Bainyya pakad mat chhod morey sainyya
Posted on: October 27, 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: | 6675 | Post No. : | 20653 |
Today’s song is from a Religious film – Astik-1956.
The film by Rani productions, Bombay, was directed by S.P.Kalla, who also wrote the film’s story, dialogues and lyrics. It was produced by G.D.Kakkad. The Music Director was Narayan (Dutt) – who was sometimes mistaken for the more prolific and better known M.D.- N.Datta. The cast of the film included Shahu Modak, Paro Devi, Minakshi, B.M.Vyas, Praveen paul,, Nazi, Master Dabboo and Master Babu and many others.
1956 was the Silver Jubilee year of Indian Talkie Films. This year, the most successful films were entertainers. There were of course some films carrying social messages. One of them was ‘Jaagte Raho’ (‘Ek Din Ratre’ in Bangla), which tried to bring out the upper middle class hypocrisy in a metro city like Bombay. Initially, the film did not make any ripples, but after it won International awards, it became very popular. (People of other nations have to tell us that our film is good !). A social message, excellent music and solid story – the hallmarks of an RK film were all there in it.
Then, the film ‘Ek Hi Raasta’ tackled the issue of widow re-marriage and acceptance of a new father by the child. Comedy entertainer ‘Nai Dilli’ emphasized the need for inter language marriages in India. Satyajit Ray’s ‘Aparajita’- the sequel to ‘Pather Panchali’ (1955), hit the screens in India after winning accolades internationally.
Musical entertainers like ‘CID’, ‘Chori Chori’, ‘Basant Bahar’, ‘Rajhath’, ‘Bhai Bhai’, ‘Funtoosh’ and ‘Inspector’ were quite popular. Amongst all these, a powerful tear-jerker like ‘Toofan Aur Diya’ from Rajkamal stood out. It also brought actress Nanda into limelight and made her drop “Baby” from her name.
The decade of the 1950 was called a Golden Era. At the same time, it was the best year for Religious and Mythological films. After the independence in 1947 the film industry was strengthened with new blood in every department of film making.This was partly to fill up the void created by the exit of Muslim workers to their Utopia- Pakistan. The other language film industries were not affected as much as Hindi Film industry because muslims felt more comfortable with Hindi being closer to Urdu speaking and furthermore, most muslims lived in the Hindi speaking states like UP,MP, Bihar, Maharashtra etc.
Secondly, the industry was producing films to revive the older values of Indian society like joint families, Religion, old traditions etc. in doing so, the emphasis was on making mythological films which included all such values. Thus, in the 10 year period from 1951 to 1960, as many as 124 Mythological/Religious films were made. One may wonder as to what is the difference between ‘Religious’ and ‘ Mythological’ films.
What is the difference between Religious and Mythological films ? Are they the same ? No, there is a difference. Films based on stories from Puranas ( which is a mix of imagination and History in symbolic way) are Mythological Films. Examples are “Ganga Maiyya” or ” Ram Hanuman Yuddha ” or ” Ram Rajya ” etc. Films based on Bhakti or Upasana , involving Historical stories,persons or happenings are Religious films. Examples are ” Shri Chaitanya Mahaprabhu”, ” Sant Tukaram” or ” Mahatma Kabeer” etc.
Aastik (1956) is a classic Hindi devotional drama directed by S.P. Kalla. The storyline explores the triumph of faith over atheism through a human conflict centered around an ardent devotee.
The story centers on Raj (played by Shahu Modak), a kind, simple prince who is completely engrossed in his devotion to Lord Shiva. His deep faith is so intense that Lord Shiva is convinced Raj could pull Mount Kailash down to Earth, a sentiment that the celestial sage Narada cautiously questions.
Back in the palace, Raj’s intense devotion creates friction. His hostile stepmother, Durgavati, and his conniving maternal uncle, Sajjan Dev, despise his spiritual inclination. They constantly complain to Raj’s father, King Vijayraj, who desperately tries to remind Raj of his royal duties. Undeterred, Raj takes to the streets, openly singing bhajans.
In a desperate attempt to ground the prince, the King—following the Rajguru’s advice—forces Raj into marriage. Raj marries Savitri, but remains depressed. When he opens up to his new wife about his spiritual longing, Savitri unexpectedly chooses to support him and joins his path of devotion. Enraged by this development, the stepmother and uncle escalate their hostility, prompting Raj to renounce the palace completely, don the clothes of a Sanyasi (ascetic), and leave.
On his travels, Raj encounters Queen Meenakshi (played by Meenaxi), a fierce and proud atheist. Attracted to Raj’s youth and charm, she tries every trick to seduce him. When Raj successfully resists her charms, her infatuation turns into bitter anger.
To punish his resistance, Queen Meenakshi subjects Raj to cruel torture, eventually blinding him and casting him out of her kingdom. Stripped of his sight, Raj’s unyielding faith remains intact, prompting even the Queen to ultimately repent her cruel actions. Moved by divine intervention and Raj’s absolute devotion, the atheist Queen experiences a spiritual awakening and transforms into a true believer.
Paro or Paro Devi was the lead actress in this film. Paro Devi was a courtesan from Meerut and she entertained only the high grade clientele both in terms of affluence and eminence like Josh Malihabadi and Saghar Nizami. She was financially well off. All she wanted now was to become an actress. On the other hand, Begum Para came from a respectable family. Her father was the Chief Justice of the then Bikaner State. She was educated in Aligarh Muslim University and was financially well off. Like Paro Devi, Begum Para was also interested in becoming an actress. Since her elder brother Masroor Ul Haq was already married to actress Protima Dasgupta, it was easy for Begum Para to get an entry into the film by becoming the heroine in ‘Chaand’ (1944).
How Paro Devi landed in the Hindi film industry is not mentioned in Manto’s book. However, I guess that some of Paro Devi’s clientele may have been from the Hindi film industry and one of whom may have recommended her name to Shashdhar Mukherjee of Filmistan when he was finalising the cast for the film “Shikaari’ (1946). It is interesting to note that both Josh Malihabadi and Saghar Nizami were involved with the Hindi film industry at that time. One source also says she was introduced by Savak Vachcha in Shikari (1946) as a side-heroine.
Paro Devi started her acting career with Filmistan’s ‘Shikaari’ (1946). In the film, Ashok Kumar and Veera were in lead roles. Paro Devi had a side role as a Burmese tribal girl who was head strong and aggressive. But in view of her background as an entertainer with pleasing manners, the film’s director had lots of difficulties in getting from her the required expression and delivering the dialogues in commensurate with her role in the film. Since as courtesan, singing came to her naturally, in this film, she sang her own songs. The film was a huge box office hit. With this, Paro Devi as an actor-singer signalled her arrival in Hindi film industry.
During 1946 to 1950, Paro Devi acted in 16 films, but barring a couple of films, she was mostly in the capacity of what is known as a side heroine/character. During this period, she sang around 40 songs for herself, in 12 films. Her last song was in the film Nakhare-51. However, because of her peculiar voice quality which was more suited for coquettish songs than the soft love songs, she had to lip sync in the voices of other playback singers. For instance, in ‘Shabnam’ (1949), Shamshad Begum sang four songs for her including tumhaare liye huye badnaam. From about mid-50s onward, Paro Devi was mostly relegated to the character roles. From her filmography, I find that she was fairly active in her acting career which spanned for nearly 35 years during which she acted in 88 films. Her last film was Anokhi Dulhan-1986. She died on 3-8-1990. (Thanks to Sadanand kamath ji for his article, Book by Manto and my notes).
Now something on Narayan Dutt, the “Same Name Confusion” Music Director….
Many people may not be even aware that any MD by the name of NARAYAN DUTTA existed, but in reality he did and has contributed to Hindi film Music to the best of opportunities that he got to do so. NARAYAN DUTTA, I feel, was one of those unlucky composers like, C.Arjun, Sailesh Mukherjee, Daan singh, Sardar Malik, Jamal Sen, Pardesi etc, who had enough talent but luck was not in their favour.
Most internet sites and few writers also get confused between these two MDs, thinking that N.Datta means Narayan Dutta . Consequently, films in which Narayan Dutta gave music are coolly added to the filmography of N.Datta !
NARAYAN DUTTA was born in Bilawas village in Jodhpur state. His father Durgaprasad was the Court Singer (Raj Gayak) with Bikaner king Ganga Singh. Narayan learnt music from his father since childhood. With a desire to sing in Hindi films, like many other such dreamers, he reached the Mayanagari-Bombay in 1946.
He sang his first song for Raj Kapoor in ” Neelkamal”-1947.However the commercial record of this song was made with the composer’s voice- Snehal Bhatkar. Then he sang two songs, one with Geeta and one with Mukesh in Rasili-47. With the help of Kidar Sharma he sang songs in Sehra-48, Gauna-49 and Uddhar-49, in addition to some stunt films of Mohan Pictures, but no records were made.
Somehow, he felt that there was not much scope for singing so he turned to composing and his first film was Mordhwaj-52, followed by Astik-56,Shyam ki Jogan-57,Naya Kadam-58 and Pujarin -72 (in the period 58-72,his few films remained incomplete like Aji bas rahne do, Meerabai, Bhakta Pralhad etc.) Narad Leela-72,Jai Hanuman-73,Seetaram Radheshyam-73, Saraswati-Laxmi-Parvati-75, Sindoor ka Daan-84 and Humse mile tum-86. In addition to these 11 Hindi films, he also gave music to 3 Rajasthani films- Baba Ramdev Peer-63,Mhari Pyari Chanana-83 and Nani Bai ko Bhayro-84.
After films stopped coming, he engaged himself in making NFS based on local folk tunes. He also composed songs for Jain Samaj and Rajneesh Foundation. He established ” Sur Tarang” , a school to teach Music.
This talented but unlucky composer died on 16-6-1988. ( Based on an article by Shri Murlidhar Soni ji, in Listener’s Bulletin No. 76 Feb 1989, with thanks and my own notes.)
Here is a song from today’s film, sung by Asha Bhosale. Enjoy….
Audio
Video
Song-Bainyya pakad mat chhod morey sainyya (Aastik)(1956) Singer- Asha Bhosle, Lyricist- S.P.Kalla, MD- Narayan Dutt
Lyrics :
milan kee raat haius pal bhee jigar jalta hai
ye kya qayaqmat hai ki
barsaat mein ghar jalta hai
bainya pakad mat
chhod morey sainyaa
bainya pakad mat
chhod morey sainyaa
log kahenge harjaai
harjaai
bainya pakad mat
chhod morey sainyaa
log kahenge harjaai
harjaai
bainya pakad mat
chhod morey sainyaa
mukh se na boloon
par naina ye bolen
mukh se na boloon
par naina ye bolen
baat jiya kee haay
bairee ye kholen
baat jiya kee haay
bairee ye kholen
maine to bahut chhipaayee
chhipaayee harjaai
bainya pakad mat
chhod morey sainyaa
bainya pakad mat
chhod morey sainyaa
log kahenge harjaai
harjaai
bainya pakad mat
chhod morey sainyaa
ho gayee main to teree
kuchh bhee na soojhe
ho gayee main to teree
kuchh bhee na soojhe
chanda bhee poochhe
mohe taare bhee poochhen
chanda bhee poochhe
mohe taare bhee poochhen
main to bahut sharmaai
sharmaai harjaai
bainya pakad mat
chhod morey sainyaa
bainya pakad mat
chhod morey sainyaa
log kahenge harjaai
harjaai
bainya pakad mat
chhod morey sainyaa
aadhee aadhee raat piya uthh uthh jaagoon
aadhee aadhee raat piya uthh uthh jaagoon
jaane kya baat piya man naheen qaaboo
jaane kya baat piya man naheen qaaboo
maine to sudh bisraai
bisraai harjaai
bainya pakad mat
chhod morey sainyaa
bainya pakad mat
chhod morey sainyaa
log kahenge harjaai harjaai bainya pakad mat
chhod morey sainyaa
bainya pakad mat
chhod morey sainyaaaa
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