which were produced at the Bombay Talkies production house and were the two final films directed by German director Franz Osten.
After a long break of 14 years, during which he appeared only in two films Bahurani (1940) and Maali-44, he returned to the screen in Bimal Roy’s 1953 picture Do Bigha Zamin (Two Acres of Land), in which he played Dhangu Maheto, alongside actors such as Balraj Sahni and Nirupa Roy. The film was a major critical success and won several national and international honours. He followed it with supporting roles in other successful films of this decade, such as V. Shantaram’s Jhanak Jhanak Payal Baaje, Bimal Roy’s Devdas, Raj Kapoor’s Shree 420, Sombhu Mitra’s Jagte Raho and Hrishikesh Mukherjee’s Anari.
In 1960, Palshikar appeared in Kanoon, a courtroom drama involving a murder case. Directed by B. R. Chopra, the film saw Palshikar playing Kaalia, a petty thief who is caught and charged with murder for no fault of his own. Palshikar’s performance earned him his first Filmfare Award for Best Supporting Actor. In a retrospective review in 2009, The Hindu noted: “the star of the second half is Nana Palshikar, who slips into the role of a petty thief with a commanding performance.”
In 1963, Palshikar appeared in Khwaja Ahmad Abbas’s Shehar Aur Sapna (The City and The Dreams). It is a social film which portrays the struggle of pavement dwellers in the backdrop of rapid industrialisation. The film, a love story that takes place in a drain pipe, received the President’s Gold Medal Award and the National Film Award for Best Feature Film. Palshikar’s performance as Johnny earned him his second Filmfare Award for Best Supporting Actor, and he was acknowledged as Best Supporting Actor (Hindi) by the Bengal Film Journalists’ Association.
John Berry’s Maya (1966) saw Palshikar playing Sajid Khan’s father. In 1969, James Ivory cast him in the foreign co-production The Guru. Ivory said: “I didn’t know a great deal about him when we cast him… He was said to be a very good actor, which I took on faith.” Judith Crist from the New York Magazine described his small part of “The Guru’s Guru” in the film as “an unforgettable cameo”.
In the 1970s, Palshikar continued to portray father figures or authoritative characters such as judges. For instance, he played a father in many films such as B. R. Chopra’s Dhund, based on Agatha Christie’s play The Unexpected Guest in 1973 and Yaaron Ka Yaar in 1977. However, these roles were generally relatively minor and he was often uncredited for his performances, such as his role as a judge in Jwar Bhata in 1972.
He continued playing a father into the 1980s, appearing in Aakrosh (1980), playing Om Puri’s dad. His last major film was in the epic film Gandhi in 1982, a Richard Attenborough directed biographical film based on the life of Mohandas Gandhi, who led the nonviolent resistance movement against British colonial rule in India during the first half of the 20th century. However, his role was very minor, playing a villager. His last appearance was in the film Kanoon Kya Karega, again playing a parent.
Nana Palshikar acted in 126 films in all. Not many people know that he had written a song in the film Maali-1944.
He died on 1 June 1984 in Bombay, aged 77. ( Thanks to Cinerang by Isak Mujawar for this post along with muVyz, wiki and my notes.)
Here is the last and final song from this film, sung by Asha, Shamshad and Rafi with chorus. This makes the film YIPPEED !
Song- Iss raat Deewaalee ye kaisee (Sabse Bada Rupaiyya)(1955) Singers- Asha Bhonsle, Rafi, Shamshad Begam, Lyricist- P.L.Santoshi, MD- NashaadChorus
Lyrics:
ho ois raat deewaalee ye kaisee ee
is raat ujaala ye kaisa
aa aa aa aa aa
ho o
is raat deewaalee ye kaisee
ye kaisa ujiyaala chhaaya hai
is raat deewaalee ye kaisee
ye kaisa ujiyaala chhaaya hai
is raat deewaalee ye kaisee
ye kaisa ujiyaala chhaaya hai
kuchh baat naheen aisee vaisee
mehmaan koi ghar aaya hai
ghar aaya hai
mehmaan koi ghar aaya hai
ye baat to ham bhee jaane hain
mehman koi ghar aaya hai
ye baat to ham bhee jaane hain
sach baat naheen kyun kahte ho
ke chaand utar kar aaya hai
ghar aaya hai
ho ke chaand utar kar aaya hai
ghar aaya hai
ek jhalak dikhla do hamko
uskee laakh balaayen lenge
uskee laakh balaayen lenge
ek jhalak dikhla do hamko
dil se lakh duaayen denge
dil se laakh duaayen denge
jaa ke abhee tum kah do unse
chaand abhee sharmaaya hai jee
chaand abhee sharmaaya hai jee
to duniya waalon jaao yahaan se
chaand abhee sharmaaya hai
sharmaaya hai
ham jag kar raat bitaayenge
ham dhoonee yahaan ramaayenge
ham dhoonee yahaan ramaayenge ham
jo chaand utar kar aaya hai
wo chaand dekh kar jaayenge ham
chaand dekh ke jaayenge ham
jaa ke abhee tum kah do unse
chaand abhee alsaaya hai jee
chaand abhee alsaaya hai jee
to duniya waalon jaao yahaan se
chaand abhee alsaaya hai
alsaaya hai
o o
neelee neelee chundariya taaron bharee ho
o dekho jaise gagan se utree paree ho
ham kirnen ban kar naachenge
ham taare ban kar gaayenge
ham kirnen ban kar naachenge
ham taare ban kar gaayenge
ye raat naheen phir aane kee
ham mil kar khushee manaayenge
ae chaand tere sadke jaayen
jo raat suhaanee laaya hai
ghar aaya hai
o ke chaand utar kar aaya hai
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