Mujh se kar na goree dhokhaa
Posted on: November 3, 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 a South made film dubbed in Hindi – Aai Phir Se Bahaar-1960. The film was produced by Dinshaw Tehrani and Ambalal Patel for Asha productions, Madras. The original Tamil film Raja Rani-1956 was a Hit film, as it had a popular lead pair- Padmini and Sivaji Ganesan.
This pair featured in 59 films as lead pair. Film “Parasakthi”-1952 was the First film of Sivaji Ganesan as a Hero. He has done over 250 films.
The story of today’s film was written by M.Karunanidhi, who had written the story of film Parasakti also. That film is considered as a Manifesto for DMK party. Later on Karunanidhi became the second Chief Minister of Tamilnadu Government from 2006 to 2011 period.
The cast of the film Aai phir se Bahaar-1960 was Padmini, Sivaji Ganesan, Rajendran and many Tamil artistes.
The film was directed by A Bhimsen (15-10-1924 to 16-1-1978). He was a filmmaker who worked predominantly in Tamil cinema. Apart from Tamil, he made films in other languages that include 18 films in Hindi, 8 in Telugu, 5 in Malayalam and 1 film in Kannada.
Hailing from Andhra Pradesh, he started his film career as an assistant editor with the film-making duo Krishnan–Panju in the late 1940s. Later, he became an assistant director before evolving as an independent director. His films mainly dealt with family and relationships. He made a series of films all of which started with the Tamil syllable pa, mainly with Sivaji Ganesan.
Today’s film was his Debut film for Hindi language. Some of his known Hindi films were Rakhi, Main chup rahungi, Pooja ke phool, Khandan, Gopi, Joru ka Gulam etc.
Till 1947, Hindi films were made mostly in Bombay,Lahore,Calcutta, Kolhapur and Poona. Most studios were located in these cities. South Indian language films were made mainly in Madras and Bangla films were made in Calcutta and Dhaka. The Partition in 1947 changed the picture completely. Wholesale polarisation took place.Producers of Hindi films had to flee from Lahore,leaving everything behind them and some artistes from Bombay left for Pakistan. Thus, after Partition, the exclusive centre for production of Hindi films was only Bombay. By 1950 things settled in India and Pakistan Film Industry.
Telugu film producers shifted to Hyderabad,Kannada films to Bangalore and Malayalam to Kerala. Madras, however,still made films other than Tamil,like Telugu Hindi etc. But now it was only Remakes of successful Tamil films or dubbed films.The 50s saw many Hindi films dubbed from southern languages(Read Tamil/Telugu). Initially,they were Mythological, Fantasy or costume films. In the 60s,however, even social films were remade.
Film production in Madras is very methodical and professional.They make films as per plans and in planned time.For this reason,in the 60s to 80s many Hindi film actors volunteered to make films in south.The producers in south too had their favourites. In the Music area, there were, Ravi, C.Ramchandra or Madan Mohan, for lyrics and story, Rajinder krishna and Pradeep, and preferred actors were Jeetendra, Rajendra Kumar, Sunil Dutt and Mehmood.
Though Polarisation took place in film production, the attraction to come to Bombay and work here continued. Artistes from various centres still came to Bombay.
The biggest contribution came from Bengal,in music,direction and acting areas. Artistes from South tried their hand with Hindi films, either by Remade or dubbed films. Thus the greatest south actors like Sivaji Ganeshan,M G Ramchandran ,N T Rama Rao, A.Nageshwar Rao, Jailalita, Janaki, Susheela, Bhanumathi, Prem Nazir of the older generation and Rajanikanth, Kamal Hasan and Chiranjeevi from the next Generation were seen in Hindi films. Only Dr.Rajkumar, the Kannada Superstar never worked in Hindi films. In fact, except for just 1 Telugu film, Sri Kalahasti Mahatyam-1954, Dr.Rajkumar never worked in any other language film than Kannada.
In the music department also, many composers like K.Narayan Rao, S.Rajeshwar Rao, C R Subramanyam, E Shankar, R Sudershanam, Ramesh Naidu, Adi Narayanrao, Vishwanath-Rammurthy,Lingappa etc worked in Hindi films.
There was one name from South, which was very famous, but it is surprising that he too gave music to Hindi Films.His name was GHANTASALA.
The major difficulty for southern artists was speaking in Hindi. Due to this, they hesitated to work in Hindi films and instead, preferred dubbing their hit films in Hindi, released them on All India basis and hoped for becoming famous. Initially, in the period of the 50’s and 60’s decades, there was a spate of dubbed films, as well as some remade films in Hindi. Later on and now of course only hit films are remade in Hindi. The count of dubbed films has gone down considerably. These days, I find that even hit films of Hindi are also remade in southern languages.
The decade of the 50s was a period when there was a lot of exchange of films between Bombay and the South. Some Hit and Popular films of South were remade in Hindi like Nishan-49, Bahar-51, Miss Mary-57 etc. In the mid 50s, the trend of dubbing southern films picked up speed and some popular films of major stars like MGR, NTR, ANR, Sivaji Ganesan, Gemini Ganesan etc were dubbed in Hindi. It was not a one way traffic though. In 1960, the famous “Mughal E Azam” was dubbed in Tamil and released with a different Title, “Akbar “-61.
The south Indian names in full are usually very long, (especially Tamil names)- like Marudhar Gopalan Ramchandran or Nandmuri Tarakrama Rama Rao or Akkineni Nageshwar Rao or even Vettaithidal Chinnaiah Pillai Ganesan ( that is Sivaji Ganesan). You cannot write such long names all the time, so their fans shortened their names with their initials and these actors began to get described by their initials. In those days, most popular actors of the south were known by their initials like MGR, NTR etc. The female actors fortunately kept simpler names like P.Bhanumathy or Vasundhara etc.
In Bombay Industry the names of actors were short and mostly one or two part names like Dilip Kumar, Dev Anand, Karan Dewan or Shaikh Mukhtar, Ajit etc. No actor was known by his initials. Nowadays, however, I find that the trend of addressing Hindi actors by their initials has started and we now find actors called AB or SRK etc. ( not only this but even on the social media like Fb and WA, I find that some people are accustomed to use only alphabets for even normal sentences making it difficult for the readers. They are either gusessed or left unread). All the major and popular actors of South secretly nursed ambitions of gaining fame in the Hindi belt too. But no one was ready to shift to Bombay to achieve their aim. On the other hand,female actors of the south were more outgoing and they reaped the rewards as we can see from the success of names like Vyjayantimala, Waheeda, Padmini and Hema Malini, to name a few !
As a via-media, the hit films of south actors were dubbed in Hindi but such methods did not bring the desired results for the male actors of the south. During this period many films were made in Hindi, which were remakes of Hit South films. It was then realised that Remakes were more popular. In fact the dubbed versions were rejected by other regions. The reasons were many.One, the southern actors were unknown in other regions, two the style of acting in southern movies was exaggerated or melodramatic, which was considered artificial-not natural and thirdly, the southern heroines were comparatively bulky. All these points were taken care of in making Remakes, with local stars and accepted styles of acting. Slowly dubbing stopped and Remakes prospered.
Since the 1950’s decade, every south artist’s dream was to shine in the Hindi film industry, because Hindi films meant All India fame and an honour. In this dream many actresses achieved success, but comparatively actors were almost nowhere. The only name perhaps could be taken was that of actor Ranjan and few more. However, Jamuna, Vaijayantimala, Hema malini, Ragini, Padmini, Rekha and many more actresses from South became famous in Hindi films. Likewise when the Tamil and Telugu industry became a big one, many actresses like Khushbu etc from the Hindi land became famous in South films. Somehow males could not achieve this.
One of the major problems for south Indian artists is the Hindi language. The actresses like Vaijayantimala, Hema Malini and Rekha became experts, but Southern actors could not cross this hurdle. N.T.Ramarao ( 28-5-1923 to 18-1-1996) tried hard. He featured in 23 Hindi films which were mostly dubbed films barring few. One film Brahmarshi Vishwamitra-1991 was even directed by him. Sivaji Ganeshan (1-10-1927 to 21-7-2001) a winner of the prestigious ” Dadasaheb Phalke Award” in 1996, also featured in 19 Hindi films. Gemini Ganesan-real name R.Ganesan ( 17-11-1920 to 22-3-2005) was actress Rekha’s father. He acted in 24 Hindi films. Similarly many music directors also had the same desire to shine in Hindi films, but had the same problem of language. Very few succeeded in Hindi.
Nowadays many ( read most) Hit Hindi films have been remakes of Hit south movies. For example, Hera Pheri ( Malayalam-Ramjirao speaking), No Entry (Tamil-Charlie Chaplin), Bhool Bhulaiya (Original Malayalam film made into Kannada,Tamil and even Bangla), Ghajini ( Tamil- Gajhini, original Hollywood film Momento) and many others like, Wanted, Housefull, Ready, Bodyguard, Singham, Force, Rowdy Rathore, Son of Sardar, Kick etc etc.
The synopsis of the film which was available in THE HINDU, April 11, 2015 without disclosing the ending part, together with the addition of the ending part of the story is ….
Rani (Padmini) is the only daughter of an impoverished, visually challenged man (Duraiswami). Her hunt for a job ends when she is engaged as a box office window ticket vendor at a drama company by its owner Babu (Rajendran). Unfortunately, during a play, some gangsters rob Rani of the day’s collection, drug her and escape with the booty. The evil-minded Babu who turns up later tries to take advantage of Rani’s condition. However, she escapes from him and jumps into Raja’s (Sivaji Ganesan) car, falling unconscious in the rear seat.
Raja is the owner of an electrical goods company with a passion for theatre and is the lead player in Babu’s drama troupe. Unaware of the turn of events, Raja reaches home. He is surprised to find a girl in his car. Then he comes across the news that a rich man’s daughter named Leela has run away from home. He thinks the girl in the car is Leela! Rani starts pretending to be Leela and joins the drama troupe as an actress. The two fall in love. Raja then launches his own drama company and stages the play ‘Socrates’, playing himself in the lead role. Babu tries to wreck the love of Raja and Rani and adds real poison to the drink to be given to Raja in the famous scene that has Socrates drinking poison.
In the greenroom, a lady, who has seen Babu mixing real poison in the mug which Socrates is supposed to drink as poison informs one of the influential patrons in the audience who rushes to the stage and snatches the mug with poison from Raja donning the role of Socrates and tells Babu to drink it to prove that it is not poison. The play ends with a bizarre scene of Babu pushed out of the stage and all actors leave the stage. After some dramatic turn of events in Padmini’s house, Padmini’s father agrees for the marriage of his daughter Rani with Raja. The film ends with a duet song which is picturised on Padmini and Sivaji Ganesan.(The story part is, thanks to Sadanand Kamath ji).
Here is a song,sung by Manna Dey, from this film. Enjoy….
Song- Mujh se kar na goree dhokha (Aayi Phir Se Bahaar)(1960) Singer-Manna Dey, Lyricist- Saajan Bihari, MD- Vedpal Verma
Lyrics:
Mujh se kar na goree dhokhachhodo tum dil se bol do piya piya
mujh se kar na goree dhokha
chhodo tum dil se bol do piya piya
varna koi naheen hai mujhsa
dekho haan tum phir se bol do piya piya
varna koi naheen hai mujhsa
dekho haan tum phir se bol do piya piya
mujh se kar na goree dhokha
chhodo tum dil se bol do piya piya
kar gayee aakhir mujhko majnu ye ada teree ee
kar gayee aakhir mujhko majnu ye ada teree
ye to keh de tum bin mujh ko pritam neend na aayegee
ye to keh de tum bin mujh ko pritam neend na aayegee
hoy mujh se kar na goree dhokha
chhodo tum dil se bol do piya piya
teree ye nazren kiskee meet banee ee ee ee ee
teree ye nazren kiskee meet banee
jaa jaa baaton mein kuchh naheen hai tujhse
kya kahiye
ajee haar gaye
ajee haar gaye
natkhat raanee boley
ik din phir milenge
natkhat raanee boley
ik din phir milenge
haathh mein haathh miley
raat din mauj karenge
haathh mein haathh miley
raat din mauj karenge
aa lagaayen tujh ko galey
phir man chheden
aa lagaayen tujh ko galey
phir man chheden
aise naghmon ke taar
gaaye man ?? pyaar
aise naghmon ke taar
gaaye man ?? pyaar
tere dil mein kya hai
ye zid
ye zid chhod do
dil se dil kee poochh lo
ye zid chhod do
dil se dil kee poochh lo
tum phir sun lo
maan lo
jo marzee hai to aa milo
tum phir sun lo
maan lo
jo marzee hai to aa milo
hey mujh se kar na goree dhokha
chhodo tum dil se bol do piya piya
varna koi naheen hai mujhsa
dekho haan tum phir se bol do piya piya
mujh se kar na goree dhokha
chhodo tum dil se bol do piya piya
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