Multiple Version songs (4): Hindi and Marathi

February 6, 2013

Guest article by Arunkumar Deshmukh

(On the blogosphere dealing with old films and music, Mr Arunkumar Deshmukh is known as a  living encyclopaedia. SoY regulars are aware of the mega series on multiple version songs, started by another stalwart, Mr Ashok Vaishnav, spanning across singers, films, genres and languages, some parts of which may require treatment by super specialists. Here comes the living encyclopaedia, writing a guest article on Hindi films and songs which have their Marathi versions. While doing this, he takes us on a fascinating journey to the earliest days of our films when Marathi theatre and films were a major influence on Hindi films. – AK)

Ayodhya Ka RajaBombay was the first major centre of film making in India. The industry thrived, prospered and grew here. Bombay being the biggest city in Marathi speaking area, no wonder, initially, the industry was dominated by Marathi speaking artists. As the industry grew, more and more Marathi people joined it in all the branches of film making, whether it was production, editing, choreography, script writing, acting, composing or singing. The period of 1920s to 1960s was a time when Hindi film industry was crowded with Marathi artists.

The first talkie was made in Bombay and, as expected, music became the main attraction in cinemas. It was a better alternative to radio as people could see and hear too. To start with, there was a heavy influence of Marathi stage/theatre music on Hindi Film Music (HFM). Gujarati and Parsi theatres were also there, representing the three main communities in Bombay’s commercial, business and socio-political activities in Bombay.

The Marathi stage has a very old history. Influenced by Yakshagana, traditional dance drama of Karnataka, the Marathi stage achieved a clear regional form by the middle of the 19th century.

  • Vishnudas Bhave started Marathi theatre in 1840
  • Parsi theatre (mainly Guajarati language) started in 1850
  • Dadi Patel started Urdu dramas in 1871, and
  • Mulji and Waghji Asharam Oza established Morbi Natak Mandali in Saurashtra in 1878

After 1840, many Natak Mandalis were founded and they staged Sangeet Nataks, running for 4 to 6 hours at a stretch, having at least 25 to 40 songs in it. These were called Natyageet. The stage dramas in Maharashtra had a deep and emotional impact on Marathi community, becoming a major means of entertainment, followed by Tamasha – a musical folk drama for the lower strata of the society. So, when the talkies came and provided music, many professionals of Marathi dramas joined this new avenue of entertainment. Thus, the first rung of composers and singers came from Marathi stage, forming the single largest group.

They had a classical music base and theatre background. Some of the names were very well known. Musicians like Deenanath Mangeshkar, Annasaheb Mainkar, Suresh Mane, Keshavrao Bhole, Govindrao Tembe, Master Krishnarao, Dada Chandekar, S.P.Rane (he hailed from Gujarat), Prof.B.R.Deodhar, Bapurao Ketkar, Vamanrao Sadolikar, M.G.Tembe, Dinkar Bidkar etc composed music in Hindi films in the 30s. Their music was essentially based on Natyageet and even the tunes were picked up from famous Natak songs. People in Maharashtra welcomed this style, familiar as they were with it, treating it as an extension of Nataks.

The film production companies like Prabhat, Hans, Navyug, Saraswati, Cinetone, Shalini Cinetone, Balwant Pictures etc made films in both the languages, Marathi and Hindi. The language was different but the tunes and translated lyrics were almost the same in most songs. Particularly those songs which became popular and famous were retained in Hindi versions unaltered. Some examples:

1. Jamuna bich khelu khel kanhaiya, sung by Meenakshi Shirodkar in Bramhachari (1938), was a ditto copy of Marathi "Yamuna jali kheku khel kanhaiya."

2. Ab kis liye kal ki baat, sung by Shanta Hublikar in Aadmi (1939), was a ditto copy of the multilingual Marathi song "Aata kashala udya chi baat" from Maanus.

Kis liye kal ki baat, music Master Krishna Rao

Kis liye kal ki baat is quite a landmark song.   Each version was actually multilingual.  As her clients are from different regional backgrouds, Shanta Hublikar sings  in Hindi (Marathi), Urdu, Gujarati, Punjabi,Telugu, Bangla and Tamil languages (in that order). For Hindi and Urdu, the lyricist was Munshi Aziz. For Gujarati it was Jitubhai Mehta; for Punjabi, Abid Gulrej; for Telugu the lyrics and music was by V.N.Bhushan; for Bangla, the lyricist was Anil Biswas and MD was Mrs.N.C.Ganguly and for Tamil, the lyricist was Kalyansundaram and MD was S.Ramamirtham. The Marathi lyricist was Shantaram Athavale.  Rarely you come across a solo of eight minutes, but you remain absorbed because of the carefree dance of Shanta Hublikar, and changing mannerisms, inflexion in voice and get up appropriate to each regional language – especially remarkable is her Bengali act ( was she doing a playful spoof of Kanan Devi?).

Now listen to the Marathi versions of the above two songs:


3. Man saaf tera hai ya nahi, sung by Parshuram in Duniya Na Mane (1937), was a ditto copy of its counterpart in Marathi Kunku, "Man shuddha tuza."

These are a few popular examples, but it happened with almost every bilingual film. No one would mind it too. The influence of Marathi music was so much that these songs, even if they were in Hindi, felt like Marathi songs.

Contrary to popular belief, the bilingual film production and using the same tune/lyric was not restricted only to films made by Prabhat Company, but many others like Ranjit (Sant Tulsidas) followed it. Sirco Productions (Mahatma Vidur), Menaka Pictures (Swarn Mandir), Samrat Cinetone (Naganand, the first film of C.Ramchandra as a hero aginst Azambai), Veena Films (Neela), besieds Kolhapur Cinetone, Hans Pictures, Shalini Cinetone, Saraswati Cinetone and Balwant Pictures also did the same.

From 1932, the bilingual films were Ayodhya Ka Raja, Jalti Nishani, Maya Machhindra, Shyam Sunder, Amrit Manthan, Krishnarjuna Yudha, Swarna Mandir, Chandrasena, Dharmatma, Kaliya Mardan, Naganand, Neela,Usha, Chhaya, Duniya Na Maane, Pratibha, Premveer, Bramhachari, Raja Gopichand, Aadmi, Brandi Ki Botal, Sant Tulsidas, Sant Gyaneshwar, Sant Sakhu, Sant Janabai, Padosi, Dus Baje, Mahatma Vidur etc etc.

(Note: The thumbnail used in this article is a scene from Ayodhya Ka Raja – AK)

Post partition, some iconic Marathi films were remade in Hindi. In these films, however, the composers were different and barring a few copied songs, most were new songs. Some of these films were:

  1. Bhabhi Ki Choodiyan – 1961 (Vahininchya Bangadya – 1953)
  2. Aurat Teri Yehi Kahani – 1954 (Stree Janma Hi Tuzi Kahani – 1952)
  3. Nanhe Munne – 1952 (Chimni Pakhare – 1952)
  4. Mera Saya – 1966 (Pathlag – 1965)
  5. Piya Ka Ghar – 1972 (Mumbaicha Jawai – 1971)
  6. Chacha Chaudhari – 1953 (Pedgaonche Shahane – 52)
  7. Baaghban – 2003 (Oon Paus – 1954)
  8. Pinjra – 1973 (Pinjra –1971) etc.

In Chacha Chaudhari, Madan Mohan had used Marathi tune for the song by Asha Bhosle in More piya, chhede jiya. He also used the comedy song "Zanzibar" ditto with tune and lyrics (looked like a dubbed song actually).

Over a period the public taste changed. With the entry of many outside composers (I only mean composers from outside Maharashtra) who were talented, the cine-music became extremely diversified, and by about 1942-43 the impact of Marathi stage music waned considerably.

From the catchy songs of Khazanchi-1941, Punjabi and folk tunes became a rage.

With diminishing participation of Marathi composers with stage background, now it was the turn of the singers from Maharashtra to contribute to HFM.

In addition to Lata, Asha, Usha, Meena and Hridaynath Mangeshkar, singers like Vanmala, Snehprabha Pradhan, Shanta Apte, Shanta Hublikar, Mohantara Ajinkya, Shahu Modak, Sadashiv Nevrekar, Shridhar Parsekar, Meenakshi Shirodkar, Manik Verma, Hirabai Badodekar, Vatsala Kumthekar, Pasrshuram. Manju, Balakram, Suresh Mane, Bhimsen Joshi, G.N.Joshi, Sulochana Kadam, Lalita Deolkar, Leela Chitnis, Pramodini and Vinodini Desai, Saraswati Rane, Saroj Velinkar, Shyama Hemmady, Sudhir Phadke, Suman Kalyanpur, Vasanti, Ratnaprabha, Balgandharva, Suresh Wadkar, Indira Wadkar etc from Maharashtra constituted the single largest group of singers from any region. (This and earlier all lists are only indicative and not exhaustive.)

As the years passed by, the number of Marathi singers also dwindled and you could count them on fingers. It was not because they could not stand competition, but they had enough opportunities in Marathi film industry which was growing very fast.

Composers like Vasant Desai, C.Ramchandra, Datta Davjekar, N.Datta, K.Datta, Dattaram (Wadkar), Sudhir Phadke, Snehal Bhatkar, Ram Laxman, Vasant Pawar and Hridaynath Mangeshkar etc. were activeg. Even these composers continued using Marathi songs and tunes, which were popular in the Natyageet and Bhavgeet genre.

Here are a few examples:

1. Ye zindgi usi ki hai (Anarkali, 1953) was a copy of the tune of a famous song from drama Sharada (Moortimant bheeti maj samor ubhi rahili).

Moortimant bheeti


2. Koi pyar ki dekhe jadugiri (Kohinoor, 1960) was based on Bhavgeet, He doodh tujhya tya ghatatale, sung by Lata Mangeshkar

He doodh tujhya tya ghatatale by Lata Mangeshkar


3. Gaya andhera huwa ujala (Subah Ka Tara, 1954) was based on Bhavgeet, Raadha gavlan karite manthan, sung by Asha Bhosle.

Radha gavla karate manthan by Asha Bhosle


4. Bade bhole ho (Ardhangini, 1959) was a copy of Vasant Desai’s own song, Tujya preeti che dukh mala from Amar Bhupali (1952).

Bade bhole ho by Lata Mangeshkar from Ardhangini (1959), lyrics Majrooh Sultanpuri

Cover version of Tujya preeti che

Now watch the Little Champs performing the Marathi version of this classic song.


5. Dharati ko aakash pukare (Mela, 1948) was based on Bhavgeet, Valana varuni valali gaadi

To sum up, in the founding years of HFM, the contribution from bilingual films and songs, as well as from Marathi composers and singers was very significant. Not that they did anything extraordinary, but their influence is permanently etched on the early songs of Hindi Film Music.

(Credits: HFGK,Yadon Ki Baraat,Gaaye Chala Ja,Wo bhooli Dastan, Ruperi Smaranyatra, Dhunon Ki Yatra, Swaron Ki Yatra, Listeners’ Bulletins, Isak Mujavar’s articles etc.)

{ 35 comments… read them below or add one }

1 Atul February 6, 2013 at 10:43 am

Fantastic writeup ! The article contains so much information that it will take me considerable time to assimilate all that information.

2 ASHOK M VAISHNAV February 6, 2013 at 11:48 am

Shri Arunkumar Deshmukhji has quite succinctly summed up the role and and influence of “Marathi” on Hindi Film Sangeet.

We look forward to similar insights from readers of SoY who have similar hold on “Bengali”, “Bhojpuri”, “Tamil” or for that matter “Telugu” cultures or singers or music directors on HFM.

HFM has also , similarly, drawn very heavily from folk music of different parts of India and from across the world.

3 N Venkataraman February 7, 2013 at 5:00 pm

Namskar Arun Kumar Deshmukhji.
In your informative write-up, you have provided us with a vivid picture of the role of Maharastrians and Marathi Natay Sangeet during the formative years of Hindi Films. True to your reputation the detail information you have given about the song “Aata kashala udya chi baat/Kis liye Kal ki Baat” speaks volumes about your knowledge on the subject. Similar to the examples from Bhavgeet, can you provide with a few examples from Lavani and Abhang sangeet?
If I remember right, you had spent some part of your younger days in Hyderabad. Can you do a write-up on Hindi/Telegu version songs?

4 Arunkumar Deshmukh February 7, 2013 at 5:28 pm

Venkataraman ji,
Thanks for your kind words.
I actually hail from Hyderabad.Born,brought up and educated in Hyderabad.Even my wife is from Hyderabad.I left Hyderabad only in early 60s due to career demands and have settled in Mumbai for last 35 years now.
Though I know Telugu sufficiently well and am fond of Telugu songs,having seen many Telugu early films,however I dont have that much knowledge in that field as to enable me to write on it.
-Arunkumar Deshmukh

5 Arunkumar Deshmukh February 7, 2013 at 5:30 pm

A request to all-
you may address me as simply Arunji,instead of the entire name.

6 AK February 7, 2013 at 7:42 pm

I should also add my compliments on an excellent piece. I had only heard the Hindi version of Kis liye kal ki baat from the vintage series of HMV. Hearing and ‘seeing’ the multilingual version with elegant dance of Shanta Hublikar was a great delight. Another piece I specially liked was Moorthimati bheeti for its purer notes of Bhimpalasi.

7 Subodh Agrawal February 7, 2013 at 8:14 pm

Arunji, you have put together some real gems and given us a much needed insight into Marathi Natya Sangeet and film music’s contribution to evolution of Hindi film music. I second AK’s comment on Moorthimati bheeti – I had not realised before listening to this that this song was in Bhimpalasi. My great favourite in this list is Bade Bhole ho and its original Marathi. Thanks for this wonderful treat.

8 mumbaikar8 February 7, 2013 at 8:41 pm

I am dumbfounded by your knowledge.
Really appreciate the effort you have put in.
Unlike you I was born and brought in Bombay but
now living away and missing the Marathi culture every single moment of my life.
Thanks once again

@ A Vaishnav

Like you idea of exploring other languages.
I think Jignesh can make a good blog about Gujarati influence on HFM

9 n.venkataraman February 7, 2013 at 9:08 pm

Here is another beautiful song from the film Manoos/Aadmi;

Soda soda moha from Manoos

Jaag jaag meethi neend se from Aadmi

10 Kuldeep Chauhan February 8, 2013 at 6:27 am

Deshmukh sahaab,

Excellent article. Liked the way it was presented. The chronology is also well demonstrated.
Like to mention here that theatre which was transformed into film industry had certain regional centres. For eg Marathi theatre had the hub in Mumbai, Bengal i theatre had the hub in Calcutta (Now Kolkatta). Similarly Punjabi theatre had its hub in Lahore.
After partition, it so happened that the artiste who chose to stay in India from Punjab, then migrated towards Bombay (Now Mumbai), because Bombay was a cosmopolitan city, a glaring example was the movie Aadmi from 1938 in which one song had 8 different languages (also beautifully covered by Shri Deshmukhji in his article). The fact that Urdu was very near to Hindi in speaking and understanding and Bombay was the only hub which was patronised by urdu speaking and hindi speaking audience, there was an influx from the Punjabi theatre and film industry. Yesteryear’s famous villian artiste Pran before coming and working in Bombay was a regular artiste in Lahore theatre circles. Although the acceptance of the artistes took some time, but real good talent prevailed over the difficult times and so the transition took place.

Thanks once again.

Kuldeep Chauhan

11 N Venkataraman February 8, 2013 at 2:02 pm

Let me add another pair of song from the Film ‘Keechak Vadh’ (1959). Singer- Lata Mangeshkar, MD- Master Krishnarao and Lyrics- Ga Dhi Madgulkar (Marathi), Bharat Vyas (Hindi).

Dhund madhumati from Keechak Vadh (Marathi)

Aaj milan ki raat hai from Keechak Vadh (Hindi)

12 Arunkumar Deshmukh February 8, 2013 at 2:33 pm

Dear kuldeep,
My God,I am pleasantly surprised to see you commenting here! never knew you were interested in old HFM.
What you say about theatre artists joining the Film in Bombay is true.Most of the old timers,starting with Prithwiraj kapoor,jairaj,then pran,omprakash,jayant, and many more came thru Theatre.
In the younger generation who handled ‘ART’ cinema were all from Theatre world,Like,Satyadev Dubey,mohan Agashe,Amol palekar,Smita patil Raj babbar DrShriram lagu,Rohini Hattangadi etc etc.
Ultimately Acting is the form they all practiced thru different mediums.
In earlier era Urdu-pure urdu- was beyond the understanding of the commoners and hence the rise of Hindustani language took place.It was a mixture of urdu and Hindi words and very quickly it became the medium of communication throughout India .most of the films used Hindustani rather that pure urdu or pure Hindi.
if you see some of the very old films’ censor certificates the certificates wrote Hindustani in the column of Language.

13 Kuldeep Chauhan February 8, 2013 at 7:08 pm

Dear Deshmukhji, (I will not be able to address you as Arun)
I am happy that you are blogging and blogging in style and accurately. I am also into music and for Hindi Film Songs. I have a huge collection of songs. In fact my repertoire is for classical songs and ghazal. I like every form of music, sufi, tradiotional, bhajans, ghazals. I ahve songs in Hindi, Punjabi, Bengali, Marathi, Malyalam, Arabic etc. I have collections of Nusrat Fateh Ali Khan, Pandit Bhimsen Joshi, Kumar Gandharva, Old Jagjit Singh’s recordings, when Jagjitji was singing in the style of Janab Mehandi Hassan. I have recordings of Madan Mohan, rough cuts of the songs that he could never record or cut albums. Mehfils where Dilip Kumar (Yusufbhai) is singing on harmonium.
Unfortunate that this aspect we never saw of each other when we were spending time together. Huge collection of Punjabi traditional songs from where many of our hindi songs have come as a source of origin or rather inspiration as they say.

I was also exposed to songs by Dr Rajeshwar Singh who is yet another encyclopedia of old songs. My interactions with Gulzar sahab on one or two occassions at my Sangeet institute helped me understand what theater was. Gulzar sahab used to mention old theater artiste were the most talented artiste as they use to enthrall and hold the attention of the audience even in such rustle bustle of the theater, where there were musicians sitting in the pit and the tea and snack hawkers used to also move around in the theater, when the songs used to be enacted.

I spent 4 years in learning classical singing and playing harmonium, just to be a good listener and good shrota (audience).

This forum Songs of Yore is really mind blowing and I like the content and the comments sent by so good and informative people. I am proud to know that you have also contributed to this forum.
This reminds me about a incidence about being an ardent fan. Shri P. L. Deshpande was so impressed by the songs and singing style of Shri Kumar Gandharva that he menitoned that when I die please write on my grave. Hya Mansani Kumar Gandharvanche sagle gayilele geete aikle ahet (This person has heard all the songs sung by Kumar Ghandarva). Today I can say that I have known Shri Deshmukh Saheb who is considered as an encyclopedia of old songs. Mere pranaam aapko.

Kuldeep Chauhan

14 AK February 8, 2013 at 10:39 pm

So you are reconnecting with Arunji? I am hapy that SoY is attracting so many knowledgeable peple. Kumar Gandharva is also my ultimate favourite. I had the privilege of hearing him live on which I have written a piece on this blog. You may come across it while browing.

Welcome to the growing SoY family.


15 AK February 8, 2013 at 11:02 pm

You have added another marvel from Manoos/Aadmi.

The song from Keechak Vadh is excellent, and enlarges examples for this theme. You might have noticed comments on the YT whether it is Raga Bhoop or Malkaus. Though some have very forcefully said it is Malkaus, to me as a lay listener it sounds very much Bhoop (Bhopali). You and Subodh may throw some light on this. (I have another expert friend who says, you change the scale – one becomes the other).

Did they repeat in the bilingual Hindi-Marathi films all the songs with identical tunes? If so, this would seem to be a special feature of Hindi-Marathi, because as far as I know it did not happen in Hindi-Bengali or any other language combination.

16 Anu Warrier February 9, 2013 at 2:40 am


What an interesting article. So much information that you have so painstakingly collated, that like Atul, I too need time to absorb this. My interest in theatre and films made this article all the more enlightening. Thank you so much for the time and effort you have put in, and thank you AK, for hosting such an article.

17 n.venkataraman February 9, 2013 at 1:02 pm

Ak ji,
Thank you for your comments.
You are absolutely right. It is Raag Bhoop or Bhoopli. What your knowledgeable friend is referring to is ‘Shadaj Chalan’ or ‘Graha Bedham’. Subodhji had mentioned about this in his discussion on Raag Yaman (Comment #65).

Ajoy Joglekar has also refered to this Kharaj Parivartan in his comments;
“It is raag Bhoop. The tonic note (Sa) is different. Aap jisko ‘Sa’ maan rahi hai vah actually ‘Dha’ hai. Raag Bhoop ki Swaravali (scale) mein ‘Sudh Gandhar’ ko ‘sa’ maankar same scale gaane/bhajaane ke baad Raag Malkauns ko abhaas ho jata hai (moorchana).”

I would have liked to present a example of grahabedam in Raag Mohanam (Bhoopali) and Raag Hindolam (Malkauns). But I could not locate one in the YT. Instead I am presenting one in Raag Mohanam/Bhoopali and Raag Madhyamavati/Madhumad Sarang. If you wish, you can listen to this 19 minutes discussion/demo on this topic.

18 AK February 9, 2013 at 11:17 pm

This link is terrific. I was not too much into technical details. But the music they presented was superb. Precisely this is what my friend meant.

19 n.venkataraman March 9, 2013 at 5:18 pm

Here are some more additions to the Marathi – Hindi version songs.

The Marathi film Shejari (1941) voiced its protest against the divide and rule policy of the British and addressed communal harmony. It was one of the several films based on social themes produced by Prabhat Productions and directed by V Shantaram. Interestingly, in the Hindi version, Padosi (1941), Mazhar Khan acted as the Hindu neighbour and Gajanan Jagirdar played the Muslim neighbour. The music for both the versions was composed by Master Krishna Rao and he was assisted by Vasant Desai. The lyrics for the Hindi and the Marathi versions were provided by Pandit Sudarshan and Shantaram Atavale respectively.

1. ‘Jeevacha maiter tumhe’ by Chandrakant or Vasant Desai (?)

‘Saathi janam maran ka‘ by Balwant Singh

2. ‘Haasat Vasant ye vani’ by Jayashree Shantaram and Chandrakant

‘Ban men Bahar’ by Anees Khatoon and Balwant Singh

3. ‘Lakh lakh Chanderi’ by Jayashree Shantaram, Chandrakant and

‘Kaisa Chhaya hai’ by Anees Khatoon, Balwant Singh and Chorus

20 AK March 10, 2013 at 7:12 pm

This is awesome. The last song has some resemblance to Pahli pahli baar dekha aisa jalwa from Silsila, or is my mind making a leap?

21 n.venkataraman March 10, 2013 at 11:08 pm

You have used the expression ‘some resemblance’ and I cannot deny it. Even so it is minimal. But the point to be noted is that Shejari/ Padosi was released in 1941, and one hast to note the excellent musical as well as dance composition, use of ‘mashals’ (torchlights), the light and shadow effect and the performance of the main as well as the sundry characters. Simply amazing.

22 Partha March 12, 2013 at 9:25 am


I am yet to read the full article. I have a question, probably unrelated
to your article. I had an MP3 album (now lost) of Gulzar Sir’s music in which (I think track 6) there was a song by (most likely) Lata Mangeshkar, in Raag Bhupali/ Deshkar. It starts with a captivating
Aakaar in the higher notes. I would be grateful if this can be identified.
I spent some time in Google but this particular track did never show up.


23 Arunkumar Deshmukh March 12, 2013 at 12:04 pm

Parth ji,

Is it this?
Bas ek chup… Sannata-1966


24 Partha March 12, 2013 at 8:36 pm

Dear Arunji,

Checked at the link you provided and also most of the
results for google search with
<> and <>
but so far I did not come across the track I had searched for.
Will keep trying. Will keep checking these columns too.
Many thanks for your suggestions.

Secondly, in one of the comments there was a mention that the notes of Bhupali in one scale are identical to notes of Malkauns in another
scale. That is indeed so; if I close my ear and see that a harmonium player is playing only the black keys of the harmonium then it is either Malkauns in the Black-5 scale or Bhupali in the Black-3 scale.

Regards, Partha

25 Partha March 12, 2013 at 8:40 pm

In my previous post I had typed Gulzar Lata Mangeshkar within the first pair of brackets and Gulzar Suman Kalyanpur withing the second pair of brackets. Partha

26 Shrikrishna Joglekar March 30, 2013 at 7:50 pm

Dear Shri. Deshmukh,
Your article is fascinating to say the least. I have few queries for you

1. The tune of the Marathi song ‘Gaalaat chandra haasala,baghuni ga mala mi mastani’ is absolutely identical to the Hindi song ‘Mujhe dekh chaand sharmaye’. Can you please tell us which is copied from which ?

2. ‘Mohammad shah rangeele’ tune is identical to ‘Aaj kunitari yaave’ from ‘Mumbaicha javai’. I think in this case the marathi tune is a copy of Hindi tune. Am I right.
Thanks once again for your article.

27 Arunkumar Deshmukh April 12, 2013 at 11:18 am

Joglekar ji,
Thanks for your comments.
Mujhe dekh chaand sharmaaya,a song from Samrat Chandragupta-1958 was recorded first. Marathi song is its copy.
You are also right about the second song.

28 Arunkumar Deshmukh April 12, 2013 at 11:20 am

AK ji,

My 100th article is posted on Atul ji’s Blog yesterday.It reveals a Historical fact about Hindi films,for the FIRST TIME. Please do read it,titled ” Aa ri sakhi ri ”


29 AK April 12, 2013 at 3:50 pm

My heartiest congratulations, though this does not reflect your real conntribution. With detailed comments on various other articles, your work is worth several hundred articles. Your article contains piece of history I was not aware of. I often wonder how does one navigate through or search from the huge body of wok you have created.

30 girish July 30, 2014 at 9:44 am

can you please translate lyrics of usha kaal hota hota, Marathi song?

31 Arunkumar Deshmukh July 30, 2014 at 11:17 am

girish ji,

I do not have that song with me.Translation is a difficult task,but I can try if I get the song.

32 Prashant Belwalkar September 24, 2014 at 2:36 pm


Hya website la kiti dhanyavaad dyave tevadhe thode aahet.

I was trying to compile a list of songs based on original Marathi songs and accidently landed up on this site through search engines! My.. it was just what the doctor ordered. Thanks for this wonderful website. In fact, I got intrigued by your other blogs as well! Great stuff! Keep the good work going!

33 Ajay June 21, 2015 at 11:35 pm

Amazing work.
Some my contribution, man Ka bolavite punha tya divsanna in Hindi yaad na jaaye beete dinonki.
Din dhal jaye haye in Marathi dis nakalat jayee sanj rengalun rahi.

34 Dilipraj Sambhaji Poyarekar September 13, 2017 at 7:51 pm

Arunji ,
Mi phar purvi 78rpm record aikali hoti Asha tayeenchya swarat, tyachya eka bajula Samrat Chandragupt filmchya “Chahe paas ho” ya ganyache marathi verson hote “रूसलास का सख्या दूर का ?”
aani dusrya bajula “Mujhe dekh chand sharmaye” ya ganyache marathi verson hote “गालात चंद्र हासला ” होते.
Tya ganyanchya mi shodhat aahe,
Aapnas jar kahi dhnyat asel tar krupaya kalwal ka ?
D S Poyarekar Mumbai

35 B Chakradeo February 5, 2018 at 2:09 pm

Dear Arun Deshmukh ji… this is wonderful information you have given . We are looking for information on the marathi version of ichakdana bichakdana from Shree 420. We have the song forwarded by a friend however we like like to know if the marathi song is original or a copy and who is the singer . The marathi version is mazhya haathi Manik Moti ghalite ukhana……. if you have this information please could you mail it to me? Thank you .

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