The Ghungroo Moment-  When Dilip Kumar Danced Into Cinematic History

Dilip Kumar – a name that symbolizes the golden era of Indian cinema. Every aspect of this legendary actor’s life resonates in the hearts of cinema lovers. But did you know that there was a song that not only compelled Dilip Kumar to dance but also showered coins in movie halls? This is the story of the famous song “Mere Pairon Mein Ghungroo Bandha De” from the film  Sunghursh, a melody that mesmerized cinema lovers. The story behind this song is as fascinating as it is emotional. Here is a memoir by film writer Vinod Kumar, taking you back to the heartbeat of that era.

Timeless Charm of Dilip Kumar's Iconic 'Ghunghroo' Song!

Some songs are timeless, cutting through the dust of time and retaining their charm. Released in 1968, the iconic song “Mere Pairon Mein Ghunghroo Bandha De To Phir Meri Chaal Dekh Le” from Sunghursh is one such gem. Even today, the moment we hear it, our hearts race and our feet begin to dance involuntarily. This song became historic, not just because of its sweet melody and lyrics but also because it marked the first time a hero, Dilip Kumar, wore ghungroos and danced—something we had never seen before.

It’s said that moviegoers would line up outside cinemas overnight just to watch and listen to this song. When it played on the screen, the audience would whistle, clap, and toss coins to express their joy. But the story behind this song is as intriguing as it is heartbreaking.

Sunghursh: Mahashweta Devi's Tale of 19th-Century Varanasi!

'Sunghursh' was based on the Bengali story Layli Asmana Aina by the renowned author Mahashweta Devi. The film depicted the internal strife of a thuggish family from Varanasi. Directed by Harnaam Singh Rawail, the film brought the 19th-century Varanasi alive on screen with his meticulous direction.

The music for the film was composed by the legendary Naushad, who skillfully incorporated the folk tunes of Awadhi and Eastern Uttar Pradesh. However, composing the music was not an easy task, as Rawail Sahib had become quite confident after the success of Mere Mehboob, to the extent that he began to interfere with even the delicate nuances of the music. Naushad faced a challenge as he wished to incorporate elements of Banaras' classical thumri, kajri, and biraha, but Rawail Sahib did not like this idea.

In the special scene where village folk are celebrating with dance and joy and Dilip Kumar is present, Naushad composed the melody for “Mere Pairon Mein Ghungroo Bandha De.” He suggested adding a humorous touch to the scene, where people, high on bhang, compel the hero to wear ghungroos and dance. Rawail Sahib liked the idea but was worried, “Dilip Saab naachne ko kaise raazi honge?"  Naushad replied, "Pehle Rafi Saab se is geet ki recording karwa lete hain. Jab Dilip Saab yeh geet sunenge, toh khud hi thirak uthenge."

And that’s exactly what happened! When Dilip Kumar heard the song, he was enchanted. He asked, “Yeh geet kis par filmaya jayega?" Rawail and Naushad replied, "Aap par." At first, Dilip Sahab hesitated, then smiled and agreed,— "Theek hai, main ghungroo baandh loonga."

The recording day brought a surprise that shook Naushad. In the studio, among four chorus singers, there was an elderly woman standing. Naushad asked his assistant, Mohammad Shafi, “I had called for four young girls; who is this elderly woman?” Shafi responded, “Naushad Sahab, don’t you recognize her? This is Rajkumari — the famous playback singer from her time. She is now in a difficult position, and so, she is singing in the chorus.”

This revelation stunned Naushad. He went up to Rajkumari, folded his hands, and said, “Why are you singing in the chorus? It’s an embarrassment for us.” Rajkumari smiled and said, “Naushad Sahab, there’s no shame in this. Do you want me to be deprived of this too? If singing in the chorus supports my family, what’s wrong with that?”

Naushad’s eyes filled with tears. He remembered the days when Rajkumari arrived at the studio in her long black Buick, with the producers opening the car door for her. Now, the same Rajkumari was singing in the chorus.

He asked the musicians, “This is Rajkumari, who sang for some of the biggest actresses of her time. Let’s show her respect.” The musicians in the studio stood up and touched her feet.

Rajkumari then said something that pierced Naushad’s heart: “Singing in the chorus is not a bad thing. Remember Khan Mastana, one of the famous singers of his time, now begs at the Mahim Dargah for charity. So, how can singing in the chorus be wrong?”

Naushad recalled the time when Khan Mastana had sought his help. He had arranged a pension for Mastana through the Musician’s Association, but Mastana’s addiction had ruined him.

The music from Sunghursh was not limited to just “Mere Pairon Mein Ghungroo.” Other songs also became immensely popular:

• "Chhodo na dil ki baat abhi tum nashe mein ho"
• "Tasveer-e-mohabbat thi jismein humne woh sheesha tod diya"
• "Mere paas aao nazar to milaao"
• "Agar ye husn mera ishq ke saanche mein dhal jaaye"
• "Ishq deewana husn bhi ghaayal"
• "Jab dil se dil takraata hai"

Rafi Sahab breathed life into each song, especially “Jab Dil Se Dil Takraata Hai,” which he recorded four times to capture the right emotion.

Shakeel Badayuni also worked tirelessly on the lyrics, though Rawail Sahib’s unnecessary interference hindered their full creative expression. Had Naushad and Shakil been given complete freedom, the music would have been even more extraordinary.

Nevertheless, the music of Sunghursh became immortal, and the sound of ghungroos tied around Dilip Kumar’s feet continues to echo in cinematic history.

About the Author

Vinod Kumar is a renowned film writer and journalist, having written several books about the film industry’s most iconic personalities. His works include Meri Awaaz Suno, Cinema Ke 150 Sitare, Rafi Ki Duniya, as well as biographies on Dev Anand, Dilip Kumar, and Raj Kapoor.

By Vinod Kumar

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