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The oldest version known has been found from 1921. Rendered by a courtesan Akhtari Jaan
from Lucknow.
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THIS WAS SUNG in film(Aabroo)(1943) (AS A PARODY TO THE SINGER SHAMSHAD BEGUM WHO SANG IT IN Film(Himmat)(1941)
"इनी लोगन ने" गीत की जानकारी: मूवी: आबूरो (1943) गायक
(ओं): याकूब गीतकार (एस): ...
Inhi Logo Ne Le Lina Dupatta Mera Shamshad Begum Film Himmat 1941 Music Pt. Gobindram lyrics Aziz Kashmiri.
"इनी लोगन ने" गीत की जानकारी: मूवी: आबूरो (1943) गायक (ओं): याकूब गीतकार (एस): ...
A GLIMPSE OF OLDER VERSIONS OF THE SONG -INHIN LOGON LE LEENA DUPPATTA MERA . 1)SINGER : SHAMSHAD ...
For more songs visit http://iseriesindia.com.
Ye mana husn khuda hota hai Aabroo 1943
Song: Chalte Chalte Yun Hi Koi Movie: Pakeezah (1972) Actor(s): Meena Kumari, Raaj Kumar, Ashok Kumar, Nadira, D.K. Sapru, ...
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The song “Inhi logon ne le leenha dupatta mora” is associated by most music lovers with “Paakeezaah”(1972) which was sung by Lata and composed by Ghulam Mohammad. But this song had first appeared three decades ago, viz in 1941 where this song was sung by Shamshad Begam under the music direction of Pt Govindram for “Himmat”(1941). This blog contains the “Paakeezah”(1972) version as well as the “Himmat”(1941) version of this song.
The song was used as Mujra song in both the movies.
Pt Govindram used the same song again in “Aabroo”(1943). But this time it was used as a light hearted get together song. In the picturisation, Yaakoob (I hope I have identified him correctly) does an impromptu cross dressing and sings this song to amuse his friends in his drawing room.
I am unable to identify the actors visible in the picturisation, which included a lady as well. This Hind Pictures, Bombay production directed by Nazeer had Sitara, Yakoob, Jagdeesh, Nazeer, Masood, Shakir, Vatsala Kumthekar, Laddan, Chanda Bai, Janardan Sharma etc in it. I request our knowledgeable readers to help identify the actors.
HFGK is silent about the lyricist and singer of this song. My guess is that this song is sung by Yakoob himself.
Song-Inhi logon ne le leenha dupatta mera (Aabroo)(1943) Singer-Yaakoob, MD-Pt Govindram
Unknown male voice
Lyrics(Provided by Nitin Shah)
haan haan
ye maana hamne ke ae ae ae ae
husn ye khuda deta hai
per yeh andaaz tumhe kaun sikha deta hai
shikme e maadar se koi seekh ke aataa hi nahin
chaahne waala hi kambakht sikha deta hai
(sikha deta hai
bahut achche)
inhi logo ne le leena dupattta mera
inhi logo ne le leena dupattta mera
inhin logo ne
inhin logo ne
inhin logo ne
inhin logo ne
inhin logo ne le leena dupattta mera
aha
tumhaari kasam
Rashmi ko bhi maat kar rahe ho
mori na maano
mori na maano
arre ha mori na mano
arre ha mori na mano
bajajwa se poochho
jisne adhhaai gaz
haaye
jisne adhaai gaz deenha dupatta mera
inhi logo ne le leenha dupattta mera
inhi logo ne le leenha dupattta mera
mori na maaaano o
sainya se ae poochho
mori na maano
arre haan
mori na maano
arre haan
mori na maano
sainya se ae poochho
jisne odha ke
kya
jisne odha ke mazaa leenha dupatta mera
jisne odha ke mazaa leenha dupatta
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Today we will discuss this beautiful song "inhi logo ne le lina" from the movie Pakeeza and also we will listen the same songs ...
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Yes, Begum Akhtar was a courtesan before she became a famous singer. Begum Akhtar: A courtesan, a Lord Krishna devotee, Mallika-e ...
7 Oct 2022 — But sooner or later, someone writes or speaks about them in all its richness, and we get to bask in their reflected glory. Begum Akhtar's life can be divided into two phases — one in which she was known as Akhtari Bai, and the second, when she took on the now-famous name of Begum Akhtar. Prior to her wedding with barrister Ishtiaq Ahmed Abbasi, Akhtari Bai, although famous, had to face numerous obstacles despite possessing a unique and stunning voice that complimented her good looks. She, like many other courtesans of the time, encountered censure and hid her true identity, as a performer from a marginalised group of society.
From Courtesan To A Star: Docu Traces Begum Akhtar's Life
4 Feb 2023 — Begum Akhtar was popular as 'Mallika-e-ghazal'. She began her career as a courtesan performing in private mehfils for patrons in Lucknow, and went to become a prominent singers on All India Radio and even films.
Begum Akhtar was born in 1914 to a courtesan mother. She started her career as a courtesan, performing in private gatherings for patrons in Lucknow. She later became a prominent singer on All India Radio and in films. Akhtari Bai, as she was known before her marriage, faced many obstacles due to her identity as a performer from a marginalized group. In 1945, she married Ishtiaq Ahmed Abbasi, a barrister from Lucknow, and became Begum Akhtar. Her husband made one condition for the marriage: that she would not perform in public. After the marriage, she was unable to sing for almost five years, and subsequently became ill and depressed. In 1949, Begum Akhtar sang in a national broadcast of All India Radio and became an instant hit. She was popular as "Mallika-e-ghazal".
Begum Akhtar is held up as an example of a derided and ultimately extinguished culture, which becomes nostalgically (and therefore safely) recreated, and fetishised precisely because it is lost.
There are those whose full, complex lives become flattened by their own legends.
The singer Begum Akhtar – with her positioning in history as a ghazal singer of unsurpassed mastery, who flourished in the mid-20th century, and as someone whose context easily appealed to those who fetishise a certain kind of Lucknowi culture – is one such person.
In a new English translation of a Hindi collection curated by Yatindra Mishra, this problematic hagiography is immediately obvious in the introduction.
Mishra, whose own aristocratic roots mean that his family played host (and patron) to the great singer in her heyday as a courtesan performer in various princely states, speaks about Akhtar in a way that has become typical of those who eulogise her. In fact, many of us have spoken of her as a singular entity – which she undoubtedly was, just not in the way that she is regularly positioned in.
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 "Evoking Begum Akhtar: A new collection, like most literature about the ghazal singer, fetishises her life and pathos")
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