Andhkaar hai mere chaaron oar
Posted on: October 25, 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.
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Today’s song is from the film Amrapali-1945. The film was made by Murlitone. This historical Genre film was directed by Nandlal Jaswantlal. The music was composed by Saraswati devi, who had left Bombay Talkies, after the exit of Devika Rani. The 11 songs of the film were written by Miss Kamal, B.A.
Most readers who are knowledgeable about the vintage films of the 40’s know that Miss Kamal, B.A. was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name. Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.
Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Admininstrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined the Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits. Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal (1963).
FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1945: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo (1963). (Thanks to Encyclopedia of Indian Cinema.)
In the film Amrapali-45, the film story was by Ramchandra Thakur. Actually, this was based on Thakur’s own famous novel Amrapali. The dialogues were by Munshi Dil. The film, made under the banner of Murli Cinetone, was shot entirely in the Andheri studios of Lakshmi productions. The story of Amrapali is a real story, which took place in the times of Gautam Buddha. Although the original novel of Ramchandra Thakur depicted the reality in his book very nicely, the film story was twisted and under the guise of taking ‘ Cinematic liberty’, the main events of the story were drastically changed, twisting the history. Comparatively, the film ‘Amrapali’ made later in 1966 was much better. At least it did not change the original story. Amrapali or Ambapalika’s story is mentioned in old Pali language Texts and Buddhist literature. Let us first see the real story and then the film story. This will reveal how reality is twisted in films to make the film appealing to their audience- at the cost of reality !
The real story…
Amrapali (also known as Ambapalika or Amra) was a celebrated royal courtesan (Nagarvadhu) and court dancer of the ancient republic of Vaishali in modern day Bihar, around 500 BC.
She was found as an abandoned infant under a mango tree in a royal garden in Vaishali and named Āmrapālī (amra meaning mango). Renowned for her extraordinary beauty, grace, and intelligence, she was declared the nagarvadhu (bride of the city) so that no single man could claim her and cause conflict among the nobility. She accumulated immense wealth, built a grand palace, and commanded the admiration of powerful kings and merchants, including King Bimbisara of Magadha, with whom she had a son named Vimala Kondanna.
When Gautam Buddha visited Vaishali, Āmrapālī invited him and his monks to a lavish meal at her residence, turning down competing requests from Vaishali’s proud princes. Moved by the Buddha’s teachings on impermanence, detachment, and inner peace, she experienced a profound spiritual shift. She shed her jewels and fine silks, donated her vast mango grove (Ambapali vana) to the Buddhist Sangha, and asked to be ordained as a nun (Bhikkhuni). She dedicated herself to the monastic path, practiced meditation, and eventually attained arhatship (enlightenment), later composing verses preserved in the Therigatha…
The film story:
The 1945 Hindi film Amrapali, directed by Nandlal Jaswantlal, is a historical drama that explores the intense geopolitical and romantic conflict between the kingdoms of Magadha and Vaishali.
The plot begins when the republic of Vaishali refuses to acknowledge the sovereignty of Magadha. Consequently, Magadha’s commander, Abhayaraj, is captured and later released. Abhayaraj seeks to marry Pali, the daughter of Vaishali’s Chief Minister. However, Pali unknowingly falls in love with the King Bimbisar of Magadha, who is wandering in disguise. Spurred by political friction and personal rejection, Abhayaraj retaliates by getting Pali declared a public woman (nagarvadhu). Pali, now pregnant, is forced to live out her life as a public woman while raising her son. The central turmoil and tragedy of her circumstances eventually culminate in a deeply philosophical resolution.
The cast of the film was Prem Adib, Sabita Devi,Jeevan, Arun Ahuja, Jagdish Sethi, Badri Prasad, Sankatha Prasad, Gulab etc.etc.
This film was special for its Heroine, Sabita Devi, because it was her last film as an actress. In the silent era, many Anglo Indian, Jew and European girls acted in films. They were preferred too, for their free uninhibited acting. Kissing and hugging was no problem for them. However, when the Talkie films arrived, most of these girls had to leave films, because they could not speak Hindi or sing a song. Only some few dedicated actresses from the lot like Sulochana (Ruby Meyers), Sabita Devi (Irina Gasper) etc, continued in films, because they learnt Hindi and singing, with great efforts.
Let us know more about the Hero- Prem Adib, who had become famous all over India for his roles as Shri Ram in several films. When I heard Prem Adib’s name for the first time in my younger days, I thought that he was a Muslim, because Adib sounded like Abid. However, when I saw the film Ram Rajya-43, I was impressed with his good looks and personality. Generally, most Kashmiri actors are good looking( except Jeevan, but his son Kiran Kumar was good looking). After the film Ramrajya-43, his name and fame spread unbelievably. I remember, somewhere in 1948 or 49, we had received a Calendar, with Prem Adib and Shobhana Samarth as Ram and Seeta, in multicolour photographs. Even after the year was over, that calendar remained on the wall, till it got torn.
Prem Adib was one of those actors who left an indelible mark on their generation due to an extraordinary portrayal of a film character. Prem and Shobhana ruled the hearts of their generation in the roles of Ram and Seeta. They worked together in 12 films, but they played Ram and Seeta only in 4 of these films. Just one Ram Rajya would have been enough, actually ! One may feel that Prem Adib specialised in Mythological films, but just about 30% of his films were religious. The rest were social, Historical and other genres.
Famous as Cine world’s Ram, Shiv Prasad Adib was born on 10th August, 1916 in a Kashmiri Brahmin family in Sultanpur (Audh, Uttar Pradesh). His father Pandit Ramprasad Dhar was a lawyer. Ramprasad’s forefathers were known in the field of Literature. Impressed by his Litterateur personality, Nawab Wajid Ali Shah had conferred him with the title of ‘Adib’ (meaning Pandit-Vidwaan). In the future, this title became their family name (surname).
At the age of 13 years, after watching a silent film ANAARBALA, Prem decided to join films. After matriculating from Jodhpur in 1932, he studied for 2 years in college, but the passion for films had not reduced. So in 1934 he gave up studies and headed straight to Calcutta. For 8 months he went to different studios there, but with no luck. From there he went to Lahore. After failing to get work in Lahore also, he arrived in Mumbai. Finally his wish was fulfilled and he got a job in Rajputana Films.
Director Mohan Sinha (Grandfather of Vidya Sinha) gave Shiv Prasad a small role in the film ROMANTIC INDIA and gave him his film-name: Prem Adib. Prem also got some small roles in Dariani Productions films like: PRATIMA (Prem Murti), FIDA-E-VATAN (Tasveer-e-wafa) and INSAAF (1937). He also acted in Minerva Movietone’s social films like KHAN BAHADUR (1937) and TALAQ (1938).
His first film as a hero opposite Shobhana Samarth was NIRALA HINDUSTAN (Industrial India). This film had 3 music directors. Naushad was an assistant to one of those three, Mushtaq Hussain. He appeared once again as a hero in GHUNGHAT WALI, Sagar Movietone’s BHOLBHOLE and SADHANA (1939). In SAUBHAGYA (1940), again as a hero with Shobhana Samarth, Prem Adib also sang the songs. In this way, from 1936 to 1940, there were 11 films released with acting by Prem Adib.
In terms of popularity, the decade of the 1940s was his career’s best phase. In that decade, besides acting in 28 films, he also produced 3 films. These were: DEHAATI, KASAM (1947) and RAM VIVAH (1949). He was also the director of RAM VIVAH. In the early 40s, Prem Adib joined the prestigious organization Prakash Pictures. Prem Adib’s starting salary was fixed at Rs. 700 per month. Prakash Pictures films in which Prem Adib acted were: DARSHAN, BHARAT MILAP, CHUDIYAAN, STATION MASTER, RAMRAJYA, POLICE, VIKRAMADITYA and RAM-BAAN. Pleased with Prem Adib’s performance in BHARAT MILAP (BHARAT-BHET in Marathi), his salary per month was increased by Rs. 300.
When the film was awarded a gold medal in Calcutta, Kanhaiyalal Munshi was also present at the ceremony. He suggested Vijay Bhatt to make LUV KUSH. Gandhiji was heading the independence struggle for the country and he repeatedly said that the independent India of his dream would be like Ram-Rajya. Keeping in mind Kanhaiyalal Munshi’s suggestion, Vijay Bhatt did make the movie about Luv Kush but instead of calling it LUV KUSH, he named it RAM RAJYA. Released at Super Cinema in Mumbai this film scaled the peaks of popularity. It ran continuously for 108 weeks.
People started worshipping Prem Adib as Ram after BHARAT MILAP and RAM RAJYA. Even though Prem Adib used to smoke cigarettes and eat non-vegetarian food in real life, he gave them up while filming RAM RAJYA. During the shooting he also read Ramayan every day.
Gandhiji, who had talked about Ram Rajya, had never ever watched even one movie. Since the Art Director of Vijay Bhatt’s films, Kanu Desai was a Gandhian and as a result of his efforts Gandhiji agreed to see RAM RAJYA. Once when Gandhiji had come to Bombay to rest because of illness, his Doctor Sushila Nair gave him permission to watch the film for only 40 min. After this time was over, when the doctor asked that the film be stopped, Gandhiji signaled that the film be continued and saw the whole film.
During that period, Prem Adib got married to Krishnakumari (alias Pratima), the daughter of a leading citizen Rai Saheb Rajeshwarnath Kaul, on 26th February, 1943 in Lahore.
In the 1950s, Prem Adib had 28 film releases. Most of them were religious films. ANGULIMAL in 1960 was his last film. His film RAM BHAKTI (1958) was censored again as BHAKT RAAJ and released in 1960. Prakash Pictures also compiled (put together) scenes from its own earlier films BHARAT MILAP, RAMRAJYA and RAM BAAN and made a film RAMAYAN in 1954.
Prem Adib died in 1959 following a protracted illness which began in a car accident and a botched kidney surgery. On 25th December, 1959 Prem Adib had gone to a party with his wife Pratima. During the day he was healthy and fine, but after coming back he had an attack of brain hemorrhage due to high blood pressure. His wife fainted at his untimely and unexpected death. His last rites were taken over and completed by his relatives present at that time. When his fans came to know they complained that if they had been informed they would have given him a farewell befitting Ram.
Prem Adib did Ram’s role in 8 films- Bharat Milap-42, Ram Rajya-43, Raam Baan-48, Ram Vivah-49, Ram Navmi-56, Ram Hanuman Yudha-57, Ram Laxman-57 and Ram Bhakta Bibhishan-58. He worked in about 75 films, directed 1 film and sang 26 songs in 9 films.
Here is a song from this film, sung by Amirbai Karnataki. Enjoy….
Song- Andhkaar hai mere chaaron oar (Aamrapaali)(1945) Singer- Amirbai Karnataki, Lyricist- Miss Kamal, B.A. (Kavi Pradeep), MD- Saraswati devi
Lyrics :
Andhkaar haimere ae
chaaron oar
dikhta aa
naheen
gagan ka
chhor
mere ?? ghireen ghataayen
andhkaarmay
andhkaarmay
sabhee dishaayen
mere paaon
kidhar ko jaayen
mere paaon
kidhar ko jaayen
aao mere
kuldeepak aao
main pathh bhoolee
raah dikhaao
ek baar priya mukh se bolo
ek baar priya mukh se bolo
maa
maa
maa tu kyun ghabraatee
maa tu kyun ghabraatee
ik tumhee ho mere saathhee
is duniya kee pagdandee par
tumhee ho mere saathhee
ik tumhee ho mere saathhee
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