Sajan (1947)

Year – 1947

Language – Hindi

Country – India

Producer – Filmistan

Director – Kishore Sahu

Music Director – C. Ramchandra

Box-Office Status

Cast – Rehana, Ranjit Kumari, Leela Misra, S. L. Puri, Anant Prabhu, Satyanarayan, Samson, Ashok Kumar, Ramesh Gupta

Songs List


Music Director(s)
Hum banjare sang hamare
Lalita Dewoolkar, Geeta Dutt, Mohd Rafi, chorus
C. Ramchandra
Moti B.A.
Kisko sunaoun haal-e-dil, Humko tumhara hi aasra
Lalita Dewoolkar, Mohd Rafi
C. Ramchandra
Main houn Jaipur ki banjaran
Lalita Dewoolkar, Mohd Rafi
C. Ramchandra
O babu ji gali mai teri chand chamka
Mohd Rafi
C. Ramchandra
Sanmbhal Sanmbahl Ke Jaiyyo
Lalita Dewoolkar, Geeta Dutt, Mohd Rafi, chorus
C. Ramchandra
Ram Murti
Thandi thandi rait mein khajur ke tale
Zohra Bai Ambala Wali, Chorus
C. Ramchandra


Ever since “Random Harvest” came to our screen, we have had different producers, trying to reap “the harvest” on the amnesia theme at ‘random’! Wadia’s “Vishwas”, Fazli’s “Ismat”, Pancholi’s “Dassi”, Famous Films’ “Phool” and Ranjit’s “Moorti” were all infected with amnesia germs.

In Sajan, Kishore Sahu introduces one more repetition of this popular “loss-of-memory” plot. It should be said to Kishore’s credit that inspite of the old, familiar design of the subject, he has been able to make “Sajan “a swell entertainer.

Helped splendidly by Filmistan’s talented band of technicians and stars, Kishore Sahu has come out with a delightfully entertaining picture which keeps audience interest alive till the end.

How It Begins

The story gets a kick off with a train accident where Prakash (Ashok Kumar) loses memory and a rakish fellow passenger (Ramesh Gupta), taking advantage of the situation, impersonates him.

Prakash, we are told, was on his way home after eleven tears’ stay abroad and the bogus Prakash succeeds in fooling everyone at the household except the wife.

The real Prakash lands in a hospital and after a partial recovery, keeps on speculating about his past while on the other side, Kamla (Rehana), his wife, deserts the home to escape from the clutches of his bogus counterpart. So the narrative proceeds with Prakash getting periodical mental jerks on the screen of his faded memory and wife Kamla passing through the various trials and tribulations, till a somewhat strange but nevertheless happy type of coincidence brings them together.

In great desperation, Kamla has joined a nomadic troupe of gypsies and moves from place to place with the caravan but her encounter with Prakash generates the spark of love that has remained dormant all these years. The love-birds laugh and love without knowing their respective identities.

Finally, the identity is revealed in a well worked-out climax and there is a happy re-union of all the family members. Prakash, we need hardly say, recollects his memory in time and his bogus double gets, literally, a well-aimed kick where he deserves.

Kishore Sahu’s story is alright but has nothing much to rave over. It has some glaring inconsistencies and far-fetched situations which, however, and very fortunately, pale into insignificance in the over-whelming dazzle of eye-filling dances and crowd-catching song-numbers.

How It Ends

By keeping the tempo at a uniform pace, Kishore Sahu has secured a double advantage. The story does not drag and at the same time the narrative automatically gets the fullest scope to gather dramatic momentum in the whirl-wind of dances and songs.

The net result is that, despite the familiar nature of the amnesia plot, “Sajan”, emerges as a refreshing cameo of fast-paced entertainment where directorial and technical highlights stand out in bold relief.

Ashok Kumar acts, talks and sings with delightful abandon and make his role memorable by the very ease with which he portrays it. Ashok’s delineation of the amnesia-struck Prakash becomes remarkable not so much by its wealth of dramatic-action as by the sheer lack of it, giving it a naturalness which makes the role life-like.

Rehana tried her best but, I am afraid, she is not the type for the role of a distressed woman. An ideal type of role that fits her vivacious personality is a gay, sprightly character like the one she played so well in “Shehnai”.

S.L. Puri as the leader of the gypsy-band was quite good but Ramesh Gupta failed to rise to the heights or even sink to the depths intended for his role.

As Bijli, Ranjit Kumari was quite lively repeating practically the same phonetics and antics that made her popular in “Chal Chal re Naujawan”.

Melody-maker C. Ramchandra has given some more catchy song-tunes and choruses. A couple of songs like “Delhi Dur Hai” and “Jaipur kie Banjaran” are sure to prove hot-favorites.  

One of the highlights of the picture is the bold camera-work of K.H. Kapadia and the all-round polish given to the picture by the team of Filmistan technicians.

Well, for its sheer entertainment value “Sajan” is a picture of which both Filmistan and Kishore Sahu may well be proud. It’s entertainment with a capital “E”!