Posts Tagged ‘Rajenra Krishn’
Main Hoon Bharat Ki Naar
Posted on: July 14, 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 : | 6570 | Post No. : | 20458 |
Today’s song is from a South-made Hindi romantic comedy film ‘Ladki’ (1953).
The film was made by AVM Productions, Madras. The producer was AV Meippan, owner of AVM company. It was directed by MV Raman. Music was by R Sudarshanam-Dhaniram and C Ramchandra. The cast included Bharat Bhushan, Vyjayantimala, Kishore Kumar, Anjali devi, Leela Mishra, Randhir, Raj Mehra, Om Prakash and many others. Lyricists were Rajendra Krishn and TA Moti.
In the early 50’s, CR and Rajendra Krishna were a friendly team. They had worked together in many films. Personally, they were good friends. This being the case, whenever CR was invited for any Southern film, they would also call Rajendra Krishna as a lyricist. By a sheer coincidence, AVM became the cause of a rift between Rajendra Krishn and CR and they separated forever.
AVM and Gemini, the two giants from Madras were keen on making bi-lingual (Tamil-Hindi/Tamil-Telugu,Telugu-Hindi) or Tri-lingual (Tamil-Telugu-Hindi) films to capture all the three big markets. Southern bosses took pleasure in engaging artistes from Bombay and in return Bombay artistes were happy to work in southern films, because they were disciplined, punctual and worked methodically. Their payments, staying arrangements and the treatment of artistes was very satisfying. From the time of success of SS Vasan’s multilingual blockbuster, ‘Chandralekha’ in 1948, it dawned on south producers that a huge market in Hindi belt was available for their successful south films. One after another hit films started from South, like ‘Nishan’ (1949), ‘Mangala’ (1950), ‘Bahar’ (1951), ‘Mr. Sampat’ (1952), ‘Miss Mary’ (1957), ‘Asha’ (1957) and such other films, which were either remakes of Tamil/Telugu hit films or films made in Madras.
During this period, C Ramchandra and his songs were very popular in the south. At the same time, his favorite lyricist Rajendra Krishn also had a great demand in south. Rajendra Krishna worked for both AVM and Gemini films. Vasan wanted Rajendra Krishn to work only for Gemini and not AVM. However, Rajendra Krishn continued working for AVM, so Vasan decided not to take Rajendra Krishn for Gemini films anymore.
In 1957, AVM’s film ‘Bhabhi’ became a hit film. Rajendra Krishn had written all the songs for ‘Bhabhi’. In 1958, when Vasan planned to make ‘Raaj Tilak’ in Hindi and its Tamil and Telugu versions, at the same time, he selected C Ramchandra as its MD. That time CR was working for the film ‘Amardeep’ (1958) in Bombay and Rajendra Krishn was the lyricist. CR knew that Vasan would not take Rajendra Krishn as a lyricist for Gemini films anymore. At that time, PL Santoshi met CR. He had fallen on bad days and requested CR for his help.
With consideration for past successful association with Santoshi, CR recommended Santoshi’s name to Vasan. He also agreed. When Rajendra Krishn came to know this, he did not like it and he severed ties with CR. The two never worked together again ever. After Rajendra Krishn split with CR, he started recommending Chitragupta, Madan Mohan and others to South producers. CR stopped getting their offers.
Film ‘Ladki’ was one of the earliest Hindi films of Vyjayantimala. The film had her playing a tomboy, dancer (what else to expect from a movie with her in the cast), a sportswoman etc. She has Anjali Devi for a friend and Kishore Kumar as her male lead. There is Bharat Bhushan for Anjali Devi. This movie was made in Tamil as ‘Penn’ and Telugu as ‘Sangam’. All three movies had Anjali Devi and Vyjayantimala as the constant factors with Gemini Ganeshan and NT Rama Rao (respectively) essaying the role played by Bharat Bhushan in Hindi. Similarly, in the south Indian versions, S Balachander played the character that Kishore Kumar played in Hindi.
The story of the film Ladki-1953 was….
Rani, a feminist, is best friends with Kamini, much to the disapproval of her mother, since Kamini’s father had married a woman of low caste. They meet Raja, a medical student, and Kishore. After the initial tussle, Raja and Kamini fall in love while Kishore likes Rani. Rani goes to Colombo for the University Sports Tournament, and while winning every single event she enters there, she injures her leg and is in hospital. Meanwhile, Kamini and Raja marry secretly, since he knows his woman-hating, upper caste father will never agree to this marriage. Captain Sundar, Kamini’s childhood friend, comes from Rangoon and wants to marry Kamini, but is shattered as he finds out she is married to Raja. Raja’s parents are told of the wedding and they call him home asking him to forget the marriage and marry a girl of their choice. Raja refuses and goes back to Kamini and misunderstands the situation when he sees Kamini with Sundar. He returns to his parents and tells them he’s willing to marry the girl of their liking who turns out to be Rani, having returned from Colombo. Kamini, devastated by Raja’s betrayal, decides to commit suicide. Finally with Kishore and Sundar’s help, everything is sorted out and Raja is reunited with Kamini, while Kishore marries Rani.
Recently I read an interview of Vyjayantimala, given to Abhijit Desai, a writer of books on Cinema. In this interview she told interesting anecdotes about ‘Madhumati’ (1957) and things related to it and otherwise also.
Vyjayantimala was launched in Hindi with ‘Bahar’ (1951), but her first blockbuster was ‘Nagin’ (1954). Vyjayanti’s grandmother and her controller in those days, Yadugiri Devi, brought her to Bombay, looking for an entry into a mainstream group.
Raj and Dev were out, because Raj had his Nargis and Dev too was tied up with Geeta Bali, Madhubala and Kalpana Kartik. Anyway, Raj and Dev were not in much demand in the South, so they kept away from them.
When Nargis and Bina Rai rejected Chandramukhi’s role in ‘Devdas’ (1955), Yadugiri Devi jumped at it and grabbed it with both hands. ‘Devdas’ took Vyjayantimala to the top league of heroines and got her Bimal Roy’s ‘Madhumti’. With this newfound closeness to Dilip Kumar, she also got ‘Naya Daur’ (1957) when Madhubala was removed from that film because of the bad blood between her family and Dilip Kumar . After this Vyjayantimala never looked back nor did she need efforts from Yadugiri devi, because now she was counted amongst the most successful top class heroines.
Vyjyantimala worked with Dev first in ‘Amardeep’ (1958) and with Raj Kapoor in ‘Nazraana’ (1961), both films directed by south directors. While doing ‘Nazraana’, she was selected for ‘Sangam’ (1964) and this Sangam also got Dr. Bali as her Husband !
She had a very high opinion of Bimal Roy.
“He never interfered with actors’ acting. He would nicely explain the shot and then leave the acting to the actors. Raj Kapoor was exactly opposite. He would show every scene himself doing it and then expect the actor to do exactly the same. I had many tiffs with him on this, as there was no freedom to the actor. In the end all actors acted like Raj Kapoor only !”
“Major parts of ‘Madhumti’ were shot in Nainital (about 70%). For this Dilip Kumar, myself, Bimal Roy, Jayant, Pran, Johnny Walker and many others had camped in Nainital for 15 days continuously.”
“When we all returned, it was found that most shots had come foggy. Those days there was no facility to see the shooting on the same day, unlike today. So no one knew about this. It was a great blow. Dilip Kumar was furious. He was working on 4 films at that time and I had 3 films on hand, so the question of fresh dates did not arise at all. Bimal Roy was cool. He checked all the shooting once again, day and night, separated good shots, threw away the bad shots in the dust bin and poor chap, went through all the process of getting our dates once again.”
“This time we shot the film at Bhandardara (a hill station and rocky forest area, 185 kms from Bombay, near Ahmednagar District). Bimal Roy then mixed these shots with Nainital shooting so skillfully that not even the greatest Editor in the world could tell them apart !! ”
Vyjayantimala was very lucky. She always got big banners and big directors in her life. Black and white era was essentially a heroine oriented period. In the film ‘Andaz’, the name of Nargis came first in the credits, before Raj or Dilip ! By the time the 60s came, many leading heroines like Nargis, Madhubala, Nalini Jaywant etc. started disappearing slowly. Meena Kumari, however, somehow reached the color Era. Nutan was doing selective films. Only 2 of the 50s heroines viz Waheeda Rehman and Vyjayantimala entered the color era with elan.
The 60s actually saw many changes. The film subjects changed and the commercial cinema went outdoor in the real sense. Everyone wanted the color impact due to color films.
Vyjayantimala was, in fact, the only southern actress whose Hindi dialogues never had the famous ‘Madrasi touch’. Almost all other heroines like Hema Malini, Rekha, Padmini, Sridevi (she never dubbed for herself in her first 40 Hindi films) all spoke ‘southern’ Hindi. This was due to Vyjayantimala’s own efforts and due to the fact that she worked with top actors and directors.
Vyjayantimala discussed an incident to demonstrate how nowadays the media wants to create controversies at any cost. She once attended some programme arranged by Bimal Roy’s daughter. All the press and TV reporters crowded around her. They asked her opinion about Shahrukh Khan’s acting in ‘Devdas’ (2002). She repeatedly told them that she had not seen the film and it is not fair to comment by seeing the promos. but they insisted on just one line comment. Finally, she said that Shahrukh Khan must have acted the way he acts! She thought it was a very clever answer. To her dismay, the next day the Headlines were “Dilip played Devdas and Shahrukh played Shahrukh – says Vyjayantimala”. Naturally Shahrukh Khan was upset.
Here is a song from today’s film. The song is sung by Lata Mangeshkar. Enjoy the composition of R Sudarshanam-Dhaniram….
[Editor’s Note: Very interestingly, in the audio version of this song, the first stanza is different from the video version.]
Video
Audio
Song – Main Hoon Bharat Ki Naar (Ladki)(1953) Singer – Lata Mangeshkar, Lyricist – Rajendra Krishn, MD – Sudarshan-Dhaniram
Lyrics (Provided by Sudhir)
main hoon bharat ki naar
main hoon bharat ki naar
ladne marne ko taiyyar
mujhe samjho na kamzor
logo samjho na kamzor
us desh ki hoon santaan
us desh ki hoon santaan
ke jiska naam hai hindustan
shehzor badi shehzor
logo samjho na kamzor
o ho ho oo oo
o ho ho oo oo
aa aaa aaa aaaa aaa
aa aaa aaa aaaa aaa
aaaaa aaaa aaaaa aaaa aaa aaa
main bijli ban kar damkoon
main bhaala ban kar chamkoon
koi hai jo harey mera teer
maaroon kheench ke aisa teer
jo lagey kalejwa paar
jo lagey kalejwa paar
ladne marne ko taiyyar
mujhe samjho na kamzor
logo samjho na kamzor
o ho ho oo oo
o ho ho oo oo
aa aaa aaa aaaa aaa
aa aaa aaa aaaa aaa
aaaaa aaaa aaaaa aaaa aaa aaa
main hoon jhansi ki shamsheer
main hoon arjun ka teer
main tipu ka vardaan
de sakti hoon balidan
main bhim ki hoon jhankaar
main bhim ki hoon jhankaar
ladne marne ko taiyyar
mujhe samjho na kamzor
logo samjho na kamzor
aa haa haa
aa haa haa
aa aa aaaa aaaa
aaaa aaaa aaa aa
laa laa la laalaa
laa laa la laalaa
laa laa laa laa
aaaa aaaa aaaa aaaa aaaaaa aaa
Different First Stanza in Audio
har khel ki main hoon khilaadi
karti hoon kheti baadi
ran mein talwaar ghumaaun
aur daftar mein kalam chalaaun
aur dekhun sab ghar baar
ladne marne ko taiyyar
mujhe samjho na kamzor
logo samjho na kamzor
Hindi script lyrics (Provided by Sudhir)
मैं हूँ भारत की नार
मैं हूँ भारत की नार
लड़ने मरने को तैयार
मुझे समझो ना कमज़ोर
लोगों समझो ना कमज़ोर
उस देश की हूँ संतान
उस देश की हूँ संतान
के जिसका नाम है हिंदुस्तान
शहज़ोर बड़ी शहज़ोर
लोगों समझो ना कमज़ोर
ओ हो हो ओs ओs
ओ हो हो ओs ओs
आs आss आss आsss आss
आs आss आss आsss आss
आssss आsss आssss आsss आss आss
मैं बिजली बन कर दमकूँ
मैं भाला बन कर चमकूँ
कोई है जो हरे मेरा तीर
मारूँ खींच के ऐसा तीर
जो लगे कलेजवा पार
जो लगे कलेजवा पार
लड़ने मरने को तैयार
मुझे समझो ना कमज़ोर
लोगों समझो ना कमज़ोर
ओ हो हो ओs ओs
ओ हो हो ओs ओs
आs आss आss आsss आss
आs आss आss आsss आss
आssss आsss आssss आsss आss आss
मैं हूँ झांसी की शमशीर
मैं हूँ अर्जुन का तीर
मैं टीपू का वरदान
दे सकती हूँ बलिदान
मैं भीम की हूँ झंकार
मैं भीम की हूँ झंकार
लड़ने मरने को तैयार
मुझे समझो ना कमज़ोर
लोगों समझो ना कमज़ोर
आ हा हा
आ हा हा
आs आs आsss आsss
आsss आsss आss आs
ला ला ल लाला
ला ला ल लाला
ला ला ला ला
आsss आsss आsss आsss आsssss आss
औडियो में अलग पहला अंतरा
हर खेल की हूँ मैं खिलाड़ी
करती हूँ खेती बाड़ी
रण में तलवार घुमाऊँ
दफ्तर में कलम चलाऊँ
और देखूँ सब घर बार
और देखूँ सब घर बार
लड़ने मरने को तैयार
मुझे समझो ना कमज़ोर
लोगों समझो ना कमज़ोर
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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