Romancing the Rogue or Songs of Beiman Balma

Wishing everyone a very Happy New Year

Bedardi baalmaReaders would recall that one favourite of our film heroines was the Dunce, who went by various names such as anari balma, naadan balma, bhole balam etc. Raj Kapoor was the leading light of the type, followed by Bharat Bhushan. They were clueless about the girls, which was a part of their charm. The girls would patiently woo them and teach them about the birds and bees. They would sing songs which we have seen in Romancing the Dunce.

But the more common is its converse, the rogue, who teases the girl, stalks her and makes her life hell. She is annoyed, angry and exasperated, but finally can’t resist his charm. There is another type – the insensitive, unfaithful rogue. But under the surface he has the heart of pure gold. You have far more songs of Beimaan balma, or Bedardi balma than Anari balma. We need not do hair-splitting on words; another commonly occurring type, Bairi balam/balma, I am putting in this broad category. The song that instantly comes to mind in this category is Suno bairi balam kuchh bol re. There are countless songs under this too: Mose chhal kiye jaay…Man ka hai bairi kala; Balma maane na…Bairi chup na rahe etc.

Hollywood had some heroes closer to our dunces, such as the innocent, bumbling and vulnerable Cary Grant (Bringing Up Baby) or James Stewart in romantic comedies, or Jack Lemmon in several films. Cary Grant also acted the rogue in several movies (His Girl Friday, Penny Serenade, Suspicion), but Hollywood didn’t have songs of ‘Beiman balma’. Did Gregory Peck or Elvis Presley, the counterparts of our Dev Anand and Shammi Kapoor, tease the hell out of their girls by stalking them from door to door and window to window singing (Pal bhar ke liye koi humein pyar kar le), or dropping down from a chopper in nothing more than a bathrobe (Aasmaan se aya farishta )? Howard Hawks also created the converse of Cary Grant, in his adventure films/Westerns. But the Western hero’s central pre-occupation was not the woman, but the outlaws who had to be finished. If there was a woman at all, she would be in the background, at times doing something useful, such as passing the gun to the hero, and, therefore, the hero might accept her in the end.

I must mention Dilip Kumar in Ram Aur Shyam, in which he is both the dunce (Ram) and the rogue (Shyam). Whom do you want to see more on the screen? The rogue Shyam, undoubtedly, who lits up the screen with his presence. Same with the other sex, Hema Malini (Seta Aur Geeta), Sridevi (Chaalbaaz) – in both, the whistles and yelling are reserved for the mean girls who beat the hell out of the villainous relations who had made the life of their simple twin sisters hell.

Subodh Agrawal puts it in a more colourful language. There are two types of men in the world: “Cads and Dads. Cads have fun with, and impregnate, a lot of women but don’t stick around to take care of the children; Dads settle down with one partner, father fewer children but look after them. Eventually the population stabilizes with a large majority of Dads and a fair sprinkling of Cads. If film songs are to be believed, women seem to have a special fondness for cads even when they know they would be left holding the baby – literally.”

Internet has many scholarly articles why girls fall for the bad boy, but you do not need PhDs in psychology to explain the phenomena. You just need to watch Dev Anand, Kishore Kumar, Shammi Kappor and their copycats, with their outlandish attires and manners. Which haughty and proper girl can resist their charm till the end? Here is my selection of songs of Beimaan Balma. (Note: For the academically oriented, I have given some links at the end, which explain why good girls fall for the bad boys.)

Let me wish all of you a very Happy New Year with songs of the rogue or the Beiman balma, or Bedardi balma which were once staple in our films.

1. Kajra na dekhe hoga zaroor naadan ya beiman balma by Lata Mangeshkar from Suhag Sindoor (1961), lyrics Rajendra Krishna, music Chitragupta

Naadan and beimaan seem to be mutually contradictory. If the balma is oblivious of both kajra and gajra adorned by the lady, he could be naadan, but here is a unique song in which the possibility of his being beiman is not ruled out either. A terrific composition by Chitragupta.

2. Balma maane na by Lata Mangeshkar from Opera House (1961), lyrics Majrooh Sultanpuri, music Chitragupta

My great favourite Chitragupta again. In the previous song, the balma, like the Schrödinger’s cat could be in two states – dunce or rogue – but in this song there is no doubt that he is a pure bairi. Whenever he finds her alone, he catches her by her arm, and does not let it go. He has no concern for the lady’s sensitivities, he does as he wishes. Yet, he himself becomes restless, and also makes her restless. Look at the lyrics of Majrooh Sultanpuri. Each word – bairi, baankaa, rasiya, matwaala – describe his personal traits and you can have a good image of the cad in your mind. His actions consolidate his cad image, but at the core of it all, he has an irresistible charm making the lady pine for him. B Saroja Devi came as a flash in the pan from South to Hindi films, but she danced to some outstanding songs. Full credit to Chitragupa too for this wonderful composition. Lata Mangeshkar was at an unassailable peak those days.

बलमा माने ना
बैरी चुप ना रहे, लागी मन की कहे
हाय पा के अकेली मोरी बैंया गहे, बलमा माने ना

जब जब पलटूं गागर भर के
लट रह जाये मुख पे बिखर के
बात करे ऐसी दिलवाला
तड़पे और तड़पाये मोहे, बलमा माने ना

घूंघट डारूं नैन चुराऊं
घबराहट में राह न पाऊं
वो बांका रसिया मतवाला
सुने न मोरी अपनी ही कहे, बलमा माने ना

https://www.youtube.com/watch?v=j2zi19WKpow

3. Baanke piya kaho haan dagabaaz ho by Lata Mangeshkar and Usha Mangeshkar from Burma Road (1962), lyrics Majrooh Sultanpuri, music Chitragupta

Chitragupta’s music, especially his lilting songs for Lata Mangeshkar are infectious. His music towered over the B-grade films. This is a duet with her sister Usha Mangeshkar, the underrated singer, but extremely melodious who had to suffer because her voice was too similar to the more celebrated sister. The fast-paced dance of Kumkum and Vijaya Chowdhury to the exuberant duet is delightful. The Baanke piya here are the enemy soldiers who are enticed enough, regardless of being called dagabaaz, nirmohi, bedardi, while the patriots do their job.

4. Hai hai rasiya tu bada bedardi by Asha Bhosle from Dil Diya Dard Liya (1966), lyrics Shakeel Badayuni, music Naushad

A mujra singer has no delusions about her status or her patrons’ feelings for her. Therefore, Shakeel Badayuni is even more blunt in his words. The drunk patrons enjoy every bit of it, though the words describe them as the meanest persons without any morals: ‘Bedardi, kapat, chhal, zulmi, jhhooti batiyaan, lobhi, manmaani, khoti marji, khudgarzi’. Asha Bhosle was not one of Naushad’s preferred singers, but here he composes an outstanding mujra in her voice. The lyrics are worth studying carefully.

हाय हाय रसिया तू बड़ा बेदर्दी
जियरा मोरा जाने कपट तोरे मन की, हाय हाय..

बतियां झूठी तोरी नैना छल से भरे
काहू ना प्रीत करे
लोभी तोरी नज़रें हैं खोटी तोरी मर्जी, हाय हाय…

जिया के बैन पिया कछहू जाने नहीं
ज़ुल्मी मोरा कहा एकहू माने नहीं
करे मनमानी दिखाये खुदगर्ज़ी, हाय हाय..

https://www.youtube.com/watch?v=Tz0dpMdpYEo

5. Bedardi mere saiyan shabnam hain kabhi shole by Asha Bhosle from Chadahvin Ka Chand (1960), lyrics Shakeel Badayuni, music Ravi

Shakeel Badayuni writes another ‘Bedardi sainya’ song, which is the same as the ‘Beimaan balma’, now joining with Ravi in this superhit film, which set Ravi on the path of great success. Mujra dancer is now Minoo Mumtaz who is playful, the comic aspect enhanced by the presence of the Jogi Johnny Walker. The words are appropriately milder than the previous song. The popular imagery of a good human being is, he may be hard as the coconut shell on the surface, but he is soft like the soft fruit inside. The Bedardi is reverse of that – he is heartless inside, but appears as innocent outside. I am borrowing from the excellent English subtitles:

Heartless is my love
He is at times the gentle dew, and at time a raging fire
He is cruel of heart, but he looks naïve

http://www.youtube.com/watch?v=F1yD95XVOgk

6. Chale jaiho bedarda main roye marungi by Rajkumari from Beqasoor (1950), lyrics Arzoo Lakhanavi, music Anil Biswas

Anil Biswas composed some immortal mujra songs for Rajkumari. Mujra is a hang-out for all the heartless and broken-hearted persons. Generally, love was a clear no-no for professional courtesans. However, in ‘courtesan films’ the patron and the courtesan did fall in love, but it didn’t have a smooth sailing.

7. Bas mein kar ke bebus kar gaye O balam harjai re by Zohrabai Ambalewali from Padmini (1948), lyrics Wali Saheb, music Ghulam Haider

All the Balam harjais, Bedardi balmas, Beimaan balmas have one common trait in our films – by their heartless behaviour, they capture the heart of the lady and make her helpless. This song perfectly captures the situation.

8. Qadar jane na bedardi ji mora baalam by Lata Mangeshkar film Bhai Bhai (1956), lyrics Rajendra Krishna, music Madan Mohan

The Baalam is heartless, and shows no respect or sensitivity towards the lady, yet look at the helplessness of Nimmi. Rajendra Krishna-Madan Mohan combo create magic with this song.

https://www.youtube.com/watch?v=T76k9oCbLUg

9. Mose chhal kiye jaye, haye re haye saiyan beiman by Lata Mangeshkar from Guide (1965), lyrics Shailendra, music SD Burman

Waheeda Rehman, trapped in a loveless marriage, breaks out of it with the help of Dev Anand and her suppressed soul finds its expression through her dance. But soon each feels betrayed by the other. The lyrics of Shailendra convey it beautifully. Since Waheeda has to convey her inner anguish through the dance at a public performance. ‘Man ka hai bairi kaala’ sets the tone of betrayal. It is another matter that Dev Anand, too, feels equally hurt which finds expression through Shailendra’s words in back-to-back song, Kya se kya ho gaya bewafa tere pyar mein.

10. Chale jana nahi nain mila ke saiyan bedardi by Lata Mangeshkar from Badi Bahan (1949), lyrics Rajendra Krishna, music Husnlal-Bhagatram

Geeta Bali has fallen in love with the rogue Pran, but she is not aware of his real intentions, and pleads with him not to leave her after professing love. Here Sainya bedardi is used in a playful way.

11. Zulmi sang aankh ladi re by Lata Mangeshkar and chorus from Madhumati (1958), lyrics Shailendra, music Salil Chowdhury

As it is a tribal dance song, the word ‘zulmi’ carries no negative connotation. The city dweller Dilip Kumar is inexorably getting smitten by Vyjayanthimala.

12. Beiman tore nainwa by Lata Mangeshkar from Tarana (1951), lyrics DN Madhok, music Anil Biswas

There are many love songs in which ‘Beimaan’ is used as an ‘endearing lover’. You would often find this song described as one of the most romantic songs, and the scene being mentioned as one of the most erotic. With Dilip Kumar, you didn’t need much words or overt melodrama or physicality to show the erotic.

https://www.youtube.com/watch?v=UpnT4Cth0pQ

13. Aa ja aa ja ki dil ko teri yaad ayi, jiya laage na mora harjai by Lata Mangeshkar from O Tera Kya Kahna (1959), lyrics Farooq Kaisar. music Kalyanji Virji Shah

Kalyanji Virji Shah, the elder brother of Kalyanji-Anandji duo debuted alone in 1958 with Samrat Chandragupt and composed music for six films, before his younger brother officially joined him in 1959 with Satta Bazar and Madari. Kalyanji by himself too gave us some of the sweetest and most melodious songs. This one is not among the very well-known, but what a melody. Harjai means a ‘betrayer’, or ‘bewafa’, but has been used here in a playful manner.

14. Bedardi sapne mein aa ja kuchh to bipatiya kam hoi jaye, Dadra by Begum Akhtar

I come back to the classical ‘bedardi’, whose heartlessness torments the lady no end. She has nevertheless surrendered hear heart to this cad. Begum Akhtar gives voice to this tormented woman in this beautiful Dadra, beseeching the bedardi to show up at least in her dreams which might mitigate her suffering to some extent. Pt. Jasraj’s regard for Begum Akhtar is well-known. His introduction has made the video extra enjoyable.

The readers interested in some literature about the women’s fascination for the bad man, may browse through these articles.

http://www.scienceforums.net/topic/34676-why-are-women-attracted-to-bad-boys/

http://www.psychologytoday.com/blog/head-games/201310/why-do-women-fall-bad-boys

http://timesofindia.indiatimes.com/life-style/relationships/man-woman/Why-do-women-always-fall-for-the-bad-boy/articleshow/23891958.cms

http://torontosnumber1datedoctor.com/blog/why-we-dig-the-bad-boy-sex-appeal-part-1/

http://www.selfgrowth.com/articles/The_7_Reasons_Why_Women_Love_Bad_Boys_28607.html

http://abcnews.go.com/Health/story?id=5197531&page=1

Acknowledgements and Disclaimer:
The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

108 comments…read them below or add one

  2. Happy new year to all.
    You have started the new year with a flourish.
    Refreshing topic with equally refreshing song selection.
    There is another duet from Mangeshkar sisters
    Tumko piya Dil Diya – Shikari – Farooq kaiser – G S Kohli
    https://youtu.be/gNqIZ5CaWWQ

  3. What beautiful songs! “Balma Maane Na” and “Chale Jana Nahin,” neither of which I had previously heard, are both particularly lovely.

  4. A very well written post on a theme used in many Hindi movies .A good selection of songs , a few of them am not familiar . This time the songs have not been arranged yearwise. I am of the view that this situation of ‘ anari balma’ etc. is because this essential aspect is not taught as a formal subject anywhere. Even today this subject has not been introduced in the curriculum. It should be introduced as a subject like we have maths , geography etc. In our system, school teaching does not attract the best in the society .

    I give the link to one song which may fit under this…

    ‘ Balma bada naadan…’ / ALBELA / 1951 / Lata / Rajendra Krishan / CR

    https://youtu.be/VVJBm9v2iPA

  5. AKji,

    Wishing you and the SoY fraternity a Happy and Healthy 2022!!

    A great post to start the new year with a different and exciting theme.
    Ably complemented with a nice and enjoyable list of songs.

    Here’s a song from one more Dilip Kumar movie-
    Devdas 1955
    SDB- Sahir – Lata
    Ab aage teri marzi more saiyan more balma bedardi

    https://www.youtube.com/watch?v=jPbNrIa-5h4

  7. Madhu @1,
    Thanks a lot for your appreciation and wishing a very Happy New Year to you too.
    Bedari, dagaabaz fits to a T. Kyun jhoothe se preet lagaya kyun chhaliye ko meet banaya – classic ‘ beimaan/bedardi’.

  10. Mr Joseph @4,
    Thanks a lot for your appreciation. There are hundreds of songs on ‘Beimaan balma’. I would put Balma bada nadaan re, preet ki na jaane pehchan re is a perfect fit for ‘Anadi balma’.

  11. Dr Deshpande @5,
    Thanks a lot for your appreciation and wishing you a very Happy New Year. Ab aage teri marzi, bedardi is unambiguous. Nice song.

    @6,
    Beimaan baalma gayi jaan baalma is a nice song.

  12. Tu kya jaane wafa,
    O Bewafa…

    HAATH KI SAFAI.

    Jaa re jaa O Harjai
    Dekhi teri dildaari…

    KAALICHARAN.

    Sun zara shokh haseena…
    …
    Tu kya jaane pyar ka matlab , tu hai Harjai ..

    HARJAI.

  13. Going forward assuming Bewafa is also a candidate.

    Ek Bewafa se pyar kiya…

    AWAARA

    A reply ?

    Hum Bewafa hargiz na the…

    SHALIMAAR

  14. New Year Greetings to AK JI and SOY family !!

    It is romancing the rogue or falling in trap of rogue ?

    1. Sainyan Le Gayi Jiya-Ek Phool Do Mali
    https://www.youtube.com/watch?v=rur-8z8JBBs

    2. Sainyan Na Chhedo Dil Ke Taar-Crorepati
    https://www.youtube.com/watch?v=7LSIeWBiVAI

    3. Kahe Jadu Kiya Jaadoogar Balma-Naghma
    https://www.youtube.com/watch?v=idfiDdabcR4

    4. Main To Teri Ho Gayi Balma- Naag Padmini
    https://www.youtube.com/watch?v=gomh4DMZaZY

    5. Jadugar Sainyan- Nagin
    https://www.youtube.com/watch?v=3SSa0RLK2Bs

    Once in trap, lady is helpless. She realises
    1. Sainyan Jhooton Ka Bada Sartaz Nikla-Do Ankhen Barah Hath
    https://www.youtube.com/watch?v=Rlcnnmu6uyc
    2. Ho Balma Tum Bedardi-Patrani
    https://www.youtube.com/watch?v=3CulXF3MY60

    Damsel and Rogue are inseparable in story line of Hindi films and their music. Rogue has to transform to gentleman afterwards. Many such combinations
    adorn the vast ocean of Hindi films’ music.

    A refreshing post on the first day of New Year 2022.

  15. You made us wait for this article, AK – but it was worth the wait. You have done a great job, as always.

    You have mentioned ‘Kya se kya ho gaya’ in conjunction with ‘Mo se chhal kiye jai,’ from guide. The male song, however, shows only heartbreak and a sense of ‘vairagya’ – ‘Chalo suhana bharam to toota… kahti hai jisko pyar duniya, kya cheez kya bala hai.’ The lady, on the other hand, despite all the curses betrays a continued fascination with the beiman.

    The articles you’ve linked about the psychology of bad-boy appeal are very interesting and give some insight into the phenomenon.

    The appeal of the bad boy is not restricted to the romantic context only – mothers too like the naughty boy more than the quiet obedient one. The classic example being Yashoday and Kanhaiya. Kanhaiya then grows into the bad-boy lover with irresistible charm, as in ‘Ja to se nahin bolun Kanhaiyan.’

    Even a saiyan who regularly spends time with ‘sautan’ may get his share of ‘gaari’ but his charm does not fade, “Ja main to se nahin bolun’

    https://youtu.be/WTcXSp2KvNs

    I vaguely remember sharing a French song, ‘Mon amant de St Jean’ in the comments to one of the articles on SoY. It is a classic in-love-with-the-unfaithful song. I post a link to the 1942 version of the song which was used as title music in the Truffaut film ‘Le Dernier Metro’, and a link giving the translation:

    https://youtu.be/X_2DCxAIv0E

    https://lyricstranslate.com/en/mon-amant-de-saint-jean-my-lover-saint-jean.html

  18. Dr Shetty @12,
    Newer songs I can’t recall off hand.

    @13,
    Ek bewafa se pyar kiya
    Hum bewafa hargiz na the

    Nice juxtaposition. Bewafa is equally used for both genders. Bewafa ye tera muskurana; Wafa jinse ki bewafa ho gaya etc., whereas Beimaan/ Bedardi baalma are only males.

  19. Rakeshji @14,
    Wishing a very Happy New Year to you too. You have preempted me, except the last two songs which pertain to this category, the other songs belong to another distinct category – entrapped by the enchanter – for which you have to wait for my next post. Yes, there are countless songs for this pair.

    Thanks a lot for your appreciation.

  20. Subodh @15,
    You are an authority on cads and dads. Nice observation on Kya se kya ho gaya. In RK Narayan’ original novel and the English Guide’, Raju Guide was a clear cad.

    Mothers love their bad boys only up to a limit. The mother can really get boy if the bad boy goes beyond the tolerance limit.

    Yes, I remember you had shared the French song.

  22. Mr Muli @17,
    Na maany na maany na maany re: ‘Dagabbaz’ is a perfect ‘ Beimaan baalma’.

    Jaadugar qaatil: The orchestration is very different from OPN. Otherwise it is his style.

  23. AKji, here’s wishing you and the entire SoY family a very happy new year! I feel quite a few mujras and royal dances like Raina Beeti Jaaye, Jaa Jaa Re Ja Balamuva would fall under this category. What is being hinted at and condoned at the same time is promiscuity. While all the songs seem to present just the version of the lady, here is a duet from Gaban where the man also gets to present his side. No one is right or wrong, though.
    O bedardi Kyun Tadpaayen – Gaban. In this song the man accepts that he was wayward but then is willing to make amends in the end.
    preet teri pehchaan na paaya
    jiya mora anjaan re
    ho jiya mora anjaan re
    tujh se mera neh sajaniya
    karoon nichhaawar praan re
    ho karoon nichhaawar praan re
    arre prem ka naata jod le tu
    batiyaa beeti bisraay ke
    The adjectives for the man are – bedardi, nirdardi, nithur, chhaliya and nirmohi,
    https://www.youtube.com/watch?v=3ztrTUjhsoM

  24. AKji,
    Wishing you a very Happy New Year. The same to all SoY members.
    A good list.
    This reminded me of one of my old song lists, where I had put together the songs with the word Bedardi in the mukhda

    Anup
    🙂

  26. Main toh tum sang nain mila ke
    Haar gayee Sajna..

    …
    Kyon Jhoote se preeth lagayee
    Kyon Chhaliye ko meet banaya..

    MANMAUJI.

    I am very sure you will accept Jhoota and Chhaliya into the group.

    Jhoota kahin ka mujhe aisa mila
    Jinhe hain mere wafaon se gila..

    JKK

    Jhoot bole kawwa kaate…

    BOBBY.

    So pareshan with his jhoots, she threatens him with….” main maike chalee jaaoongi. ”

    Of course, he , ( like Gemini Ganesan of
    MISS MARY

    who does accept

    Ye mard bade dilsard, bade bedard..
    But ,also says
    Mardon ka phir bhi Ghulam hai zamana! )

    threatens back with the ultimate threat
    ..” Main teri sautan laaoonga. “

  27. NAIYYA. 1979

    Beparwa, Bedardi, Pagla Deewana…

    DESH PREMEE

    O Bekhabar, Bedardi..
    ..
    Na na na karte karte haan ji maine
    Haan kar dee…

    HENNA.

    Bedardi tere pyar ne deewana kar diya
    mujh ko…

    All these damsels have fallen for the Bedardi/ Bekhabar/ Beparwah! Wah ! Wah !!

  28. Ishh! Ishh!!
    Bairee Piya bada bedardi…

    DEVDAS.

    From the minute I read Dr Rajesh ji’s DEVDAS, something was bothering me! Yes, it was this milestone song that heralded Shreya Ghoshal ‘s entry into playback singing.

  31. Here’s another apt one from Manchali (1974) Kali Kali Choome
    kali kali chume gali gali ghume
    bhawra beiman bhawara beiman
    kabhi iss baag mein kabhi us baag mein

    tuhje samjhau kaise preet ki paheli
    bada dagabaaz hain ye meet o saheli
    wo kare wade hazar lute bahaar
    kabhi is daal pe kabhi us daal pe
    Here the euphemism bhawra is used for the promiscuous lover.
    https://www.youtube.com/watch?v=UsJ0rBK1ez8

  32. More on cads and dads, now that AK has anointed me as the expert on the subject.

    Anita@23 has brought in a cad who is willing to make amends. This reminds of the film ‘Bachna Ai Haseenon’ in which Ranbeer Kapoor plays the perfect cad – have ones fun and move one, without worrying about the trail of heartbreaks in one’s wake. Then he meets his own soulmate and feels the need to make amends with the girls he had ditched earlier. There is a sweet episode involving Minissha Lamba in this context.

    Indian films of yore steered clear of the heroine cheating on her husband/partner. I have not seen Gumraah, but I guess the attraction of the leading lady for the other man does not get physical. Now, in more permissive times, this is no longer a taboo. Two recent films: ‘Haseen Dilruba’ and ‘Dictionary(Bengali)’ show husbands who accept their wives despite their infidelity. This is taking dadhood to extreme! In fact, the relationship between the husband and wife improves in ‘Haseen Dilruba’ after the two make up.

  33. In general we may say that most songs having words with a prefix ‘be’ would fit in here . Do not know if this Mubarak Begum song where a person with such behavior has been called a murderer (qatil) fits in here …

    ‘ Bemurawat bewafa begana…’ / SUSHILA / 1963 / Jan Nisar Akhtar / C Arjun / Mubarak Begum

    https://youtu.be/SPBthDTld1k

  34. A song packed with impactful words … ‘zalim’ , ‘ qatl ‘ ‘ tadpaana ‘ ….,so many. But he considers an innocent who does not understand love a ‘ zalim ‘ .

    ‘ Mohabbat hi na…’/ 1952 / PARCHHAYIN / Noor Lakhnavi /CR / Talat

    https://youtu.be/mUtsWBLonSk

  36. Many of the songs are by Sati Savitri ( I am not using the term in a derogatory way ) types accepting the Bedardi nature of the beloved. Many times, half joking, too!

    But, the Modern Naari here is badly hurt, angry, unforgiving…

    Bekhabar Bekhadar
    Pyar Sach hai agar
    Dekha ek din
    Royega mere bin..

    Yaad rakh Bewafa
    Ye meri baddua…

    Aina wohi rehta hai …

    SHALIMAR.

    But, the angriest woman scorned I have seen ( Mere Dushman tu mere dosthi ko tarse looks like a praising song in comparison! ) is from

    RAM LAKHAN.

    Bekhadar Bekhabar Bewafa Balma..
    ..
    Na tujhko main maaroongi
    Na tujhko main chodoongi
    ( A salute to MERA GAON MERA DESH )
    Ahista Ahista tadpa tadpa ke
    Ho patthar bhi main tujhko thodoongi!

    Tera koi dharam nahin
    Tera koi Iman nahin
    Achha Sajan kaise banega
    Jo achha Insaan nahin?

    Banke tere maut main tere Peeche daudoongi..

  37. Subodhji@32, when you refer to Bachna ai Haseenon, I am reminded of Teen Deviyan where Dev Anand is in the trial and error mode. There are three women interested in him – a girl next door, a socialite and an actress. He romances each one. When he finally has to decide whom to settle down with, he relies on a hypnotist to show him the way. The hypnotist asks him to imagine his life post marriage with them. This movie I felt was quite bold. Even here as you point out, there is a forced restraint exercised though there is a lovely song Uff Kitni Thandi Hain (https://www.youtube.com/watch?v=SPcEhlOvjXU) which shows hormones raging.

  38. Anita @23, 30,
    You have rightly pointed out, most of the mujra songs would fall under this category. The patrons are not coming there for any long-term commitment, hence ‘bedardi, ‘zulmi’. Now ‘bedardi’ songs across the board are of two types, sad and happy. The chorus led by Mahendra Kapoor, Geeta Dutt is very peppy. That encourages the man to come out clean.

    @31,
    Dr Shetty has discovered some contra-pair. Contra to this promiscuous ‘bhanwra’ is ‘Bhanwra bada naadan‘.

  39. Anup @24, 25,
    All are very nice ‘badardi baalma’ songs.

    @35,
    There is a ‘bedardi’ alright by implication who is tormenting the lady. But the prominent image is of a woman who is willing to be under the boot of the man: Hum tadap tadap kar bhi tumhare geet gayenge – why dear lady? Just tell the cad to get off.

  40. Akji, thank you so much for opening the New Year on such a light romantic mood.

    In our ‘bachelor’ college days, we always used to wonder if we shall ever have a chance to entice the one by getting to declare our love by sing one of ‘those’ songs by moving around the bushes in the garden.

    By the time our fantasies get more colorful, one day one of our friends came in with his lady love and (ruefully) announced that they have simply their liking for each other without getting a chance to visit any garden or getting to sing ‘that’ song. 🙂

  41. Dr Shetty @26,
    ‘Main to tumse sang nain mila ke’: – This song was discussed @1 and @7, and it is interesting I mentioned exactly the same lines – ‘Kyon jhoothe se preet lagayi
    Kon chhaliye to meet banaya’

    Nice analysis of ‘Jhhoth ole kauva kaate‘ and ‘Ye mard bade bedard‘. You have indeed very sharp observation and fantastic recall.

    @27,
    Interesting. ‘Bekhabar’ seems to be an essential component of falling in love with the ‘bedardi’. Whi in her senses would fall for this kind of guy.

    @28,
    So Bhasali’s Devdas too has some fans.

    @36,
    I like these empowered women more than their whining, suffering counterparts of the 50s and 60s 🙂 .

  42. Canasya @29,
    Special thanks and best wishes for a very Happy New Year to you as you have been off-SOY for quite some time. ‘Nirdayi preetam’ is an excellent CR-Lata Mangeshkar song, even though it belongs to a period when their relationships was getting strained. I hope you are back for regular engagement.

  43. Subodh @32,
    “Husbands accepting their wives despite their infidelity”: That reminds me of its reverse – the wives accepting their husbands’ infidelity’. In Indian context it happened because of the wives’ dependence, stigma, lack of options. But in western countries, even the independent and empowered women come in defence of their cad husbands who are seeking public office. Without that, he would be out of the race.

  44. Mr S Joseph @33,
    You seem to be right. But there are other songs to such as ‘bairi’, ‘zulmi’ etc which would fit here.

    @34,
    If you start discussing the etymology of ‘Mohabbat hi na jo samjhe, wo zaalim pyar kya jaane‘. Do ‘mohabbat’ and ‘pyar’ mean the same (I thought so), the it does not make sense. It is only if the two are different – ‘mohabbat’ being universally understood and ‘pyar’ a much higher emotion – that the song could make some sense.

  45. Ashokji @40,
    You are welcome. Some claims to friends in those days were pure fantasies. Chashme-e-Baddoor is a classic comedy on this theme.

  48. Dr Shetty@36. A combination of a perfect cad and and empowered naari was seen is ‘Ek Haseena Thi’ featuring Saif Ali Khan and Urmila Matondkar. Saif is caddish enough not only to walk away after having his fun, but saddling Urmila with contraband that sends her to jail. She, however, doesn’t pine for ‘beimaan balma’ but chases him and extracts a brutal revenge.

    The lyrics of the song ‘Kabhi tanhaaiyon mein yun hamaari yaad aayegi’ suggest a woman cursing her unfaithful lover: ‘Yeh bijli raakh kar daalegi tere pyaar ki duniya, na tu phir ji sakega aur, na tujhko maut aayegi.’ However, the video of the song shows Tanuja in a pleasant mood. Someone who has seen the film may throw some light.

  50. From the famous movie ‘ Baiju Bawra ‘. She is shattered because of her lover who has apparently left her after making false promises . Towards the end of the song she says the entire world is like this…’ prit hai jhuti, pritam jhuta jhuti hai saari nagariya ‘ .

    ‘ Mohe bhool gaye…’/ 1952 / BAIJU BAWRA / Shakeel Badayuni / Naushad / Lata

    https://youtu.be/X7V7U54rMjw

  51. Neeruahaf @46, 47,
    Thanks a lot for your greetings.

    @49,
    This song from Bichhade Balam has not been mentioned earlier. Beautiful song.

  52. Subhodh ji,

    What a coincidence! Since yesterday, I was wondering whether to mention
    Ek hasina thi…KARZ
    with Bewafa , nazar chor, chaah daulat ki, ek bahana etc.

  53. Without mentioning the Be word, when Manoj Kumar sings..

    Koi jab tumhara hriday thod de..
    …

    Tumhe ab toh meri zaroorat nahin
    Bahut chahnewale mil jaayenge

    ..
    Koi shart hoti nahin pyar mein
    Magar pyar sharton pe tumne kiya..

    he does indicate Saira Banu to be a Bedardi Bereham Sajni, right?

    I love the picturisation of the lines
    Andheron mein apne hi ghir ne lago.
    As if she is sucked into a black hole !

  54. Ditto when Raj Kapoor sings..

    Woh tum na thi toh kaun tha?

    Yes, it is more of a Bewafa, but Bedardi factor is there too, in my opinion.

  55. AK ji# 51
    Glad you liked the song.

    Here’s another one: Lage na mora jiya…
    [Ghunghat/ Lata/ Ravi/ Shakeel]

    Tune meri sudh bisrai, bedardi tohe laaj na aayi
    bhul gaya kyon o harjai….

    https://www.youtube.com/watch?v=og40sjyZfhI
    *
    Can anyone tell me which raag is this based on because once I heard on the radio that it isn’t Shivranjani though it is often claimed to be?

  57. @53,
    One is a cause to the second situation.

    @54,
    Ditto to you. An exception to the general rule of the men held guilty of philandering. It has been generally Lata Mangeshkar or Asha Bhosle solo in the complaining situation.

  59. Neeruahaf @49,
    Nice song. HFGK does not mention any lyricist’s name.

    @55,
    “Hindi Cine Raag Encyclopaedia” (by KL Pandey) mentions the raag as Kirwani+Shivranjini, which means it starts with Kirwani and has Shivranjini too in it. And if it is relevant to you it’s taaal is Daadra and scale C#.

  60. AK ji and to all blog readers.

    Wishing all a Happy New Year with continued peace, happiness and good health.

    I don’t think, I can bring in Mukesh here, though Dr. Pradeep is trying to get through the wall.

    Does this fit?

    https://youtu.be/HZ0-S5xrP9I

    Thanks
    Mahesh

  64. Mahesh ji,

    Of course, Mukesh can come in.

    Chandi ke deewar na toda
    Pyar bhara dil tod diya..

    is, indeed, indirect insinuation!
    ( Arre! ‘ I ‘ ke mele ! )

    AK ji should clarify if Bewafa is a separate category.

  65. AK,
    This is a topic with immense possibilities and, as usual, interestingly presented. The icing on the cake was Subodh’s definition of cads and dads. We already know he is a thinker on many topics not only a raag specialist. Actually he has experience of the area from which I also come. So though his comments it can be gauged that he has quite good interaction with people and I agree with his observations. I have also seen mother’s liking for the naughty. The reason may be, because mostly they end up as non-performers and mothers naturally side with those who are weaker.

    In addition to various reasons given for the failure of good guy, one is that he is busy in doing something positive in life so he does not have time for those girls who are attention seekers. You can always see the poaching experts reaching college before time and take position at vantage points like near the gate or on the boundary wall. In old times when people used their feet, some of them even followed the girls right from the street where they lived. These poachers are experts at identifying those interested in their game and leave the modest ones alone. But, I have seen the modest girls mostly like the good guy.

    As to songs, our battery of wicket-keepers have caught most of them coming from left, right and centre. I would also try to post some which come to mind. As we know Manna Dey gave a lot of playback to Mehmood. I give here his one of the earlier songs filmed on Mehmood in Manzil which is a classic.
    Hato kahe ko jhoothi banao batiyan
    https://www.youtube.com/watch?v=rTrR4qRTpxc

    Second is also a classic from Teesri Kasam. ‘Paan khaye saiyan hamaro’ has perhaps both versions of bedardi and the dunce. In the first antara she calls him zalim and bedarda, but in the third says ‘kha ke gilori sham se unghe, so jaye wo diya-bati se pehle’.
    https://www.youtube.com/watch?v=zB3aGlSv95I

    Now this one ‘ja ja re ja saajna’ from Adalat, has both a genuine sufferer and a fake dukhiyari pitted in the same song. The genuine one has just a word ‘bewafa’ for him, but the other one is very vocal and uses beimaan and daga and the one who does not know preet lagana.
    https://www.youtube.com/watch?v=Weq103eMatk&t=200s

  67. Mr S Joseph @58,
    Tum kya jaano is the ultimate ‘bedardi baalma’ song of CR-Lata Mangeshkar combination. This perhaps also reflected their personal situation.

    @62,
    Dil ki duniya basa ke sanwariya: Same combination again. The combo was at the peak of their creativity.

    @63,
    Yes this too fits, though I would have preferred the signifying words occurring prominently in the songs’ bol.

  68. Mahesh @60,
    Thanks a lot for your greetings.

    When I wrote the post, my mind was focussed on ‘bedardi/beimaan balma’ (men). The idea was that women are sufferers of the Casanovas’ betrayal. But readers are more gender sensitive and they have posted some songs where the tormented and tormented are reversed. There would be many befitting songs of Mukesh, renowned for his ‘dare-bhare gaane’. For a starter, Wafa jinse ki bewafa ho gaye.

  69. Mr Muli @61,
    Sajanawa bairi ho gaye hamaar: When I thought of this post, I had in mind the suffering woman at the hands of ‘bedardi baalma’. Readers are more gender neutral. They have posted some songs where the tormented and tormented are reversed. So this song fits perfectly.

  70. Hans @65,
    Your comments always add substance. I remember Jug Suraiya writing that in his school the girls always fell for the footballers, and they would not care for the academic types. Same as romance for the ‘cad’ – except the football they had nothing much else.

    Paan khaye sainya hamaaro is an interesting dunce-rogue song. I started with one such, Kajra na dekhe gajra na dekhe.

    Ja ja re ja saajna: We are again running into a type – sad/happy duet.

  72. Zara samne toh aao Chhaliye
    Chup chup chhalne mein kya..

    S N Tripathi ‘s career defining song from JANAM JANAM KE PHERE.

    If I remember correctly, it was the 1957 Binaca Geetmala topper.

    Though I grew up listening to this song ( cliche! ) I watched it for the first time recently.

    The hero seems to be addressing the God ,while the heroine is speaking about the hero.

  74. Dr Shetty,
    The hero is dressed like a seeker, but Nirupa Roy too says, ‘Yun chhup na sakega parmatma’. Ambiguous. Someone who has seen the film can throw some light on this.

  77. Ak ji , Pradeep ji
    Pradeep ji has posted couple of chaliya songs. Here is one more
    Rangeela re – Prempujari – Neeraj – SDB – Lata
    Neeraj brought a new set of vocabulary and imagery to HFS remaining faithful to chaste Hindi.
    The second antara of this song is a representative example of this.
    https://youtu.be/tD_UK0Noszg

  78. Akji @ 69:

    ‘Sajanwa bairi ho gaye hamaar’ is actually about a suffering woman:

    ‘Jaaye base pardes sajanwa sauten ke bharmaaaye,
    Na Sandesh na koi khabaria, rut aaye rut jaaye,
    Doob gaye ham beech bhanwar mein,
    Kar ke solah paar … ,’

    Here is Lata singing ‘Pardesiyon se na’ from ‘Jab jab phool khile’ (MD: KA):

    https://www.youtube.com/watch?v=Cl8o1sR0-jA

    1st antara:

    ‘Hamne yehi etbaar kiya tha,
    Ek pardesi se pyar kiya tha,
    Aise jalaa ye dil jaise parwana …’.

    Of course, there is a Rafi version too.

  79. Dr Shetty, @ 72, AK @ 74,

    Dr Shetty’s guess is correct. Hero is addressing the god and she is after him.

    This pair of Bharat Vyas and SN Tripathi created another great duet ‘tune chhal kiya’ in Piya Milan Ki Aas, in which both are blaming each other.
    https://www.youtube.com/watch?v=4FYEl9wuQH4

    Now look at two contrasting duets in which one is blaming the other and the other is defensive. In the first from Barsaat the male is aggressor and in the second from Son of India the female is aggressive.
    Chhod gaye baalam mujhe haye akela chhod gaye – Mukesh/Lata
    https://www.youtube.com/watch?v=3Wj4bWsbqFI

    Dil todne wale tujhe dil dhoondh raha hai – Lata/Rafi
    https://www.youtube.com/watch?v=zHAnjmslfBc

  80. Canasya,
    Sajanwa bairi ho gaye hamaar’ was a great connect by Muliji to Mahesh’s comment and yes it is from the female side.

    But, ‘pardesiyon se na ankhiyan milana’ is all from male side. Rafi has both happy and sad versions. Rafi’s said version has the antara you mentioned ‘humne yahi ik baar kiya tha’. Lata’s version in which Nanda is lip-syncing is with one antara ‘ye babul ka desh chhudayen’ and this song Shashi Kapoor is visualising in his dream. ‘Humne yahi ik baar kiya tha’ was added to Lata version issued on the records.

  85. Mr S Joseph @73,
    Beautiful vintage song. One source mentions Meera as the singer. She has been listed in the star cast, it is possible she was an actor-singer on the fringes. Though playback technology was available since 1935, full-fledged playback in the voice of professional singers really took off in 1947.

    @75,
    Dil ka khilauna haye toot gaya fits. The ‘bedardi’ has been mentioned as a ‘lutera’.

    @76,
    Nagri nagri dware dware I would not put in the category of ‘bedardi’ songs. Nargis is wedded to Raj Kumar who unable to tend for the family, secretly, disappears out of shame. That is a poignant song of a wife searching for her husband.

  87. Canasya @78,
    You are absolutely right. But the word ‘bairi’ can be one of the synonyms for a ‘bedardi’.

    ‘Pardesiyon se na ankhiyan milana‘: We have already discussed a distinct category ‘Pardesi baalma’. The confusion arises because these categories have several synonyms, some overlapping with another category.

  88. Hans @79,
    Contrasting pair: Now we can create a theorem about contrasting pair – Theorem 1 of Contrasting Pair: “A solo song’s contrasting pair of Type 1 is one which is sung by the opposite gender with similar theme of betrayal.” There is another kind of contrasting pair – Theorem 2 of Contrasting Pair: “A solo song’s contrasting pair of Type 2 is a song sung by a singer of opposite gender which rebuts the charges of betrayal”. Both types have been mentioned in comments.

  89. Dr Deshpande @81, 82,
    These songs I am willing to put under ‘badardi’ category, unlike Nagri nagri dwaare dhoondhun re sanwariya mentioned by Mr Joseph @76 to which my response is @85.

  90. Tumko piya dil diya kitne naaz se: There is a line, Haye re duhai teri zulmi piya – ‘zulmi’ is one of the synonyms for ‘bedardi’

  91. Coming pretty late to the party….

    Congrats to AK, whose mind is a perennial fount of interesting song-classifications resulting in engaging topics for SoY!

    Here is an example of a song about the weather taking a a page from the beimaan baalam’s book:

    ‘Áaj mausam bada beimaan hai’ by Mohd. Rafi from ‘Loafer’ (1973), Lyrics by Anand Bakshi, MD – Laxmikant-Pyarelal

    https://www.youtube.com/watch?v=aSJ_jcEPOu0

  92. Ashwin,
    Thanks a lot. Welcome back after your long furlough.

    Fortunately, beimaan mausam is a rare occurrence, compared to the ubiquitous ‘beimaan baalam’. Mausam is generally aashiquana.

  93. AK, @ 70
    Your mentioning love for footballers brought to mind Dekh Kabira Roya, in which three heroines pining for a singer, a painter and a writer, but end up loving different persons through well-timed mistakes.

    There was another film Hamrahi, in which Rajendra Kumar played the perfect rogue and later is reformed. This is one of the best films on the theme.
    https://www.youtube.com/watch?v=xKJefA9bfWs

    In my earlier comment I wanted to add something which was left out due to the comment having already become long. In Haryana, there is a saying ‘sudhi chhipkali ghane maachhar kha’, meaning the lizard which looks modest catches more mosquitoes. I think there may be such sayings in other languages too. This saying was perhaps envisaged by some rogue, who wanted to exonerate his ilk and is also used with the same purpose when someone praises a good person. But, it has the other aspect of a person, who pretends ‘sharafat’, can literally have more opportunities of committing wrongs because of the trust he generates.

    @ 88
    Nice mathematical explanation.

  94. The khandita nayika is a recurring theme in the Indian performing arts. She may stop short of calling her unfaithful lover a beimaan but she gives him as good as it gets… always. Here is a popular bandish in Raag Sohni that depicts a khandita giving a tough time to her lover who has turned up at her door after spending the night with the soutan.

    ‘Kaahe ab tum aaye ho’ in Sohni by Malini Rajurkar
    https://www.youtube.com/watch?v=Uf2gRWGSqec

    Sohni is an uttaranga pradhan raag i.e. a raag whose improvisation is largely done in the upper range of the octave, so it is perfectly suited for compositions with lyrics that express anger.

  98. Ashwin @94, 95,
    ‘Kaahe ab tum aaye’ is a beautiful rendering. But is this anger of a helpless woman? Malini Rajurkar always made her tarana memorable. In this case, the tarana too is an expression of anger.

  102. Mr S Joseph @100,
    Rahte the kabhi jinke dil mein: The is one of the most beautiful compositions of Roshan. It is a poignant song lamenting about a betrayer. But my ‘bedardi’ was upfront in the mukhada of the song, and it could be light-hearted.

  103. Mr Muli @101,
    Mr Joseph beat you to it by a couple of minutes. The songs have earlier figured in the post. More sainya bedardi ban gaye has been mentioned by Dr Deshpande @81. Bedardi mere sainya is song no. #5 in the post.

  104. AK @98,

    Not at all, and I have made it clear in my comment that this khandita gives as good as she (I mistakenly used ‘it’) gets.

  105. A belated Happy New Year, AK. Coming late to this post but find both posts and comments amusing, especially Subodh’s description of cads and dads. 🙂 🙂

    Nalini Jaywant may be a tawaif in Kala Pani, but even her heart is broken by a man who uses and discards her – Dil lagaake kadar gayi pyaare He’s certainly a beimaan balma

  106. Anu,
    Thanks a lot for for your greetings. Dil lagakar kadar gayi pyari is my great favourite, masterly composition by SD Burman. Incidentally, Subodh’s description of cad and dad first appeared on your blog. I took it without your permission. I hope it is not an infringement as it was in his comment. If it is an impropriety, my apologies.

  107. AK, my memory is shot anyway, so if you hadn’t told me, I wouldn’t have known. 🙂 Anyway, no impropriety involved. Subodh comments here as well as on my blog. Only he owns his comments.

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