Nothing is illegal until you get Caught.
Applies to muslims in general. When you get caught, that is when there are "good" muslims an "bad" muslims. Same with Terrorists.
How Muslims of the subcontinent built Bollywood..
- Thread starter SuvarnaTeja
- Start date
Nothing is illegal until you get Caught.
Applies to muslims in general. When you get caught, that is when there are "good" muslims an "bad" muslims. Same with Terrorists.
Nilu Pule
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I think there is atleast 1 percent who do follow all principles of Islam.
I have seen Muslims calling Hindu idolaters. But most Muslims involve in idolatry by worshipping graves, peers and what not. Astrology is not allowed in Islam. But I hsve seen so many Muslim astrologer.
It's quite hypocritical of Muslims to shun Islamic priniciples and then claim to be a Muslim. Whats the islamic term for these people - munafik or murtad?
SuvarnaTeja
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I kindly request all OT false flagger discussions to the below thread. Please keep this thread clean.
https://defence.pk/pdf/threads/prove-your-indianess.586692/
Thank you
@SuvarnaTeja
https://defence.pk/pdf/threads/prove-your-indianess.586692/
Thank you
@SuvarnaTeja
Imran Khan
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50 50
lol maulvi sahab .............
mirza ghalib was also 50 percent , he liked english scotch . he used to get his stock from meerut cantonment on khachars full of bottles .
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Hasrat Jaipuri
From Wikipedia, the free encyclopedia
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Hasrat Jaipuri
Birth name Iqbal Hussain[1]
Born 15 April 1922
Jaipur, Rajasthan
Died 17 September 1999 (aged 77)
Occupation(s) Lyricist
Years active 1949-1999
Hasrat Jaipuri (15 April 1922 – 17 September 1999) was an Indian poet, who wrote in the Hindi and Urdu languages. He was also a renowned film lyricist in Hindi films, where he won the Filmfare Awards for Best Lyricisttwice.
Jaipuri was born Iqbal Husain in Jaipur, where he studied English till medium level, and then acquired his taalim (education) in Urdu and Persian from his paternal grandfather, Fida Husain.[1] He began writing verse, when he was around twenty years old. Around the same time, he fell in love with a neighborhood girl name Radha. Hasrat talked about a love letter he wrote to this girl, in an interview, later in his life, that love knows no religion. Hasrat Jaipuri was quoted as saying, "It is not at all necessary that a Muslim boy must fall in love only with a Muslim girl. My love was silent, but I wrote a poem for her, 'Yeh mera prem patra padh kar, ke tum naaraaz na hona." It is not known for sure whether the love letter was actually delivered to Radha. But veteran film producer Raj Kapoor liked it enough to include it in his Sangam (1964 Hindi film) and the song ended up becoming a 'hit' song in India.[1]
Career in Bollywood[edit]
In 1940, Jaipuri came to Bombay (now Mumbai), and started working as a bus conductor, earning a monthly salary of eleven rupees. He used to participate in mushairas. At a mushaira, Prithviraj Kapoor noticed Jaipuri and recommended him to his son, Raj Kapoor. Raj Kapoor was planning a musical love story, Barsaat (1949) with Shankar-Jaikishan. Jaipuri wrote his first recorded song, Jiya Beqaraar Hai for the film. His second song (and first duet) was Chhor Gaye Baalam.[1]
Along with Shailendra, Jaipuri wrote lyrics for all Raj Kapoor films till 1971. After the death of Jaikishan and failures of Mera Naam Joker (1970) and Kal Aaj Aur Kal (1971), however, Raj Kapoor turned to other lyricists and music directors. Raj Kapoor initially wanted to call him back for Prem Rog (1982), but later settled for another lyricist, Amir Qazalbash. Kapoor finally asked him to write lyrics for the film, Ram Teri Ganga Maili (1985). Later, he also invited Hasrat to write three songs for the movie Henna (1991). Jaipuri alleges that after Raj Kapoor's death, the music composer Ravindra Jain "conspired" to "scrap" his lyrics and replace them with his own lyrics.[1]
When fellow lyricist Shailendra turned producer with Teesri Kasam, he invited Jaipuri to write lyrics for the movie. He also wrote screenplay for the movie Hulchul (1951). His last film as a lyricist was Hatya: The Murder (2004).
https://en.wikipedia.org/wiki/Hasrat_Jaipuri
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
Hasrat Jaipuri
Birth name Iqbal Hussain[1]
Born 15 April 1922
Jaipur, Rajasthan
Died 17 September 1999 (aged 77)
Occupation(s) Lyricist
Years active 1949-1999
Hasrat Jaipuri (15 April 1922 – 17 September 1999) was an Indian poet, who wrote in the Hindi and Urdu languages. He was also a renowned film lyricist in Hindi films, where he won the Filmfare Awards for Best Lyricisttwice.
Jaipuri was born Iqbal Husain in Jaipur, where he studied English till medium level, and then acquired his taalim (education) in Urdu and Persian from his paternal grandfather, Fida Husain.[1] He began writing verse, when he was around twenty years old. Around the same time, he fell in love with a neighborhood girl name Radha. Hasrat talked about a love letter he wrote to this girl, in an interview, later in his life, that love knows no religion. Hasrat Jaipuri was quoted as saying, "It is not at all necessary that a Muslim boy must fall in love only with a Muslim girl. My love was silent, but I wrote a poem for her, 'Yeh mera prem patra padh kar, ke tum naaraaz na hona." It is not known for sure whether the love letter was actually delivered to Radha. But veteran film producer Raj Kapoor liked it enough to include it in his Sangam (1964 Hindi film) and the song ended up becoming a 'hit' song in India.[1]
Career in Bollywood[edit]
In 1940, Jaipuri came to Bombay (now Mumbai), and started working as a bus conductor, earning a monthly salary of eleven rupees. He used to participate in mushairas. At a mushaira, Prithviraj Kapoor noticed Jaipuri and recommended him to his son, Raj Kapoor. Raj Kapoor was planning a musical love story, Barsaat (1949) with Shankar-Jaikishan. Jaipuri wrote his first recorded song, Jiya Beqaraar Hai for the film. His second song (and first duet) was Chhor Gaye Baalam.[1]
Along with Shailendra, Jaipuri wrote lyrics for all Raj Kapoor films till 1971. After the death of Jaikishan and failures of Mera Naam Joker (1970) and Kal Aaj Aur Kal (1971), however, Raj Kapoor turned to other lyricists and music directors. Raj Kapoor initially wanted to call him back for Prem Rog (1982), but later settled for another lyricist, Amir Qazalbash. Kapoor finally asked him to write lyrics for the film, Ram Teri Ganga Maili (1985). Later, he also invited Hasrat to write three songs for the movie Henna (1991). Jaipuri alleges that after Raj Kapoor's death, the music composer Ravindra Jain "conspired" to "scrap" his lyrics and replace them with his own lyrics.[1]
When fellow lyricist Shailendra turned producer with Teesri Kasam, he invited Jaipuri to write lyrics for the movie. He also wrote screenplay for the movie Hulchul (1951). His last film as a lyricist was Hatya: The Murder (2004).
https://en.wikipedia.org/wiki/Hasrat_Jaipuri
SuvarnaTeja
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Nasir Hussain
From Wikipedia, the free encyclopedia
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This article is about the film producer. For the cricketer, see Nasser Hussain. For the actor, see Nazir Hussain.
Nasir Husain
Born 16 November 1926[1]
Bhopal, Bhopal State, British India[2][3]
Died 13 March 2002 (aged 76)
Mumbai, Maharashtra, India
Occupation Director, Producer, Screenwriter
Years active 1948–1996
Spouse(s) Ayesha Khan
Children Mansoor Khan
Nuzhat Khan
Relatives Tahir Hussain (brother)
Tariq Khan (nephew)
Aamir Khan (nephew)
Faisal Khan (nephew)
Imran Khan (grandson)
Mohammad Nasir Hussain Khan or Nasir Hussain (16 November 1926 – 13 March 2002) was an Indian film producer, director and screenwriter.[4] With a career spanning decades, Hussain has been credited as a major trendsetter in the history of Hindi cinema. For example, he directed Yaadon Ki Baraat (1973), which created the Bollywood masala film genre that defined Hindi cinema in the 1970s and 1980s,[5] and he wrote and produced Qayamat Se Qayamat Tak (1988), which set the Bollywood musical romance template that defined Hindi cinema in the 1990s.[6][7] Akshay Manwani wrote a book on Hussain's cinema titled Music, Masti, Modernity: The Cinema of Nasir Husain.[8]
Contents
Career[edit]
Early career[edit]
Hussain first worked with A.R. Kardar when he joined Filmistan as a writer in 1948. The famous films he wrote for Filmistan include Anarkali (1953), Munimji (1955), and Paying Guest (1957). Filmistan was the breakaway studio from Bombay Talkies; it used mid-budget formula productions and sold on star value and music. Sashadhar Mukherjee was a part of the breakaway team, and he gave Hussain Tumsa Nahin Dekha to direct. The film made a star of Shammi Kapoor.
Kapoor and Hussain made another hit, Dil Deke Dekho (1959), for Filmalaya, the breakaway group of Filmistan. The film introduced Asha Parekh, who would be the lead in all of Hussain's films until Caravan (1971). He was also in a long romantic relationship with her, but it ended because he was already a married man with two children, and Parekh didn't want to be labeled a homewrecker.[9] Hussain's wife was Margaret Francina Lewis, an assistant choreographer he met at Filmistan. They married and then she changed her name to Ayesha Khan. She worked as an assistant choreographer on some of his productions.[8] He outlived his wife.[10]
Own production[edit]
Hussain then set up Nasir Hussain Films and turned producer-director. He made musical hits like Jab Pyar Kisi Se Hota Hai (1961), Phir Wohi Dil Laya Hoon (1963), Teesri Manzil (1966), Baharon Ke Sapne (1967), Pyar Ka Mausam (1969), Caravan (1971), Yaadon Ki Baraat (1973), Aangan (1973) and Hum Kisise Kum Naheen (1977).
Hussain, Majrooh Sultanpuri, and R.D. Burman collaborated on Teesri Manzil, Baharon Ke Sapne, Pyar Ka Mausam, Caravan, Yaadon Ki Baraat and Hum Kisise Kum Naheen.
Hussain wrote and produced the musical cult hit Teesri Manzil. Vijay Anand directed the film, which starred Hussain's regular actors Shammi Kapoor and Asha Parekh. Originally Dev Anand was signed for the film but due to differences with Hussain he opted out and Kapoor was cast.[11] He also hired R.D. Burman for the first time to compose the songs ("O Haseena Zulfonwali", "O Mere Sona Re", "Deewaana Mujhsa Nahin", "Tumne Mujhe Dekha", "Aaja Aaja Main Hoon Pyaar Tera"). After the songs became evergreen hits, Burman would compose for all of Hussain's films for the next 19 years, ending with Zabardast (1985).
Hussain's Yaadon Ki Baraat was written by Salim-Javed, who had written Zanjeer the same year. Both films dealt with the hero wanting to avenge his father's death, and both featured Ajit as the villain. Yaadon Ki Baraat has been identified as the first masala film.[12][13]
Late career[edit]
As Zamane Ko Dikhana Hai (1981), Manzil Manzil (1984) and Zabardast (1985) all flopped, Hussain's son Mansoor Khan took over the reins of Nasir Hussain Films, although Hussain continued to write scripts and dialogues for films like Qayamat Se Qayamat Tak (1988) and Jo Jeeta Wohi Sikander (1992). In Qayamat Se Qayamat Tak, he introduced his nephew Aamir Khan as a hero. Qayamat Se Qayamat Tak was a milestone in the history of Hindi cinema, setting the template for Bollywood musical romance films that defined Hindi cinema in the 1990s.[6][7]
Hussain received a special Filmfare Award in 1996 for his contribution to Hindi cinema.
Hussain died in Mumbai on 13 March 2002 following a heart attack.[14] After his death, Asha Parekh stated in an interview that she had not seen him the last year of his life, as he became reclusive because of his wife's death.[15]
Associations[edit]
Hussain had several "favourites" with whom he worked repeatedly.
As director
Film Year
Tumsa Nahin Dekha 1957
Dil Deke Dekho 1959
Jab Pyar Kisi Se Hota Hai 1961
Phir Wohi Dil Laya Hoon 1963
Baharon Ke Sapne 1967
Pyar Ka Mausam 1969
Caravan 1971
Yaadon Ki Baaraat 1973
Aangan 1973
Hum Kisise Kum Naheen 1977
Zamane Ko Dikhana Hai 1981
Manzil Manzil 1984
Zabardast 1985
https://en.wikipedia.org/wiki/Nasir_Hussain
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
This article is about the film producer. For the cricketer, see Nasser Hussain. For the actor, see Nazir Hussain.
Nasir Husain
Born 16 November 1926[1]
Bhopal, Bhopal State, British India[2][3]
Died 13 March 2002 (aged 76)
Mumbai, Maharashtra, India
Occupation Director, Producer, Screenwriter
Years active 1948–1996
Spouse(s) Ayesha Khan
Children Mansoor Khan
Nuzhat Khan
Relatives Tahir Hussain (brother)
Tariq Khan (nephew)
Aamir Khan (nephew)
Faisal Khan (nephew)
Imran Khan (grandson)
Mohammad Nasir Hussain Khan or Nasir Hussain (16 November 1926 – 13 March 2002) was an Indian film producer, director and screenwriter.[4] With a career spanning decades, Hussain has been credited as a major trendsetter in the history of Hindi cinema. For example, he directed Yaadon Ki Baraat (1973), which created the Bollywood masala film genre that defined Hindi cinema in the 1970s and 1980s,[5] and he wrote and produced Qayamat Se Qayamat Tak (1988), which set the Bollywood musical romance template that defined Hindi cinema in the 1990s.[6][7] Akshay Manwani wrote a book on Hussain's cinema titled Music, Masti, Modernity: The Cinema of Nasir Husain.[8]
Contents
Career[edit]
Early career[edit]
Hussain first worked with A.R. Kardar when he joined Filmistan as a writer in 1948. The famous films he wrote for Filmistan include Anarkali (1953), Munimji (1955), and Paying Guest (1957). Filmistan was the breakaway studio from Bombay Talkies; it used mid-budget formula productions and sold on star value and music. Sashadhar Mukherjee was a part of the breakaway team, and he gave Hussain Tumsa Nahin Dekha to direct. The film made a star of Shammi Kapoor.
Kapoor and Hussain made another hit, Dil Deke Dekho (1959), for Filmalaya, the breakaway group of Filmistan. The film introduced Asha Parekh, who would be the lead in all of Hussain's films until Caravan (1971). He was also in a long romantic relationship with her, but it ended because he was already a married man with two children, and Parekh didn't want to be labeled a homewrecker.[9] Hussain's wife was Margaret Francina Lewis, an assistant choreographer he met at Filmistan. They married and then she changed her name to Ayesha Khan. She worked as an assistant choreographer on some of his productions.[8] He outlived his wife.[10]
Own production[edit]
Hussain then set up Nasir Hussain Films and turned producer-director. He made musical hits like Jab Pyar Kisi Se Hota Hai (1961), Phir Wohi Dil Laya Hoon (1963), Teesri Manzil (1966), Baharon Ke Sapne (1967), Pyar Ka Mausam (1969), Caravan (1971), Yaadon Ki Baraat (1973), Aangan (1973) and Hum Kisise Kum Naheen (1977).
Hussain, Majrooh Sultanpuri, and R.D. Burman collaborated on Teesri Manzil, Baharon Ke Sapne, Pyar Ka Mausam, Caravan, Yaadon Ki Baraat and Hum Kisise Kum Naheen.
Hussain wrote and produced the musical cult hit Teesri Manzil. Vijay Anand directed the film, which starred Hussain's regular actors Shammi Kapoor and Asha Parekh. Originally Dev Anand was signed for the film but due to differences with Hussain he opted out and Kapoor was cast.[11] He also hired R.D. Burman for the first time to compose the songs ("O Haseena Zulfonwali", "O Mere Sona Re", "Deewaana Mujhsa Nahin", "Tumne Mujhe Dekha", "Aaja Aaja Main Hoon Pyaar Tera"). After the songs became evergreen hits, Burman would compose for all of Hussain's films for the next 19 years, ending with Zabardast (1985).
Hussain's Yaadon Ki Baraat was written by Salim-Javed, who had written Zanjeer the same year. Both films dealt with the hero wanting to avenge his father's death, and both featured Ajit as the villain. Yaadon Ki Baraat has been identified as the first masala film.[12][13]
Late career[edit]
As Zamane Ko Dikhana Hai (1981), Manzil Manzil (1984) and Zabardast (1985) all flopped, Hussain's son Mansoor Khan took over the reins of Nasir Hussain Films, although Hussain continued to write scripts and dialogues for films like Qayamat Se Qayamat Tak (1988) and Jo Jeeta Wohi Sikander (1992). In Qayamat Se Qayamat Tak, he introduced his nephew Aamir Khan as a hero. Qayamat Se Qayamat Tak was a milestone in the history of Hindi cinema, setting the template for Bollywood musical romance films that defined Hindi cinema in the 1990s.[6][7]
Hussain received a special Filmfare Award in 1996 for his contribution to Hindi cinema.
Hussain died in Mumbai on 13 March 2002 following a heart attack.[14] After his death, Asha Parekh stated in an interview that she had not seen him the last year of his life, as he became reclusive because of his wife's death.[15]
Associations[edit]
Hussain had several "favourites" with whom he worked repeatedly.
- The first was mentor Sashadhar Mukherjee, for whose Filmistan Studio Hussain wrote and directed his earlier films.
- Sashadhar's brother Subodh Mukherjee directed two films that Hussain wrote for Filmistan, Munimji and Paying Guest. Both films had Dev Anand as the hero and S.D. Burman as the music composer. Hussain cast Dev Anand in his own first production, Jab Pyar Kisi Se Hota Hai.
- Pran was also a constant villain in Ziddi, Love in Tokyo, Paying Guest and Phir Wohi Dil Laya Hoon.
- Hussain also produced a film and cast his mentor Sashadhar's son Joy Mukherjee in Phir Wohi Dil Laya Hoon.
- Hussain used Majrooh Sultanpuri in 10 of his productions, apart from working with him in Paying Guest.
- Hussain directed Shammi Kapoor in his early hits and created Shammi's image with films like Tumsa Nahin Dekha and Dil Deke Dekho as well as his later production Teesri Manzil.
- Actor Rajindernath was a fixture in almost all of his early productions. He was in Dil Deke Dekho (1959), Jab Pyar Kisise Hota Hai (1961), Phir Wohi Dil Laya Hoon (1963), Baharon Ke Sapne (1967), Pyar Ka Mausam (1969), Zabardast (1985) and Zamaane Ko Dikhana Hai (1981).
- One of his longest associations was with leading lady Asha Parekh, from Dil Deke Dekho, through Jab Pyar Kisise Hota Hai, Phir Wohi Dil Laya Hoon, Teesri Manzil, Baharon Ke Sapne, Pyar Ka Mausam until Caravan. After a gap of 13 years, she did a cameo in his film Manzil Manzil (1984).
- He worked with R.D. Burman in 9 films from Teesri Manzil, through Baharon Ke Sapne, Pyar Ka Mausam, Caravan, Yaadon Ki Baraat, Hum Kisise Kum Naheen, Zamane Ko Dikhana Hai, Manzil Manzil and Zabardast.
- Hussain also collaborated with writer Sachin Bhowmick, comic Wasti, and editors Babu Lavande and Gurudutt Shirali in many of his films.
- Hussain's wife was assistant choreographer Ayesha Khan and she worked on several of his films: Baharon Ke Sapne, Hum Kisise Kum Naheen
- Filmfare Best Movie Award - "Qayamat Se Qayamat Tak" (1988)
- Filmfare Best Screenplay Award - Qayamat Se Qayamat Tak (1988)
- Filmfare Best Movie Award – Jo Jeeta Wohi Sikandar (1992)
- Filmfare Special Award (1996)
As director
Film Year
Tumsa Nahin Dekha 1957
Dil Deke Dekho 1959
Jab Pyar Kisi Se Hota Hai 1961
Phir Wohi Dil Laya Hoon 1963
Baharon Ke Sapne 1967
Pyar Ka Mausam 1969
Caravan 1971
Yaadon Ki Baaraat 1973
Aangan 1973
Hum Kisise Kum Naheen 1977
Zamane Ko Dikhana Hai 1981
Manzil Manzil 1984
Zabardast 1985
https://en.wikipedia.org/wiki/Nasir_Hussain
SuvarnaTeja
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Naushad
From Wikipedia, the free encyclopedia
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Naushad Ali
Naushad Ali in 2005
Background information
Born 25 December 1919
Lucknow, India
Died 5 May 2006 (aged 86)
Mumbai, India
Genres Hindustani classical music, Indian film music
Occupation(s) Composer, music director, film producer, writer, poet, producer
Instruments Harmonium, sitar, piano, tabla, flute, clarinet, accordion, mandolin
Years active 1940–2005
Associated acts Lata Mangeshkar, Asha Bhosle, Mohammad Rafi, Mukesh (singer), Shamshad Begum, Shakeel Badayuni
Naushad Ali (26 December 1919 – 5 May 2006) was an Indian music director for Hindi films.[1] He is widely considered to be one of the greatest and foremost music directors of the Hindi film industry.[2] He is particularly known for popularising the use of classical music in films.[3]
His first film as an independent music director was Prem Nagar in 1940.[4] His first musical success film was Rattan (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award and the Padma Bhushan in 1982 and 1992 respectively for his contribution to the Bollywood film industry.[5]
Contents
Naushad was born and raised in Lucknow, a city with a long tradition as a center of Indian Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees. He studied Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb and others. He also repaired harmoniums.
As a lad, he joined a junior theatrical club and was appointed the club's music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalize the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film's background music score.
In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word "Windsor" around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golaganj colony in Lucknow. He was trained under Laddan Khan until he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The travelling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad's friends.
Naushad had already become a cinema fan in the silent era and then, in 1931, Indian cinema got voice and music that further fascinated the 13-year-old boy. But his family was strict follower of Islamic diktat of prohibition of music and his father gave him ultimatum to leave music if he wanted to stay at home. He ran away to Mumbai in the late 1937 to try his luck as a musician.
Career[edit]
In Mumbai, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theatre where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40. The producer was a Russian and the studio was at Chembur. The film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain's orchestra. He then polished off an unfinished film score and got a credit as assistant to Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studios at a salary of Rs 60 per month, for which Naushad remained extremely grateful and in interviews, he had called Khemchand his guru.
His friend, lyricist D. N. Madhok, trusted Naushad's unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a thumri for this film, "Bata de koi kaun gali gaye Shyam", but the film never got on the floors. He was assistant music director for the Punjabi film Mirza Sahib (1939).
He composed for his first independent film Prem Nagar in 1940 that had a story set in Kutch for which he did a lot of research into the folk music of the area. With A.R. Kardar's film Nayi Duniya (1942), he got first credit as "music director" and he began to work regularly for Kardar Productions. He however had a flexibility that he could work outside Kardar Productions and this arrangement continued ever after. He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the song "Panchhi Ja" for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film during those days.
Film expert and author Rajesh Subramanian opines that Kardar production spent Rupees seventy five thousand in 1944 to make Rattan. The music by Naushad saheb was such a phenomenal hit that the company earned Rs 3 lacs as royalty from gramophone sales in the first year.
But his Lucknow-based family remained against music and Naushad had to hide from his family the fact that he composed music. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad's film 'Rattan'. While Naushad's father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music.
From 1942 until the late 1960s, he was one of the top music directors in Hindi films. While he did less than a hundred films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) – 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run). (inclusive count – a diamond jubilee film also celebrated Silver and Golden jubilee)
Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Khumar Barabankvi.
Mother India (1957), for which he had composed music, was the first Indian film that got nominated for Oscar.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.
He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.
Amongst his assistants, Mohammed Shafi, Jerry Amaldev and Ghulam Mohammed stand out prominently.
Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.
Naushad also composed background music for the TV serial "Akbar The Great" telecast in 1988 which was directed by Akbar Khan, brother of Hindi film stars Sanjay Khan and Feroze Khan as also "The Sword of Tipu Sultan" produced and directed by Sanjay Khan and Akbar Khan which was telecast in 1990 and became very popular.
Last days[edit]
Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.[6]
He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda and son Rehman Naushad, Raju Naushad & Iqbal Naushad. Rehman Naushad being the eldest of all assisted him in some of his films. Also, Naushad composed music for two movies directed by Rahman Naushad, My Friend (1974) and Teri Payal Mere Geet (1989).
Naushad had requested the Maharashtra State Government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the 'Naushad Academy of Hindustani Sangeet' was formed.
Writer[edit]
Naushad was also a respected and published poet and formally launched his book of Urdu poetry entitled Aathwaan Sur ("The Eighth Note") and the Navras label's album titled "Aathwan Sur – The Other Side of Naushad" having 8 ghazals as part of Hounslow's book fair and festival "Bookmela" in November 1998. The album has lyrics and composition by Naushad, arranged by Uttam Singh.
Track list:
Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for the film. He could easily work with Western instruments, including the clarinet, the mandolin and the accordion. He could incorporate Western musical idioms in his compositions and compose for Western-style orchestras.
During the early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.
For films like 'Uran Khatola' and 'Amar', he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.
He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.
Naushad commented on a pre-release meeting about "Baiju Bawra": “When people heard that the film would be full of classical music and ragas, they protested, ‘People will get a headache and they will run away.’ I was adamant. I wanted to change public taste. Why should people be fed what they like all the time? We presented them with music from our culture and it worked.”
For Aan (1952), he was the first to use a 100-piece orchestra. He was the first composer to have developed the system of western notation in India. The notation for the music of the film 'Aan' was published in book form in London.
In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.
For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.
For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.
He used just six instruments in the title song of Mere Mehboob (1963).
In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today’s industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.
As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.
Filmography[edit]
Music director[edit]
Film Year Director Cast Remarks/Verdict
Prem Nagar 1940 Mohan Dayaram Bhavnani Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar Naushad was assistant for Baaghbaan (1938) and Kanchan (1941). According to him, he had composed one song in each film.
Darshan 1941 Chimanlal Muljibhoy Luhar Prem Adib, Jyoti, Kaushalya, Bhudo Advani, Miradevi, M. Nazir, Shakir, Amirbai Karnataki, Madhusudan
Mala 1941 Balwant Bhatt Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera
Nai Duniya 1942 Abdul Rashid Kardar Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan Debut of Singer Surayya in the song "Boot Karoon main Polish"
Silver Jubilee
Sharda 1942 Abdul Rashid Kardar Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad Silver Jubilee
Station Master 1942 Chimanlal Muljibhoy Luhar Prem Adib, Pratima Devi, Gulab
Kanoon 1943 Abdul Rashid Kardar Mehtaab, Shahu Modak Silver Jubilee
Namaste 1943 Mohammed Sadiq Sani Wasti, Protima Das, Jagdish Sethi, Misra Silver Jubilee
Sanjog 1943 Abdul Rashid Kardar Charlie, Anwar Hussain, Mehtab Silver Jubilee
Geet 1944 S. U. Sunny Shahu Modak, Nirmala, Amir Ali
Jeevan 1944 Mohammed Sadiq Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar
Pehle Aap 1944 Abdul Rashid Kardar Shamim, Wasti, Anwar Hussain, Jeevan, Dixit Rafi's first song for Naushad "Hindustan Ke Hum Hain" in a chorus
Silver Jubilee
Rattan 1944 S Sadiq Amir Banu, Karan Dewan, Swarnalata Diamond Jubilee
Sanyasi 1945 Abdul Rashid Kardar Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad Silver Jubilee
Anmol Ghadi 1946 Mehboob Khan Noorjehan, Surinder, Suraiya Diamond Jubilee
Keemat 1946 Nazir Ajmeri Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab
Shahjehan 1946 Abdul Rashid Kardar Kundan Lal Saigal, Ragini Silver Jubilee
Dard 1947 Abdul Rashid Kardar Uma Devi, Suraiya Debut of Singer Uma Devi (Comedy Actress Tuntun) in the song "Afsana Likh Rahi Hoon"
Silver Jubilee
Elaan 1947 Mehboob Khan Himalaywala, Leela Mishra, Shah Nawaz
Natak 1947 S. U. Sunny Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi Silver Jubilee
Anokhi Ada 1948 Mehboob Khan Surendra, Naseem Bano, Murad, Cuckoo Golden Jubilee
Mela 1948 S. U. Sunny Dilip Kumar, Nargis, Jeevan Golden Jubilee
Andaz 1949 Mehboob Khan Dilip Kumar, Raj Kapoor, Nargis Golden Jubilee
Chandni Raat 1949 Mohammed Ehsan Shyam, Naseem Bano
Dillagi 1949 Abdul Rashid Kardar Shyam, Suraiyya, Sharda, Amir Banu, Amar Silver Jubilee
Dulari 1949 Abdul Rashid Kardar Suresh, Madhubala, Geeta Bali Silver Jubilee
Babul 1950 S. U. Sunny Dilip Kumar, Nargis Also as Producer
Silver Jubilee
Dastan 1950 Abdul Rashid Kardar Raj Kapoor, Suraiya, Veena, Suresh Also as Co-producer
Silver Jubilee
Deedar 1951 Nitin Bose Dilip Kumar, Nimmi, Nargis, Ashok Kumar Golden Jubilee
Jadoo 1951 Abdul Rashid Kardar Suresh, Nalini Jaywant Also as Co-producer
Silver Jubilee
Aan 1952 Mehboob Khan Dilip Kumar, Nimmi, Nadira Golden Jubilee
Baiju Bawra 1952 Vijay Bhatt Bharat Bhushan, Meena Kumari Film debut of singers Amir Khan and D. V. Paluskar in the song "Aaj gaavat man mero jhoomke"
Diamond Jubilee
Deewana 1952 Abdul Rashid Kardar Suraiya, Suresh, Sumitra Devi, Shyam Kumar Silver Jubilee
Amar 1954 Mehboob Khan Dilip Kumar, Nimmi, Madhubala
Shabaab 1954 Mohammed Sadiq Bharat Bhushan, Nutan Silver Jubilee
Uran Khatola 1955 S. U. Sunny Dilip Kumar, Nimmi. Also as Producer
Silver Jubilee
Mother India 1957 Mehboob Khan Nargis, Raj Kumar, Rajendra Kumar, Sunil Dutt, Kanhaiyalal Diamond Jubilee
Sohni Mahiwal 1958 Raja Nawathe Bharat Bhushan, Nimmi Debut of singer Mahendra Kapoor in the song "Chaand Chhupa Aur Taarey Doobey"
Kohinoor 1960 S. U. Sunny Dilip Kumar, Meena Kumari, Kumkum, Jeevan Golden Jubilee
Mughal-e-Azam 1960 Karim Asif Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit Film debut of singer Bade Ghulam Ali Khan in the songs "Shubh din aayo" and "Prem jogan ban ke"
Diamond Jubilee
Gunga Jumna 1961 Nitin Bose Dilip Kumar, Vyjayantimala Bali Lyrics of several songs were in Bhojpuri dialect
Golden Jubilee
Son of India 1962 Mehboob Khan Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant
Mere Mehboob 1963 Harnam Singh Rawail Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi Silver Jubilee
Leader 1964 Ram Mukherjee Dilip Kumar, Vyjayantimala Bali
Dil Diya Dard Liya 1965 Abdul Rashid Kardar Dilip Kumar, Waheeda Rehman, Pran
Saaz Aur Awaaz 1966 Subodh Mukherji Saira Banu, Kanhaiyalal, Joy Mukherjee
Palki 1967 S. U. Sunny Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker Also as Writer
Ram Aur Shyam 1967 Tapi Chanakya Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra Golden Jubilee
Aadmi 1968 A. Bhimsingh Dilip Kumar, Waheeda Rehman, Manoj Kumar
Saathi 1968 C. V. Sridhar Rajendra Kumar, Vyjayantimala Bali, Simi Garewal
Sunghursh 1968 Harnam Singh Rawail Dilip Kumar, Vyjayanthimala, Balraj Sahni
Ganwaar 1970 Naresh Kumar Rajendra Kumar, Vyjayantimala Bali, Nishi
Pakeezah 1971 Kamal Amrohi Raj Kumar, Meena Kumari, Ashok Kumar Background Score and a few songs
Golden Jubilee
Tangewala 1972 Naresh Kumar Rajendra Kumar, Mumtaz, Sujit Kumar
My Friend 1974 M Rehman Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun
Sunehra Sansar 1975 Adurti Subba Rao Rajendra Kumar, Hema, Mala Sinha
Aaina 1977 Kailasham Balachander Mumtaz, Rajesh Khanna
Chambal Ki Rani 1979 Radhakant Mahendra Sandhu, Dara Singh, Chand Usmani
Dharam Kanta 1982 Sultan Ahmed Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit
Paan Khaae Sainyyan Humaar 1985 Sujit Kumar Sujit Kumar, Bandini, S. N. Tripathi Bhojpuri film
Love and God 1986 K. Asif Sanjeev Kumar, Nimmi, Pran
Dhwani 1988 A. T. Abu Prem Nazir, Jayaram, Shobana Malayalam film
Teri Payal Mere Geet 1989 Rehman Naushad Govinda, Meenakshi Seshadri
Aawaz De Kahan Hai 1990 Sibte Hassan Rizvi Bindu, Annu Kapoor, Satyendra Kapoor
Guddu 1995 Prem Lalwani Shah Rukh Khan, Manisha Koirala, Mukesh Khanna
Taj Mahal: An Eternal Love Story 2005 Akbar Khan Kabir Bedi, Sonia, Monisha Koirala
Hubba Khatoon Unreleased B. R. Chopra Sanjay Khan, Zeenat Aman "Jis Raat Ke Khwaab Aaye", sung by Rafi is released
Non-film album[edit]
Naushad on a 2013 stamp of India
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Naushad Ali
Naushad Ali in 2005
Background information
Born 25 December 1919
Lucknow, India
Died 5 May 2006 (aged 86)
Mumbai, India
Genres Hindustani classical music, Indian film music
Occupation(s) Composer, music director, film producer, writer, poet, producer
Instruments Harmonium, sitar, piano, tabla, flute, clarinet, accordion, mandolin
Years active 1940–2005
Associated acts Lata Mangeshkar, Asha Bhosle, Mohammad Rafi, Mukesh (singer), Shamshad Begum, Shakeel Badayuni
Naushad Ali (26 December 1919 – 5 May 2006) was an Indian music director for Hindi films.[1] He is widely considered to be one of the greatest and foremost music directors of the Hindi film industry.[2] He is particularly known for popularising the use of classical music in films.[3]
His first film as an independent music director was Prem Nagar in 1940.[4] His first musical success film was Rattan (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award and the Padma Bhushan in 1982 and 1992 respectively for his contribution to the Bollywood film industry.[5]
Contents
- 1Early life and education
- 2Career
- 3Writer
- 4Music style
- 5Filmography
- 6Awards and recognition
- 7Positions held
- 8References
- 9External links
Naushad was born and raised in Lucknow, a city with a long tradition as a center of Indian Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees. He studied Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb and others. He also repaired harmoniums.
As a lad, he joined a junior theatrical club and was appointed the club's music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalize the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film's background music score.
In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word "Windsor" around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golaganj colony in Lucknow. He was trained under Laddan Khan until he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The travelling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad's friends.
Naushad had already become a cinema fan in the silent era and then, in 1931, Indian cinema got voice and music that further fascinated the 13-year-old boy. But his family was strict follower of Islamic diktat of prohibition of music and his father gave him ultimatum to leave music if he wanted to stay at home. He ran away to Mumbai in the late 1937 to try his luck as a musician.
Career[edit]
In Mumbai, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theatre where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40. The producer was a Russian and the studio was at Chembur. The film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain's orchestra. He then polished off an unfinished film score and got a credit as assistant to Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studios at a salary of Rs 60 per month, for which Naushad remained extremely grateful and in interviews, he had called Khemchand his guru.
His friend, lyricist D. N. Madhok, trusted Naushad's unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a thumri for this film, "Bata de koi kaun gali gaye Shyam", but the film never got on the floors. He was assistant music director for the Punjabi film Mirza Sahib (1939).
He composed for his first independent film Prem Nagar in 1940 that had a story set in Kutch for which he did a lot of research into the folk music of the area. With A.R. Kardar's film Nayi Duniya (1942), he got first credit as "music director" and he began to work regularly for Kardar Productions. He however had a flexibility that he could work outside Kardar Productions and this arrangement continued ever after. He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the song "Panchhi Ja" for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film during those days.
Film expert and author Rajesh Subramanian opines that Kardar production spent Rupees seventy five thousand in 1944 to make Rattan. The music by Naushad saheb was such a phenomenal hit that the company earned Rs 3 lacs as royalty from gramophone sales in the first year.
But his Lucknow-based family remained against music and Naushad had to hide from his family the fact that he composed music. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad's film 'Rattan'. While Naushad's father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music.
From 1942 until the late 1960s, he was one of the top music directors in Hindi films. While he did less than a hundred films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) – 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run). (inclusive count – a diamond jubilee film also celebrated Silver and Golden jubilee)
Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Khumar Barabankvi.
Mother India (1957), for which he had composed music, was the first Indian film that got nominated for Oscar.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.
He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.
Amongst his assistants, Mohammed Shafi, Jerry Amaldev and Ghulam Mohammed stand out prominently.
Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.
Naushad also composed background music for the TV serial "Akbar The Great" telecast in 1988 which was directed by Akbar Khan, brother of Hindi film stars Sanjay Khan and Feroze Khan as also "The Sword of Tipu Sultan" produced and directed by Sanjay Khan and Akbar Khan which was telecast in 1990 and became very popular.
Last days[edit]
Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.[6]
He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda and son Rehman Naushad, Raju Naushad & Iqbal Naushad. Rehman Naushad being the eldest of all assisted him in some of his films. Also, Naushad composed music for two movies directed by Rahman Naushad, My Friend (1974) and Teri Payal Mere Geet (1989).
Naushad had requested the Maharashtra State Government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the 'Naushad Academy of Hindustani Sangeet' was formed.
Writer[edit]
Naushad was also a respected and published poet and formally launched his book of Urdu poetry entitled Aathwaan Sur ("The Eighth Note") and the Navras label's album titled "Aathwan Sur – The Other Side of Naushad" having 8 ghazals as part of Hounslow's book fair and festival "Bookmela" in November 1998. The album has lyrics and composition by Naushad, arranged by Uttam Singh.
Track list:
- Aabadiyon Mein Dasht Ka Munzar Bhi Aayega – A. Hariharan – 7:08
- Aaj Ki Baat Kal Pay Kyun Taalo – A. Hariharan & Preeti Uttam Singh – 6:17
- Ghata Chhaayi Thi Saawan Khul Ke Barsa – Preeti Uttam Singh – 7:19
- Kabhi Meri Yaad Unko Aati To Hogi – A. Hariharan & Preeti Uttam Singh – 6:18
- Mujh Ko Muaff Kijiye – A. Hariharan – 5:35
- Peenay Waalay Bekhudi Say Kaam Lay – A. Hariharan & Preeti Uttam Singh – 8:13
- Saawan Kay Jab Baadal Chhaaye – A. Hariharan – 6:50
- Tanhaa Khud Say Baat Karoon – Preeti Uttam Singh – 7:49
Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for the film. He could easily work with Western instruments, including the clarinet, the mandolin and the accordion. He could incorporate Western musical idioms in his compositions and compose for Western-style orchestras.
During the early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.
For films like 'Uran Khatola' and 'Amar', he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.
He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.
Naushad commented on a pre-release meeting about "Baiju Bawra": “When people heard that the film would be full of classical music and ragas, they protested, ‘People will get a headache and they will run away.’ I was adamant. I wanted to change public taste. Why should people be fed what they like all the time? We presented them with music from our culture and it worked.”
For Aan (1952), he was the first to use a 100-piece orchestra. He was the first composer to have developed the system of western notation in India. The notation for the music of the film 'Aan' was published in book form in London.
In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.
For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.
For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.
He used just six instruments in the title song of Mere Mehboob (1963).
In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today’s industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.
As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.
Filmography[edit]
Music director[edit]
Film Year Director Cast Remarks/Verdict
Prem Nagar 1940 Mohan Dayaram Bhavnani Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar Naushad was assistant for Baaghbaan (1938) and Kanchan (1941). According to him, he had composed one song in each film.
Darshan 1941 Chimanlal Muljibhoy Luhar Prem Adib, Jyoti, Kaushalya, Bhudo Advani, Miradevi, M. Nazir, Shakir, Amirbai Karnataki, Madhusudan
Mala 1941 Balwant Bhatt Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera
Nai Duniya 1942 Abdul Rashid Kardar Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan Debut of Singer Surayya in the song "Boot Karoon main Polish"
Silver Jubilee
Sharda 1942 Abdul Rashid Kardar Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad Silver Jubilee
Station Master 1942 Chimanlal Muljibhoy Luhar Prem Adib, Pratima Devi, Gulab
Kanoon 1943 Abdul Rashid Kardar Mehtaab, Shahu Modak Silver Jubilee
Namaste 1943 Mohammed Sadiq Sani Wasti, Protima Das, Jagdish Sethi, Misra Silver Jubilee
Sanjog 1943 Abdul Rashid Kardar Charlie, Anwar Hussain, Mehtab Silver Jubilee
Geet 1944 S. U. Sunny Shahu Modak, Nirmala, Amir Ali
Jeevan 1944 Mohammed Sadiq Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar
Pehle Aap 1944 Abdul Rashid Kardar Shamim, Wasti, Anwar Hussain, Jeevan, Dixit Rafi's first song for Naushad "Hindustan Ke Hum Hain" in a chorus
Silver Jubilee
Rattan 1944 S Sadiq Amir Banu, Karan Dewan, Swarnalata Diamond Jubilee
Sanyasi 1945 Abdul Rashid Kardar Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad Silver Jubilee
Anmol Ghadi 1946 Mehboob Khan Noorjehan, Surinder, Suraiya Diamond Jubilee
Keemat 1946 Nazir Ajmeri Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab
Shahjehan 1946 Abdul Rashid Kardar Kundan Lal Saigal, Ragini Silver Jubilee
Dard 1947 Abdul Rashid Kardar Uma Devi, Suraiya Debut of Singer Uma Devi (Comedy Actress Tuntun) in the song "Afsana Likh Rahi Hoon"
Silver Jubilee
Elaan 1947 Mehboob Khan Himalaywala, Leela Mishra, Shah Nawaz
Natak 1947 S. U. Sunny Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi Silver Jubilee
Anokhi Ada 1948 Mehboob Khan Surendra, Naseem Bano, Murad, Cuckoo Golden Jubilee
Mela 1948 S. U. Sunny Dilip Kumar, Nargis, Jeevan Golden Jubilee
Andaz 1949 Mehboob Khan Dilip Kumar, Raj Kapoor, Nargis Golden Jubilee
Chandni Raat 1949 Mohammed Ehsan Shyam, Naseem Bano
Dillagi 1949 Abdul Rashid Kardar Shyam, Suraiyya, Sharda, Amir Banu, Amar Silver Jubilee
Dulari 1949 Abdul Rashid Kardar Suresh, Madhubala, Geeta Bali Silver Jubilee
Babul 1950 S. U. Sunny Dilip Kumar, Nargis Also as Producer
Silver Jubilee
Dastan 1950 Abdul Rashid Kardar Raj Kapoor, Suraiya, Veena, Suresh Also as Co-producer
Silver Jubilee
Deedar 1951 Nitin Bose Dilip Kumar, Nimmi, Nargis, Ashok Kumar Golden Jubilee
Jadoo 1951 Abdul Rashid Kardar Suresh, Nalini Jaywant Also as Co-producer
Silver Jubilee
Aan 1952 Mehboob Khan Dilip Kumar, Nimmi, Nadira Golden Jubilee
Baiju Bawra 1952 Vijay Bhatt Bharat Bhushan, Meena Kumari Film debut of singers Amir Khan and D. V. Paluskar in the song "Aaj gaavat man mero jhoomke"
Diamond Jubilee
Deewana 1952 Abdul Rashid Kardar Suraiya, Suresh, Sumitra Devi, Shyam Kumar Silver Jubilee
Amar 1954 Mehboob Khan Dilip Kumar, Nimmi, Madhubala
Shabaab 1954 Mohammed Sadiq Bharat Bhushan, Nutan Silver Jubilee
Uran Khatola 1955 S. U. Sunny Dilip Kumar, Nimmi. Also as Producer
Silver Jubilee
Mother India 1957 Mehboob Khan Nargis, Raj Kumar, Rajendra Kumar, Sunil Dutt, Kanhaiyalal Diamond Jubilee
Sohni Mahiwal 1958 Raja Nawathe Bharat Bhushan, Nimmi Debut of singer Mahendra Kapoor in the song "Chaand Chhupa Aur Taarey Doobey"
Kohinoor 1960 S. U. Sunny Dilip Kumar, Meena Kumari, Kumkum, Jeevan Golden Jubilee
Mughal-e-Azam 1960 Karim Asif Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit Film debut of singer Bade Ghulam Ali Khan in the songs "Shubh din aayo" and "Prem jogan ban ke"
Diamond Jubilee
Gunga Jumna 1961 Nitin Bose Dilip Kumar, Vyjayantimala Bali Lyrics of several songs were in Bhojpuri dialect
Golden Jubilee
Son of India 1962 Mehboob Khan Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant
Mere Mehboob 1963 Harnam Singh Rawail Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi Silver Jubilee
Leader 1964 Ram Mukherjee Dilip Kumar, Vyjayantimala Bali
Dil Diya Dard Liya 1965 Abdul Rashid Kardar Dilip Kumar, Waheeda Rehman, Pran
Saaz Aur Awaaz 1966 Subodh Mukherji Saira Banu, Kanhaiyalal, Joy Mukherjee
Palki 1967 S. U. Sunny Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker Also as Writer
Ram Aur Shyam 1967 Tapi Chanakya Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra Golden Jubilee
Aadmi 1968 A. Bhimsingh Dilip Kumar, Waheeda Rehman, Manoj Kumar
Saathi 1968 C. V. Sridhar Rajendra Kumar, Vyjayantimala Bali, Simi Garewal
Sunghursh 1968 Harnam Singh Rawail Dilip Kumar, Vyjayanthimala, Balraj Sahni
Ganwaar 1970 Naresh Kumar Rajendra Kumar, Vyjayantimala Bali, Nishi
Pakeezah 1971 Kamal Amrohi Raj Kumar, Meena Kumari, Ashok Kumar Background Score and a few songs
Golden Jubilee
Tangewala 1972 Naresh Kumar Rajendra Kumar, Mumtaz, Sujit Kumar
My Friend 1974 M Rehman Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun
Sunehra Sansar 1975 Adurti Subba Rao Rajendra Kumar, Hema, Mala Sinha
Aaina 1977 Kailasham Balachander Mumtaz, Rajesh Khanna
Chambal Ki Rani 1979 Radhakant Mahendra Sandhu, Dara Singh, Chand Usmani
Dharam Kanta 1982 Sultan Ahmed Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit
Paan Khaae Sainyyan Humaar 1985 Sujit Kumar Sujit Kumar, Bandini, S. N. Tripathi Bhojpuri film
Love and God 1986 K. Asif Sanjeev Kumar, Nimmi, Pran
Dhwani 1988 A. T. Abu Prem Nazir, Jayaram, Shobana Malayalam film
Teri Payal Mere Geet 1989 Rehman Naushad Govinda, Meenakshi Seshadri
Aawaz De Kahan Hai 1990 Sibte Hassan Rizvi Bindu, Annu Kapoor, Satyendra Kapoor
Guddu 1995 Prem Lalwani Shah Rukh Khan, Manisha Koirala, Mukesh Khanna
Taj Mahal: An Eternal Love Story 2005 Akbar Khan Kabir Bedi, Sonia, Monisha Koirala
Hubba Khatoon Unreleased B. R. Chopra Sanjay Khan, Zeenat Aman "Jis Raat Ke Khwaab Aaye", sung by Rafi is released
Non-film album[edit]
- Aathwan Sur - The Other Side of Naushad : This was a Ghazal album released in 1998 and had all its songs composed by Naushad and sung by Hariharan.
- Maalik (1958) Music Director for this film was Ghulam Mohammed
- Uran Khatola (1955)
- Babul (1950)
- Palki (1967)
- teri payal mere geet(1989)
Naushad on a 2013 stamp of India
- 1954: Filmfare Best Music Director Award – Baiju Bawra
- 1961: Bengal Film Journalists' Association's best music director Award for Gunga Jumna
- 1975: "Naushad Ali", a 30-minute documentary film produced by Television Centre, Mumbai
- 1981: Dada Saheb Phalke Award
- 1984: Lata Mangeshkar Award (Madhya Pradesh State Government's Award)
- 1987: Amir Khusro Award
- 1992: Sangeet Natak Akademi Award
- 1992: Padma Bhushan
- : Maharashtra Gaurav Puruskar
- : Best Music for "The Sword of Tipu Sultan"
- President of Cine Music Directors Association
- Chairman of Indian Performing Rights Society
- President of Maharashtra State Angling Association
- President of Alam-E-Urdu Conference (Delhi)
- The title of Special Executive Magistrate, Mumbai
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Shamshad Begum
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
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Shamshad Begum
Background information
Born 14 April 1919
Lahore, Punjab, British India
Origin Punjab
Died 23 April 2013 (aged 94)
Mumbai, Maharashtra, India
Genres Playback singing
Occupation(s) Playback singer
Years active 1933–1976
Associated acts Naushad Ali
Ghulam Haider
S.D. Burman
C. Ramchandra
O.P. Nayyar
Lata Mangeshkar
Asha Bhosle
Shamshad Begum (Śamśād Bēgam; 14 April 1919 – 23 April 2013)[1][2] was an Indian singer who was one of the first playback singers in the Hindi film industry. She had a distinctive voice and was a versatile artist, singing over 6,000 songs in Hindi and Bengali, Marathi, Gujarati, Tamil and Punjabi languages and of them 1287 songs were Hindi film songs.[3] She worked with maestros including Naushad Ali, S. D. Burman, C. Ramchandra and O. P. Nayyar. Her songs from the 1940s to the early 1970s remain popular and continue to be remixed.
Contents
Personal life[edit]
Begum was born in Lahore of modernday Pakistan on 14 April 1919,[4] the day after the Jallianwala Bagh massacre took place in nearby Amritsar city. She was one of eight children, five sons and three daughters, born to a conservative Muslim family of limited means. Her father, Mian Hussain Baksh Maan, worked as a mechanic, and her mother, Ghulam Fatima, was a pious lady of conservative disposition, a devoted wife and mother who raised her children with traditional family values.[5]
In 1932, the teenage Shamshad came in contact with Ganpat Lal Batto, a Hindu law student who lived in the same neighbourhood and who was several years older than her. In those days, marriages were performed while the bride and groom were very young, and Shamshad's parents were already looking out for a suitable alliance for her. Their efforts were on the verge of bearing fruit in 1934 when Ganpat Lal Batto and Shamshad made the decision to marry each other. In 1934, despite strenuous opposition from both their families due to religious differences, 15-year-old Shamshad got married to Ganpat Lal Batto. The couple were blessed with only a single child, a daughter named Usha, who in due course married a Hindu gentleman, Lieutenant Colonel Yogesh Ratra, an officer in the Indian Army.
In 1955, Ganpal Lal Batto died suddenly in a road accident. His death left Shamshad very distraught, because her husband had been the focus of her life and they had both been extremely devoted to each other. He had handled many aspects of her career and contracts and had been a major positive energy behind her career progression. After his death, Shamshad became listless and lost the fighting spirit to pursue her career, which registered a sharp decline thereafter. Indeed, while Shamshad Begum was both an outstanding singer and a successful famous one, she was at some deeper level always a wife and mother first, someone who instinctively prioritised her family over her career. By nature, she preferred to keep away from the public glare and from business dealings, taking the view that it was rather unseemly for a lady to be involved in such things. After her husband's death, Shamshad Begum began living with her daughter and son-in-law in Mumbai, first in south Mumbai and later at Hiranandani Gardens in the Powai neighbourhood.[6][7] She gradually became a recluse and devoted herself entirely to her grandchildren, to the point that the general public was unaware of whether she was alive or dead. In 2004, a controversy erupted in the media, when several publications wrongly reported that Shamshad Begum had died a few years previously. Shamshad's family clarified in a press release that this was not so; and it later emerged that the Shamshad Begum who had died in 1998 was Saira Banu's maternal grandmother.[6] Her self-imposed seclusion is remarkable, because during all those decades away from the public eye, her old songs remained popular with the public and not a day passed without at least a couple of songs being played on Vividh Bharati and All India Radio.
Career[edit]
1924–40[edit]
Begum's talent was first spotted by her principal when she was in primary school in 1924. Impressed by the quality of her voice, she was made head singer of classroom prayer. At 10, she started singing folk-based songs at religious functions and family marriages. She received no formal musical training. Her singing ambitions, which she held from 1929, met with opposition from her family. In 1931, when she was twelve(16), her uncle, who enjoyed qawwalis and ghazals, secretly took her to Jenophone (or Xenophone) Music Company for an audition with Lahore-based musician and composer, Ghulam Haider. Begum said in an interview, "I sang Bahadur Shah Zafar's (the poet-ruler) ghazal Mera yaar mujhe mile agar." An impressed Haider gave her a contract for twelve songs, with the same facilities provided to top singers. It was Begum's paternal uncle Ameer Khan[8] who convinced her father, Miya Hussain Baksh, to allow her to sing. When she won a contract with a recording company, her father agreed to let her sing on the condition that she would record in a burka and not allow herself to be photographed.[9] She earned 15 rupees per song and was awarded 500 on the completion of the contract on Xenophone. Xenophone was a renowned music recording company, patronised by the rich, and her popularity grew in elite circles in the early 1930s. Though she had won the Xenophone audition without having any formal music training, Hussain Bakshwale Sahab and later Ghulam Haider improved her singing skills between 1937 and 1939.[citation needed]
Her popular breakthrough came when she began singing on All India Radio (AIR) in Peshawar and Lahore from 1937. Producer Dilsukh Pancholi wanted her to act as well in a film he was producing. Begum readily agreed, gave a screen test and was selected. Her father became angry when he found out and warned her that she would not be allowed to sing if she continued to harbour a desire to act. Begum promised her father that she would never appear before the camera. She continued to sing songs on the radio. She never posed for photographs, and few people saw her picture between 1933 and the 1970s.
Begum sang for AIR through her musical group 'The Crown Imperial Theatrical Company of Performing Arts', set up in Delhi.[10] The then AIR Lahore helped her to enter the world of movies as they frequently broadcast her songs, which induced music directors to use her voice for their films. Begum also recorded naats and other devotional music for a couple of gramophone recording companies. Her crystal-clear voice caught the attention of sarangi maestro Hussain Bakshwale Saheb, who took her as his disciple.
1941–45[edit]
Director Mehboob Khan brought Shamshad Begum to Mumbai after telling her husband 'I will take her to Mumbai and give her a flat, car, conveyance and even if four to six people accompany her, it's fine. Please let her come to Mumbai'.[11] Her father was not convinced at first but later gave in as Shamshad wanted to come to Mumbai. Haider used her voice skilfully in some of his earlier films such as Khazanchi (1941) and Khandan (1942). By 1940, Begum was already well established on the radio. The songs "Cheechi Wich Pa ke Chhalla", "Mera Haal Vekh Ke" and "Kankaan Diyaan Faslaan" from Yamla Jatt of 1940 became a huge hit and popularised Pran, singer Begum and composer Haider. Haider continued to compose hit songs which Begum sang for films including Zamindar, Poonji and Shama. Khan used Begum's voice in Taqdeer (1943), where he introduced Nargis as the heroine. Begum was soon singing for other composers including Rafiq Ghaznavi, Ameer Ali, Pt Gobindram, Pt Amarnath, Bulo C. Rani, Rashid Atre and M. A. Mukhtar, in the pre-independence era.
When Haider moved to Bombay in 1944, Begum went with him as a member of his team, leaving behind her family and staying with her Chacha (paternal uncle). After partition, Haider migrated to Pakistan but Begum remained in Mumbai. She had no known Pakistani connection post 1947. Begum became a national star between the early 1940s and the early 1960s, having a voice different from her peers such as Noorjehan (also discovered by Haider), Mubarrak Begum, Suraiya, Sudha Malhotra, Geeta Dutt and Amirbai Karnataki. Her peak period in the Hindi film industry was from 1940 to 1955 and again from 1957 to 1968.
1946–55[edit]
Begum sang extensively for composers including Naushad Ali, O. P. Nayyar, C. Ramchandra and S. D. Burman from 1946 to 1960. Naushad acknowledged in an interview that he was indebted to Begum in reaching the top, as she was famous before he became known in the late 1940s; after his tracks sung by her became highly popular, his talent was recognised. It was Begum's solo and duet songs sung for Naushad in the late 1940s and early 1950s which made Naushad famous. After Naushad became successful he recorded songs with new singers as well in the early 1950s, but kept working with Shamshad in the late 1950s and early 1960s. Naushad chose his favourite singer Begum once again to sing four out of the twelve songs in Mother India.[12]
Begum is credited with singing one of the first Westernised songs, "Meri jaan...Sunday ke Sunday" by Ramchandra. She kept getting more offers to sing songs and was the highest paid female singer from 1940 to 1955 and again post Mother India in 1957 to 1964. In 1949, music directors S. Rajeshwara Rao, M. D. Parthasarathy and Balakrishna Kalla asked her to sing "Jaiyo Jaiyo Shipayon Bazar" for P. Bhanumati in the film Nishan, produced by Gemini Films of Madras, which became highly popular.
Although Burman started composing Bengali music in 1937, he achieved national fame with tracks sung by Begum in Hindi films.[12] Burman was not well established as a music director in Hindi films until 1946; he then asked Begum to sing in his debut Hindi film as music director, Shikari (1946), with the song, "Kuch Rang Badal Rahi". In 1949, came Shabnam, in which Burman asked her to sing duets named "Pyar Main Tumne" and "Kismat Bhi Bhichadna" with Mukesh, which became popular. Shabnam was Burman's biggest hit to that date with Filmistan, and was especially noticeable for its multilingual song "Yeh Duniya Roop ki Chor", sung by Begum and acted by Kamini Kaushal, which became another hit.[13] Burman subsequently asked her to sing tracks in Bazar (1950), Mashaal (1950), Bahar(1951), Shahenshah (1953), Miss India (1957), and other films. The song "Jaam Tham Le" from Shahenshah was a trendsetter for Burman compositions.
Begum had met Nayyar during her radio stint in Lahore, when he worked as an office boy delivering cakes for the lead singers. In 1954, when Nayyar got a break as a composer, he approached Begum to record songs for Mangu. Nayyar described her voice as resembling a "temple bell" for its clarity of tone. He worked with her until the late 1960s and gave her many hit songs, including "Ab To Jee Hone Laga" from Mr. & Mrs. '55, "Main Jaan Gayi Tujhe" from Howrah Bridge, "Zara Pyar Karle" from Mangu (1954), "Saiyan Teri Ankhon Mein" from 12' O Clock (1957), "Thodasa Dil Lagana" from Musafirkhana, and many others.
Several of her songs from this period remain extremely popular, including those acted by Nigar Sultana, such as "Teri Mehfil Mein" from Mughal E Azam and "Mere Piyan Gaye" from Patanga (1949), as well as "Saiyan Dil Mein Aana Re", acted by Vyjantimala, and "Boojh Mera Naam Hai", acted by Minoo Mumtaz. "Milte hi aankhen dil hua" from Babul (1950) had a romantic duet with Talat Mahmood, acted by Dilip Kumar and Munawar Sultana, which also became popular. Her duet with Rafi, "Chhala Deja Nishani" from Bazar (1949) became a mega-hit.
In the late 1940s, Madan Mohan and Kishore Kumar sang as chorus boys for her songs at the Filmistan Studio. Begum promised at this time that she would sing songs composed by Mohan once he started his career as a music director and would accept a lower fee. She also predicted that Kumar would become a great playback singer. She later recorded duets with Kumar, including "Gori ke Nainon Mein Nindiya Bhari" from Angarey (1954) and "Mere Neendon Me Tum" from Naya Andaz.
1955–76[edit]
Shamshad was at the peak of her career right from 1940 to 1955 and was the most in demand female singer and highest paid female playback singer from 1940–1955[citation needed] but after her husband's accidental death in 1955, Begum became a recluse and stopped accepting singing assignments, including recordings, for a year. Though she had stopped recording for her songs in the year 1955 after her husband's death, the songs released between 1955 and early 1957 including songs from films such as CID, Naya Andaz, Baradari, Mr. & Mrs. '55 and other hits continued to be popular . At this juncture Mehboob Khan approached her in 1957 and said he wanted a full-throated voice for Nargis in Mother India. The first song she sang after returning to her career was "Pee ke ghar aaj pyari dulhaniya chali" for Mother India. She made a successful comeback, and subsequently recorded many notable songs for films such as Howrah Bridge, Jaali Note, Love in Simla, Bewaqoof, Mughal-e-Azam, Bluff Master, Gharana and Rustom-E-Hind.[citation needed]
The well-known later playback singer, Lata Mangeshkar, started to sing when Begum was at the peak of her career, and Begum's break after her husband's death boosted Mangeshkar's career, helping her to be offered high-quality songs. In the early careers of Mangeshkar, as well as her younger sister, Asha Bhosle, between 1944 and 1956, they had often been asked by producers and music directors to imitate Begum's style of singing, because producers could not afford Begum's fees. In their first song together, Mangeshkar was a part of the chorus while Begum was the main singer. Many of the songs sung by Lata like "Ayega Ayega" were sung in Shamshad Begum's style. Even Asha Bhosle's songs like her first duet with Kishore – "Aati Hai Yaad Humko" from the 1948 film Muqaddar bear direct resemblance to Shamshad Begum's style. From 1949 to 1960, beginning with the song "Dar Na Mohabbat Karle" from Andaz (1949), Mangeshkar and Begum have sung many duets together, with the most famous being "Pyar Ke Jahan Ki" from the 1949 film Patanga, "Bachpan Ke Din" from 1951's Deedar; their last song together was Mughal-e-Azam's song "Teri Mehfil Mein Qismat" in 1960. Begum sang songs together with Mangeshkar and Bhosle, including "Mubarak Ho Woh Dil Jisko" from Benazir 1964 .[14][15] It was the period between 1958 and 1963, that career of Lata got major boost as music directors started gradually preferring her soft voice, until then Geeta Dutt and Begum were the most preferred singers but Shamshad Begum continued to be at the top from 1940 till 1963 non-stop.[citation needed] From 1965, her songs started to be mimed by actresses other than the heroine. Beginning in 1965, songs for her in films started getting reduced but the songs she sang instantly became hits through 1968. She then declared a self-imposed retirement in 1965. But she kept having certain composers asking her to sing songs in few films and among them her songs from films like in Daku Mangal Singh, Upkar, Kismat (1969), Heer Ranjha (1970), Johar Mehmood in Hong Kong (1971), Teri Meri Ik Jindri (1975) and Main Papi Tum Bakhshanhaar (1976). Her song "Kajra Mohabbat Wala" from the 1968 film Kismat and "Nathaniya Hale To Bada Maza" from the 1971 film Johar Mehmood in Hong Kong remains popular.
Retirement and death[edit]
From the late 1980s, Begum started giving occasional interviews. In one of her interviews to Filmfare magazine in 2012 Begum dislosed "The more hits I gave, the less work I got. When I helped new composers I never told them to give me all their songs to sing. I believed only God could give, not them."[16] Her final interview was in 2012. In 2009, she was conferred with the prestigious O. P. Nayyar award for her contribution to Hindi film music.[17] She was also conferred the Padma Bhushan in 2009.[18] Later her daughter Usha said in an interview ""Because of the politics in the industry, she didn't want to work any more. This is one of the reasons why she didn't let me be a singer. I told her, let me sing for my self-satisfaction, but she said if you will learn to sing, you will directly enter the industry. So, she didn't let me do so."[19]
Begum died at her Mumbai residence on the night of 23 April 2013 after a prolonged illness. She was 94.[20][21] She was cremated in a small, dignified ceremony.[22]
Information and Broadcasting minister Manish Tewari said, "The film industry has lost one of its most versatile singers. Shamshadji's style of singing set new benchmarks. Her melodious voice with powerful lyrics gave us songs that have remained popular even today."[23]Prime Minister Manmohan Singh said "She was an artist of extraordinary talent and abilities, and the songs she has left behind in her long career, which she started with AIR in 1937, will continue to enthral music lovers."[24] Her daughter Usha Ratra said "She kept herself away from glamour of the industry despite being one of the top singers of her era as she did not like limelight. My mother used to say that artistes never die. She wanted to be remembered for her songs."[3]
Selected songs[edit]
Begum on a 2016 stamp of India
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2018) (Learn how and when to remove this template message)
Shamshad Begum
Background information
Born 14 April 1919
Lahore, Punjab, British India
Origin Punjab
Died 23 April 2013 (aged 94)
Mumbai, Maharashtra, India
Genres Playback singing
Occupation(s) Playback singer
Years active 1933–1976
Associated acts Naushad Ali
Ghulam Haider
S.D. Burman
C. Ramchandra
O.P. Nayyar
Lata Mangeshkar
Asha Bhosle
Shamshad Begum (Śamśād Bēgam; 14 April 1919 – 23 April 2013)[1][2] was an Indian singer who was one of the first playback singers in the Hindi film industry. She had a distinctive voice and was a versatile artist, singing over 6,000 songs in Hindi and Bengali, Marathi, Gujarati, Tamil and Punjabi languages and of them 1287 songs were Hindi film songs.[3] She worked with maestros including Naushad Ali, S. D. Burman, C. Ramchandra and O. P. Nayyar. Her songs from the 1940s to the early 1970s remain popular and continue to be remixed.
Contents
Personal life[edit]
Begum was born in Lahore of modernday Pakistan on 14 April 1919,[4] the day after the Jallianwala Bagh massacre took place in nearby Amritsar city. She was one of eight children, five sons and three daughters, born to a conservative Muslim family of limited means. Her father, Mian Hussain Baksh Maan, worked as a mechanic, and her mother, Ghulam Fatima, was a pious lady of conservative disposition, a devoted wife and mother who raised her children with traditional family values.[5]
In 1932, the teenage Shamshad came in contact with Ganpat Lal Batto, a Hindu law student who lived in the same neighbourhood and who was several years older than her. In those days, marriages were performed while the bride and groom were very young, and Shamshad's parents were already looking out for a suitable alliance for her. Their efforts were on the verge of bearing fruit in 1934 when Ganpat Lal Batto and Shamshad made the decision to marry each other. In 1934, despite strenuous opposition from both their families due to religious differences, 15-year-old Shamshad got married to Ganpat Lal Batto. The couple were blessed with only a single child, a daughter named Usha, who in due course married a Hindu gentleman, Lieutenant Colonel Yogesh Ratra, an officer in the Indian Army.
In 1955, Ganpal Lal Batto died suddenly in a road accident. His death left Shamshad very distraught, because her husband had been the focus of her life and they had both been extremely devoted to each other. He had handled many aspects of her career and contracts and had been a major positive energy behind her career progression. After his death, Shamshad became listless and lost the fighting spirit to pursue her career, which registered a sharp decline thereafter. Indeed, while Shamshad Begum was both an outstanding singer and a successful famous one, she was at some deeper level always a wife and mother first, someone who instinctively prioritised her family over her career. By nature, she preferred to keep away from the public glare and from business dealings, taking the view that it was rather unseemly for a lady to be involved in such things. After her husband's death, Shamshad Begum began living with her daughter and son-in-law in Mumbai, first in south Mumbai and later at Hiranandani Gardens in the Powai neighbourhood.[6][7] She gradually became a recluse and devoted herself entirely to her grandchildren, to the point that the general public was unaware of whether she was alive or dead. In 2004, a controversy erupted in the media, when several publications wrongly reported that Shamshad Begum had died a few years previously. Shamshad's family clarified in a press release that this was not so; and it later emerged that the Shamshad Begum who had died in 1998 was Saira Banu's maternal grandmother.[6] Her self-imposed seclusion is remarkable, because during all those decades away from the public eye, her old songs remained popular with the public and not a day passed without at least a couple of songs being played on Vividh Bharati and All India Radio.
Career[edit]
1924–40[edit]
Begum's talent was first spotted by her principal when she was in primary school in 1924. Impressed by the quality of her voice, she was made head singer of classroom prayer. At 10, she started singing folk-based songs at religious functions and family marriages. She received no formal musical training. Her singing ambitions, which she held from 1929, met with opposition from her family. In 1931, when she was twelve(16), her uncle, who enjoyed qawwalis and ghazals, secretly took her to Jenophone (or Xenophone) Music Company for an audition with Lahore-based musician and composer, Ghulam Haider. Begum said in an interview, "I sang Bahadur Shah Zafar's (the poet-ruler) ghazal Mera yaar mujhe mile agar." An impressed Haider gave her a contract for twelve songs, with the same facilities provided to top singers. It was Begum's paternal uncle Ameer Khan[8] who convinced her father, Miya Hussain Baksh, to allow her to sing. When she won a contract with a recording company, her father agreed to let her sing on the condition that she would record in a burka and not allow herself to be photographed.[9] She earned 15 rupees per song and was awarded 500 on the completion of the contract on Xenophone. Xenophone was a renowned music recording company, patronised by the rich, and her popularity grew in elite circles in the early 1930s. Though she had won the Xenophone audition without having any formal music training, Hussain Bakshwale Sahab and later Ghulam Haider improved her singing skills between 1937 and 1939.[citation needed]
Her popular breakthrough came when she began singing on All India Radio (AIR) in Peshawar and Lahore from 1937. Producer Dilsukh Pancholi wanted her to act as well in a film he was producing. Begum readily agreed, gave a screen test and was selected. Her father became angry when he found out and warned her that she would not be allowed to sing if she continued to harbour a desire to act. Begum promised her father that she would never appear before the camera. She continued to sing songs on the radio. She never posed for photographs, and few people saw her picture between 1933 and the 1970s.
Begum sang for AIR through her musical group 'The Crown Imperial Theatrical Company of Performing Arts', set up in Delhi.[10] The then AIR Lahore helped her to enter the world of movies as they frequently broadcast her songs, which induced music directors to use her voice for their films. Begum also recorded naats and other devotional music for a couple of gramophone recording companies. Her crystal-clear voice caught the attention of sarangi maestro Hussain Bakshwale Saheb, who took her as his disciple.
1941–45[edit]
Director Mehboob Khan brought Shamshad Begum to Mumbai after telling her husband 'I will take her to Mumbai and give her a flat, car, conveyance and even if four to six people accompany her, it's fine. Please let her come to Mumbai'.[11] Her father was not convinced at first but later gave in as Shamshad wanted to come to Mumbai. Haider used her voice skilfully in some of his earlier films such as Khazanchi (1941) and Khandan (1942). By 1940, Begum was already well established on the radio. The songs "Cheechi Wich Pa ke Chhalla", "Mera Haal Vekh Ke" and "Kankaan Diyaan Faslaan" from Yamla Jatt of 1940 became a huge hit and popularised Pran, singer Begum and composer Haider. Haider continued to compose hit songs which Begum sang for films including Zamindar, Poonji and Shama. Khan used Begum's voice in Taqdeer (1943), where he introduced Nargis as the heroine. Begum was soon singing for other composers including Rafiq Ghaznavi, Ameer Ali, Pt Gobindram, Pt Amarnath, Bulo C. Rani, Rashid Atre and M. A. Mukhtar, in the pre-independence era.
When Haider moved to Bombay in 1944, Begum went with him as a member of his team, leaving behind her family and staying with her Chacha (paternal uncle). After partition, Haider migrated to Pakistan but Begum remained in Mumbai. She had no known Pakistani connection post 1947. Begum became a national star between the early 1940s and the early 1960s, having a voice different from her peers such as Noorjehan (also discovered by Haider), Mubarrak Begum, Suraiya, Sudha Malhotra, Geeta Dutt and Amirbai Karnataki. Her peak period in the Hindi film industry was from 1940 to 1955 and again from 1957 to 1968.
1946–55[edit]
Begum sang extensively for composers including Naushad Ali, O. P. Nayyar, C. Ramchandra and S. D. Burman from 1946 to 1960. Naushad acknowledged in an interview that he was indebted to Begum in reaching the top, as she was famous before he became known in the late 1940s; after his tracks sung by her became highly popular, his talent was recognised. It was Begum's solo and duet songs sung for Naushad in the late 1940s and early 1950s which made Naushad famous. After Naushad became successful he recorded songs with new singers as well in the early 1950s, but kept working with Shamshad in the late 1950s and early 1960s. Naushad chose his favourite singer Begum once again to sing four out of the twelve songs in Mother India.[12]
Begum is credited with singing one of the first Westernised songs, "Meri jaan...Sunday ke Sunday" by Ramchandra. She kept getting more offers to sing songs and was the highest paid female singer from 1940 to 1955 and again post Mother India in 1957 to 1964. In 1949, music directors S. Rajeshwara Rao, M. D. Parthasarathy and Balakrishna Kalla asked her to sing "Jaiyo Jaiyo Shipayon Bazar" for P. Bhanumati in the film Nishan, produced by Gemini Films of Madras, which became highly popular.
Although Burman started composing Bengali music in 1937, he achieved national fame with tracks sung by Begum in Hindi films.[12] Burman was not well established as a music director in Hindi films until 1946; he then asked Begum to sing in his debut Hindi film as music director, Shikari (1946), with the song, "Kuch Rang Badal Rahi". In 1949, came Shabnam, in which Burman asked her to sing duets named "Pyar Main Tumne" and "Kismat Bhi Bhichadna" with Mukesh, which became popular. Shabnam was Burman's biggest hit to that date with Filmistan, and was especially noticeable for its multilingual song "Yeh Duniya Roop ki Chor", sung by Begum and acted by Kamini Kaushal, which became another hit.[13] Burman subsequently asked her to sing tracks in Bazar (1950), Mashaal (1950), Bahar(1951), Shahenshah (1953), Miss India (1957), and other films. The song "Jaam Tham Le" from Shahenshah was a trendsetter for Burman compositions.
Begum had met Nayyar during her radio stint in Lahore, when he worked as an office boy delivering cakes for the lead singers. In 1954, when Nayyar got a break as a composer, he approached Begum to record songs for Mangu. Nayyar described her voice as resembling a "temple bell" for its clarity of tone. He worked with her until the late 1960s and gave her many hit songs, including "Ab To Jee Hone Laga" from Mr. & Mrs. '55, "Main Jaan Gayi Tujhe" from Howrah Bridge, "Zara Pyar Karle" from Mangu (1954), "Saiyan Teri Ankhon Mein" from 12' O Clock (1957), "Thodasa Dil Lagana" from Musafirkhana, and many others.
Several of her songs from this period remain extremely popular, including those acted by Nigar Sultana, such as "Teri Mehfil Mein" from Mughal E Azam and "Mere Piyan Gaye" from Patanga (1949), as well as "Saiyan Dil Mein Aana Re", acted by Vyjantimala, and "Boojh Mera Naam Hai", acted by Minoo Mumtaz. "Milte hi aankhen dil hua" from Babul (1950) had a romantic duet with Talat Mahmood, acted by Dilip Kumar and Munawar Sultana, which also became popular. Her duet with Rafi, "Chhala Deja Nishani" from Bazar (1949) became a mega-hit.
In the late 1940s, Madan Mohan and Kishore Kumar sang as chorus boys for her songs at the Filmistan Studio. Begum promised at this time that she would sing songs composed by Mohan once he started his career as a music director and would accept a lower fee. She also predicted that Kumar would become a great playback singer. She later recorded duets with Kumar, including "Gori ke Nainon Mein Nindiya Bhari" from Angarey (1954) and "Mere Neendon Me Tum" from Naya Andaz.
1955–76[edit]
Shamshad was at the peak of her career right from 1940 to 1955 and was the most in demand female singer and highest paid female playback singer from 1940–1955[citation needed] but after her husband's accidental death in 1955, Begum became a recluse and stopped accepting singing assignments, including recordings, for a year. Though she had stopped recording for her songs in the year 1955 after her husband's death, the songs released between 1955 and early 1957 including songs from films such as CID, Naya Andaz, Baradari, Mr. & Mrs. '55 and other hits continued to be popular . At this juncture Mehboob Khan approached her in 1957 and said he wanted a full-throated voice for Nargis in Mother India. The first song she sang after returning to her career was "Pee ke ghar aaj pyari dulhaniya chali" for Mother India. She made a successful comeback, and subsequently recorded many notable songs for films such as Howrah Bridge, Jaali Note, Love in Simla, Bewaqoof, Mughal-e-Azam, Bluff Master, Gharana and Rustom-E-Hind.[citation needed]
The well-known later playback singer, Lata Mangeshkar, started to sing when Begum was at the peak of her career, and Begum's break after her husband's death boosted Mangeshkar's career, helping her to be offered high-quality songs. In the early careers of Mangeshkar, as well as her younger sister, Asha Bhosle, between 1944 and 1956, they had often been asked by producers and music directors to imitate Begum's style of singing, because producers could not afford Begum's fees. In their first song together, Mangeshkar was a part of the chorus while Begum was the main singer. Many of the songs sung by Lata like "Ayega Ayega" were sung in Shamshad Begum's style. Even Asha Bhosle's songs like her first duet with Kishore – "Aati Hai Yaad Humko" from the 1948 film Muqaddar bear direct resemblance to Shamshad Begum's style. From 1949 to 1960, beginning with the song "Dar Na Mohabbat Karle" from Andaz (1949), Mangeshkar and Begum have sung many duets together, with the most famous being "Pyar Ke Jahan Ki" from the 1949 film Patanga, "Bachpan Ke Din" from 1951's Deedar; their last song together was Mughal-e-Azam's song "Teri Mehfil Mein Qismat" in 1960. Begum sang songs together with Mangeshkar and Bhosle, including "Mubarak Ho Woh Dil Jisko" from Benazir 1964 .[14][15] It was the period between 1958 and 1963, that career of Lata got major boost as music directors started gradually preferring her soft voice, until then Geeta Dutt and Begum were the most preferred singers but Shamshad Begum continued to be at the top from 1940 till 1963 non-stop.[citation needed] From 1965, her songs started to be mimed by actresses other than the heroine. Beginning in 1965, songs for her in films started getting reduced but the songs she sang instantly became hits through 1968. She then declared a self-imposed retirement in 1965. But she kept having certain composers asking her to sing songs in few films and among them her songs from films like in Daku Mangal Singh, Upkar, Kismat (1969), Heer Ranjha (1970), Johar Mehmood in Hong Kong (1971), Teri Meri Ik Jindri (1975) and Main Papi Tum Bakhshanhaar (1976). Her song "Kajra Mohabbat Wala" from the 1968 film Kismat and "Nathaniya Hale To Bada Maza" from the 1971 film Johar Mehmood in Hong Kong remains popular.
Retirement and death[edit]
From the late 1980s, Begum started giving occasional interviews. In one of her interviews to Filmfare magazine in 2012 Begum dislosed "The more hits I gave, the less work I got. When I helped new composers I never told them to give me all their songs to sing. I believed only God could give, not them."[16] Her final interview was in 2012. In 2009, she was conferred with the prestigious O. P. Nayyar award for her contribution to Hindi film music.[17] She was also conferred the Padma Bhushan in 2009.[18] Later her daughter Usha said in an interview ""Because of the politics in the industry, she didn't want to work any more. This is one of the reasons why she didn't let me be a singer. I told her, let me sing for my self-satisfaction, but she said if you will learn to sing, you will directly enter the industry. So, she didn't let me do so."[19]
Begum died at her Mumbai residence on the night of 23 April 2013 after a prolonged illness. She was 94.[20][21] She was cremated in a small, dignified ceremony.[22]
Information and Broadcasting minister Manish Tewari said, "The film industry has lost one of its most versatile singers. Shamshadji's style of singing set new benchmarks. Her melodious voice with powerful lyrics gave us songs that have remained popular even today."[23]Prime Minister Manmohan Singh said "She was an artist of extraordinary talent and abilities, and the songs she has left behind in her long career, which she started with AIR in 1937, will continue to enthral music lovers."[24] Her daughter Usha Ratra said "She kept herself away from glamour of the industry despite being one of the top singers of her era as she did not like limelight. My mother used to say that artistes never die. She wanted to be remembered for her songs."[3]
Selected songs[edit]
Begum on a 2016 stamp of India
- "Leke Pehla Pehla Pyar", "Kahin Pe Nigahen Kahin Pe Nishana", "Boojh Mera Kya Naam Re" – CID (1956); (Music: O.P. Nayyar)
- "Milte Hi Aankhen Dil Hua", (Duet with Talat Mehmood) – Babul 1950; (Music: Naushad Ali)
- "Chali Chali Kaisi Yeh Hawa Yeh", (Duet with Usha Mangeshkar) – Bluffmaster (1965); (music: Kalyanji Anandji)
- "Kabhi Aar Kabhi Paar Laga Teer-e-nazar", (Aar Paar 1954), (music: O.P. Nayyar)
- "O Gadiwale Dheere" – Mother India 1957; (Music: Naushad)
- "Ye duniya roop ki chor" – Shabnam 1949; (Music: S.D.Burman)
- "Mere Piya Gaye Rangoon" – Patanga 1949; (Music C.Ramchandra)
- "Ek Tera Sahara" – Shama 1946; (Music: Master Ghulam Haider)
- "Holi Aayee Re Kanhaai" – Mother India (1957); (Music: Naushad)
- "Naina Bhar Aye Neer" – Humayun 1945; (Music: Master Ghulam Haider)
- "Nazar Phero Na Humse" – (Duet with G M Durani) – Deedar (1951); (Music: Naushad)
- "Chod Babul Ka Ghar" – Babul 1950; (Music: Naushad)
- 'Badi mushkil se dil ki beqarari ko qarar aaya' – Naghma 1953; (Music:Naushad) ; (Lyric:Shoukat Dehlavi)
- "Kajra Mohabbatwala Ankhiyon mein Aisa dala" (Duet with Asha Bhosle) – Kismat (1968); (Music: O.P. Nayyar)
- "Meri Neendon Main Tum" (Duet with Kishore Kumar) – Naya Andaz 1956; (Music: O.P.Nayyar)
- "Teri Mehfil Mein Qismat" (Duet with Lata Mangeshkar) – Mughal-E-Azam 1960; (Music:Naushad)
- "Saiyan Dil Mein Aana Re" – Bahar 1951; (Music: S.D.Burman)
- "Reshmi Salwar Kurta Jaali Da" – Naya Daur 1957; (Music:O.P.Nayyar)
- "Kisike Dil Mein Rehna Tha" – Babul 1950 – with Lata; (Music:Naushad)
- "Dharti Ko Aakash Pukare" – Mela 1948 – with Mukesh; (Music:Naushad)
- "Ek Do Teen Aaja Mausam Hai Rangeen" – Awara 1951; (Music:Shankar-Jaikishen)
- "Dil eechak beechak gurr" – "Bawre Nain" 1950 – (Music:Roshan)
- "Kahin pe nigahein" – "C.I.D." 1956 – (Music:O.P. Nayyar)
- "Door koi gaye" – "Baiju Bawra" 1952 – (Music:Naushad)
- "Chaman mein reheke veerana" – "Deedar" 1951 – (Music:Naushad)
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Talat Mahmood
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Talat Mahmood
Background information
Also known as The King of Ghazals, also Shahenshah-e-Ghazal
Born 24 February 1924
Lucknow, United Provinces, British India
Died 9 May 1998 (aged 74)
Mumbai, India
Genres Playback singing
Occupation(s) Singer, actor
Instruments Vocalist
Years active 1939–1986
Website www.talatmahmood.net[1]
Talat Mahmood (24 February 1924 – 9 May 1998) is considered one of the greatest male Indian non-classical and semi-classical singers. He was a born singer with an intuitive sense of beauty, charm and grace. He was an Indian playback singer. Although he tried his luck as a film actor, he didn't succeed a great deal in acting.
Talat received Padma Bhushan in 1992, in recognition of his artistic contributions in the spheres of cinematic and ghazal music.[2] he had a unique, elegant and profoundly artistic style of singing. Talat was a very gifted singer in every sense. He was particularly famous for singing soft and sombre semi-classical and non-classical ghazals, but the film songs sung by him are also considered critically flawless and outstanding. Although Talat's typical genre was Ghazal, he was an astoundingly brilliant film singer who sung innumerable fantastic film songs.
Romantic and tragic were the moods he liked most and it was he who helped a great deal in shaping the style and method of modern ghazal singing. He can be described as the real founder of modern semi-classical and non-classical ghazal. During the 1950s and 60s, Talat was the first choice of the high-brow literary and artistic community of Indian sub-continent, especially Urdu-speaking community. Even his cancelled songs were immensely popular among them. No other singer had such intellectually high-class and learned audience at the time with an exception of Manna Dey. Talat's voice has often been described as the softest male voice of the Indian sub-continent; not only this, but his voice is also considered among the most soulful male voices ever heard in the Indian sub-continent.
Contents
Talat Mahmood was born in Lucknow, Uttar Pradesh, to Manzoor Mahmood. Talat showed his musical leanings from a very young age and would enjoy sitting through all-night music soirees listening patiently to some of the biggest names in classical Indian music then.
Coming from a conservative Muslim background, singing was not encouraged. Talat had to choose between working in films and staying at home. Despite his parental objection he opted for the former, though his family accepted the fact only about a decade later when he gained respect in the industry.
Singing career[edit]
Talat apprenticed classical music under Pandit S.C.R. Bhat at Marris College of Music, Lucknow (presently Bhatkhande Music Institute) some time in late-30s. He started his career purely as a ghazal singer in 1939. Talat Mahmood began his singing career at the age of 16 in 1939 when he began singing the Ghazals of Daag, Mir, Jigar etc. on All India Radio, Lucknow. His voice had a quality distinct from all the other singers. HMV was quick to notice this and offered Talat his first disc in 1941 Sab din ek samaan nahin tha, Bun jaoon ga kya se kya main, Iska to kuch dhyan nahin tha.
His reputation as a ghazal singer was not limited to his hometown of Lucknow, but it reached the city that proved to shape his destiny – Calcutta. The then famous ghazal singers were Ustad Barkat Ali Khan, K.L. Saigal and M.A. Rauf. The classical songs he sang were " Sapnon Ki Suhaani Duniyaa Ko " for film Shikast and " Laage Tose Naina " for Chaandi Ki Deewar.
In 1944 came the hit Tasveer teri dil mera behela nah sake gi. Its popularity was so phenomenal and unrivalled that even today it remains one of the top selling non-film discs[citation needed]. This disc brought Talat the fame throughout India and soon he was beckoned by the Calcutta film industry. Talat made cameo appearances and starred in about 16 movies, for both the Calcutta (film hub of the 1940s) and Bombay Film Industry. The three movies in which he starred were regional hits in Calcutta. Initially, in Calcutta, he recorded a lot of Bangla songs (basic album) under the assumed name of "Tapankumar". Several of his Bangla numbers were super hits in Bengal and are still aired on All India Radio old song reminisces. He sang to the tune of eminent music directors like Kamal Dasgupta [" Du'ti paakhi du'ti teere... "], Sudhin Dasgupta [" Ei rimjhimjhim barosha... "], Rabin Chattopadhyayaa [ " Chander eto aalo... " ], Hemanta Mukhopadhayay [ " E Jodi aakash hoy... " ] and V. Balsara [ " Tumi sundar jodi nahi... " ] during the 50s and early 60s.
In 1949 Talat moved to Bombay, to sing for the Hindi film industry. His name and fame had already preceded him and soon he was flooded with offers. His big break came with the song Ae dil mujhe aisi jagha le chal jahan koi na ho composed by music director Anil Biswas for the soundtrack of the movie Arzoo. The song proved to be extremely popular.
Legacy and significance[edit]
Mahmood on a 2016 stamp of India
Talat Mehmood was the real founder of modern semi-classical and non-classical ghazal. So, his influence upon other contemporary and succeeding ghazal singers has been broad and profound. It was he who paved the way for such legendary ghazal singers as Mehdi Hassan and Jagjit Singh. Hence he will always be placed very high for his contributions to transform and revitalize the whole art and form ghazal singing.
Talat Mehmood can safely be placed among the greatest male gazal and/or film singers of the Indian subcontinent together with the singers like K. L. Saigal, Mohammed Rafi, Ahmed Rushdi, Mehdi Hassan, Manna Dey, K. J. Yesudas, Ustad Amanat Ali Khan, Kishore Kumar, Jagjit Singh, Ustad Ghulam Ali and Mukesh. Because of his soft and silky voice, subtly intricate and detailed method, correct pronunciation, infallible striking of the notes that are being tried, very sound knowledge of Indian music, striking the right note on the right time, and never missing a single bit of a beat, Talat conquered the souls of countless people throughout the globe, wherever Urdu and Hindi are spoken and understood. He is particularly and immensely popular among learned Urdu-speaking audiences having literary or artistic background, especially in Pakistan.
Talat was a member of the famous male singers' troika of the 1950s who had their respective separate fan-followings throughout the Indian subcontinent, the other two were Muhammad Rafi and Mukesh.This famous troika was the most popular group of the film singers of the 1950s in the entire sub-continent, who enjoyed the largest audience ever existed during any period of sub-continent's cinematic history. Talat exerted a profound influence upon the ghazal singing of his time with his immensely melodious voice and artistic craftsmanship, particularly suitable for typically semi-classical ghazal singing. He was born to be a Ghazal singer, with his majestic style and brilliant diction he conquered not only the hearts of innumerable high-brow listeners but also common folks of his time. He was the heart-favorite singer of the older and maturer audience of his time, and this type of audience still listens to him more than any of the ghazal singers who ever sung except the Shahenshah-e-Ghazal Mehdi Hassan and Jagjit Singh. So, in a sense, he still necessarily is a member of another troika, to be more precise, the three most influential ghazal singers of all time.
Talat particularly and profoundly influenced a whole generation of young singers who succeeded him; including legendary ghazal singers Jagjit Singh and Pankaj Udhas (who always honors him with the title of Shahenshah-E-Ghazal), singer Sajjad Ali and playback singer Abhijeet Bhattacharya.[citation needed]
Acting career[edit]
G. M. Durrani was a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat's singing as well.
Besides being a gifted singer, Mahmood was quite handsome as well. He acted in over a dozen films with top actresses of the time like Nutan, Mala Sinha, Suraiya and others. Later he decided to give up acting to concentrate on singing.
Talat acted in the following Hindi films [3]:
Film Name Year Opposite
Rajlaxmi 1945 Kananbala
Tum Aur Main 1947 Kanandevi
Samapti 1949 Bharti Devi
Araam 1951 Madhubala, Dev Anand
Thokar 1953 Shammi Kapoor
Dil-e-Nadaan 1953 Shyama, Peace Kanwal
Daak Babu 1954 Nadira
Waris 1954 Suraiya, Nadira
Raftaar 1955 Nadira
Diwali ki Raat 1956 Roopmala, Shashikala
Ek Gaon ki Kahani 1957 Mala Sinha
Lala Rukh 1958 Shyama
Maalik 1958 Suraiya
Sone ki Chidiya 1958 Nutan
The advent of rock-n-roll in the late 1960s sidelined singers like Talat. As long as he was top box-office draw, the movie producers insisted on including his songs in their movies. Talat's velvety vocals posed a special challenge to the music-composers, most of whom leaned towards the deep baritones of Mohammad Rafi and Mukesh. The resultant demise of his movie career led to the decline of his singing career. At the same time, the social changes and happiness brought about by increasing prosperity in India meant that blue mood ghazals and heart-rending ballads were not popular any more. Talat continued to record good songs, but less in number. His last soundtrack recording, in 1985, is the song "Mere Shareek-e-Safar", a duet sung with Miss Hemlata, from the movie "Wali-e-Azam" composed by Chitragupt and written by Ahmed Wasi.
However, Talat who was the first Indian singer to go on foreign concert tours in 1956 to East Africa found eager fans awaiting his arrival in other foreign countries. Jam packed audience in the United States, the UK, West Indies and other countries awaited his arrival enthusiastically. He performed in famous Royal Albert Hall in London, Madison Square Garden in the States and Jean Pierre Complex in the West Indies. He continued singing in the packed auditoriums until 1991 when he toured Holland. Talat sang about 800 songs in his long career. His songs are still popular among the music lovers as they were in the days these were released.
Family[edit]
Talat married a Bengali Christian girl from Calcutta, who also acted in films and was a great fan of his, Latika Mullick, later named Nasreen on 20 February 1951 and had two children Khalid born in 1953 and Sabina born in 1959
Personality[edit]
People, who were close to Talat, describe his nature as a quiet one. He is often remarked as a decent man, and his velvety and silky voice also reflected that decency and sense of calmness. Music directors, who worked with him, claimed that while listening to him, one would develop the feeling that Talat was a soft-hearted man. Dilip Kumar termed Talat as "a perfect gentleman". He was a fine gentleman who always had time and respect for his admirers.
Available work[edit]
Talat sang approximately 800 songs spread over 4 decades spanning between the 40s and 80s. Some of the most popular work of Talat is available even today with the following titles:
Even though Talat sang hundreds of hits, some of his most memorable songs from Indian cinema are:
https://en.wikipedia.org/wiki/Talat_Mahmood
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages)
This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. (May 2008)
This article needs additional citations for verification. (March 2016)
Talat Mahmood
Background information
Also known as The King of Ghazals, also Shahenshah-e-Ghazal
Born 24 February 1924
Lucknow, United Provinces, British India
Died 9 May 1998 (aged 74)
Mumbai, India
Genres Playback singing
Occupation(s) Singer, actor
Instruments Vocalist
Years active 1939–1986
Website www.talatmahmood.net[1]
Talat Mahmood (24 February 1924 – 9 May 1998) is considered one of the greatest male Indian non-classical and semi-classical singers. He was a born singer with an intuitive sense of beauty, charm and grace. He was an Indian playback singer. Although he tried his luck as a film actor, he didn't succeed a great deal in acting.
Talat received Padma Bhushan in 1992, in recognition of his artistic contributions in the spheres of cinematic and ghazal music.[2] he had a unique, elegant and profoundly artistic style of singing. Talat was a very gifted singer in every sense. He was particularly famous for singing soft and sombre semi-classical and non-classical ghazals, but the film songs sung by him are also considered critically flawless and outstanding. Although Talat's typical genre was Ghazal, he was an astoundingly brilliant film singer who sung innumerable fantastic film songs.
Romantic and tragic were the moods he liked most and it was he who helped a great deal in shaping the style and method of modern ghazal singing. He can be described as the real founder of modern semi-classical and non-classical ghazal. During the 1950s and 60s, Talat was the first choice of the high-brow literary and artistic community of Indian sub-continent, especially Urdu-speaking community. Even his cancelled songs were immensely popular among them. No other singer had such intellectually high-class and learned audience at the time with an exception of Manna Dey. Talat's voice has often been described as the softest male voice of the Indian sub-continent; not only this, but his voice is also considered among the most soulful male voices ever heard in the Indian sub-continent.
Contents
- 1Early life
- 2Singing career
- 3Legacy and significance
- 4Acting career
- 5Family
- 6Personality
- 7Available work
- 8Popular singles
- 9References
- 10External links
Talat Mahmood was born in Lucknow, Uttar Pradesh, to Manzoor Mahmood. Talat showed his musical leanings from a very young age and would enjoy sitting through all-night music soirees listening patiently to some of the biggest names in classical Indian music then.
Coming from a conservative Muslim background, singing was not encouraged. Talat had to choose between working in films and staying at home. Despite his parental objection he opted for the former, though his family accepted the fact only about a decade later when he gained respect in the industry.
Singing career[edit]
Talat apprenticed classical music under Pandit S.C.R. Bhat at Marris College of Music, Lucknow (presently Bhatkhande Music Institute) some time in late-30s. He started his career purely as a ghazal singer in 1939. Talat Mahmood began his singing career at the age of 16 in 1939 when he began singing the Ghazals of Daag, Mir, Jigar etc. on All India Radio, Lucknow. His voice had a quality distinct from all the other singers. HMV was quick to notice this and offered Talat his first disc in 1941 Sab din ek samaan nahin tha, Bun jaoon ga kya se kya main, Iska to kuch dhyan nahin tha.
His reputation as a ghazal singer was not limited to his hometown of Lucknow, but it reached the city that proved to shape his destiny – Calcutta. The then famous ghazal singers were Ustad Barkat Ali Khan, K.L. Saigal and M.A. Rauf. The classical songs he sang were " Sapnon Ki Suhaani Duniyaa Ko " for film Shikast and " Laage Tose Naina " for Chaandi Ki Deewar.
In 1944 came the hit Tasveer teri dil mera behela nah sake gi. Its popularity was so phenomenal and unrivalled that even today it remains one of the top selling non-film discs[citation needed]. This disc brought Talat the fame throughout India and soon he was beckoned by the Calcutta film industry. Talat made cameo appearances and starred in about 16 movies, for both the Calcutta (film hub of the 1940s) and Bombay Film Industry. The three movies in which he starred were regional hits in Calcutta. Initially, in Calcutta, he recorded a lot of Bangla songs (basic album) under the assumed name of "Tapankumar". Several of his Bangla numbers were super hits in Bengal and are still aired on All India Radio old song reminisces. He sang to the tune of eminent music directors like Kamal Dasgupta [" Du'ti paakhi du'ti teere... "], Sudhin Dasgupta [" Ei rimjhimjhim barosha... "], Rabin Chattopadhyayaa [ " Chander eto aalo... " ], Hemanta Mukhopadhayay [ " E Jodi aakash hoy... " ] and V. Balsara [ " Tumi sundar jodi nahi... " ] during the 50s and early 60s.
In 1949 Talat moved to Bombay, to sing for the Hindi film industry. His name and fame had already preceded him and soon he was flooded with offers. His big break came with the song Ae dil mujhe aisi jagha le chal jahan koi na ho composed by music director Anil Biswas for the soundtrack of the movie Arzoo. The song proved to be extremely popular.
Legacy and significance[edit]
Mahmood on a 2016 stamp of India
Talat Mehmood was the real founder of modern semi-classical and non-classical ghazal. So, his influence upon other contemporary and succeeding ghazal singers has been broad and profound. It was he who paved the way for such legendary ghazal singers as Mehdi Hassan and Jagjit Singh. Hence he will always be placed very high for his contributions to transform and revitalize the whole art and form ghazal singing.
Talat Mehmood can safely be placed among the greatest male gazal and/or film singers of the Indian subcontinent together with the singers like K. L. Saigal, Mohammed Rafi, Ahmed Rushdi, Mehdi Hassan, Manna Dey, K. J. Yesudas, Ustad Amanat Ali Khan, Kishore Kumar, Jagjit Singh, Ustad Ghulam Ali and Mukesh. Because of his soft and silky voice, subtly intricate and detailed method, correct pronunciation, infallible striking of the notes that are being tried, very sound knowledge of Indian music, striking the right note on the right time, and never missing a single bit of a beat, Talat conquered the souls of countless people throughout the globe, wherever Urdu and Hindi are spoken and understood. He is particularly and immensely popular among learned Urdu-speaking audiences having literary or artistic background, especially in Pakistan.
Talat was a member of the famous male singers' troika of the 1950s who had their respective separate fan-followings throughout the Indian subcontinent, the other two were Muhammad Rafi and Mukesh.This famous troika was the most popular group of the film singers of the 1950s in the entire sub-continent, who enjoyed the largest audience ever existed during any period of sub-continent's cinematic history. Talat exerted a profound influence upon the ghazal singing of his time with his immensely melodious voice and artistic craftsmanship, particularly suitable for typically semi-classical ghazal singing. He was born to be a Ghazal singer, with his majestic style and brilliant diction he conquered not only the hearts of innumerable high-brow listeners but also common folks of his time. He was the heart-favorite singer of the older and maturer audience of his time, and this type of audience still listens to him more than any of the ghazal singers who ever sung except the Shahenshah-e-Ghazal Mehdi Hassan and Jagjit Singh. So, in a sense, he still necessarily is a member of another troika, to be more precise, the three most influential ghazal singers of all time.
Talat particularly and profoundly influenced a whole generation of young singers who succeeded him; including legendary ghazal singers Jagjit Singh and Pankaj Udhas (who always honors him with the title of Shahenshah-E-Ghazal), singer Sajjad Ali and playback singer Abhijeet Bhattacharya.[citation needed]
Acting career[edit]
G. M. Durrani was a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat's singing as well.
Besides being a gifted singer, Mahmood was quite handsome as well. He acted in over a dozen films with top actresses of the time like Nutan, Mala Sinha, Suraiya and others. Later he decided to give up acting to concentrate on singing.
Talat acted in the following Hindi films [3]:
Film Name Year Opposite
Rajlaxmi 1945 Kananbala
Tum Aur Main 1947 Kanandevi
Samapti 1949 Bharti Devi
Araam 1951 Madhubala, Dev Anand
Thokar 1953 Shammi Kapoor
Dil-e-Nadaan 1953 Shyama, Peace Kanwal
Daak Babu 1954 Nadira
Waris 1954 Suraiya, Nadira
Raftaar 1955 Nadira
Diwali ki Raat 1956 Roopmala, Shashikala
Ek Gaon ki Kahani 1957 Mala Sinha
Lala Rukh 1958 Shyama
Maalik 1958 Suraiya
Sone ki Chidiya 1958 Nutan
The advent of rock-n-roll in the late 1960s sidelined singers like Talat. As long as he was top box-office draw, the movie producers insisted on including his songs in their movies. Talat's velvety vocals posed a special challenge to the music-composers, most of whom leaned towards the deep baritones of Mohammad Rafi and Mukesh. The resultant demise of his movie career led to the decline of his singing career. At the same time, the social changes and happiness brought about by increasing prosperity in India meant that blue mood ghazals and heart-rending ballads were not popular any more. Talat continued to record good songs, but less in number. His last soundtrack recording, in 1985, is the song "Mere Shareek-e-Safar", a duet sung with Miss Hemlata, from the movie "Wali-e-Azam" composed by Chitragupt and written by Ahmed Wasi.
However, Talat who was the first Indian singer to go on foreign concert tours in 1956 to East Africa found eager fans awaiting his arrival in other foreign countries. Jam packed audience in the United States, the UK, West Indies and other countries awaited his arrival enthusiastically. He performed in famous Royal Albert Hall in London, Madison Square Garden in the States and Jean Pierre Complex in the West Indies. He continued singing in the packed auditoriums until 1991 when he toured Holland. Talat sang about 800 songs in his long career. His songs are still popular among the music lovers as they were in the days these were released.
Family[edit]
Talat married a Bengali Christian girl from Calcutta, who also acted in films and was a great fan of his, Latika Mullick, later named Nasreen on 20 February 1951 and had two children Khalid born in 1953 and Sabina born in 1959
Personality[edit]
People, who were close to Talat, describe his nature as a quiet one. He is often remarked as a decent man, and his velvety and silky voice also reflected that decency and sense of calmness. Music directors, who worked with him, claimed that while listening to him, one would develop the feeling that Talat was a soft-hearted man. Dilip Kumar termed Talat as "a perfect gentleman". He was a fine gentleman who always had time and respect for his admirers.
Available work[edit]
Talat sang approximately 800 songs spread over 4 decades spanning between the 40s and 80s. Some of the most popular work of Talat is available even today with the following titles:
- Golden Collection of Talat Mahmood (CD 131015-16)
- Talat Mahmood in a Sentimental Mood (CD 132335)
- Evergreen Hits of Talat Mahmood (CD 132017)
Even though Talat sang hundreds of hits, some of his most memorable songs from Indian cinema are:
- Humse aaya na gaya – Dekh Kabira Roya (1957)
- Jayen to jayen kahan – Taxi Driver (1954)
- Tasveer banata hoon – Baradari (1955)
- Dil-E-Nadaan tujhe hua kya hai – Mirza Ghalib Duett with Suraiya, (1954)
- Itna na mujhse tu pyar badha – Chhaya Duett with Lata Mangeshkar, (1961)
- Seene me sulagtein hain armaan, aakhon mein udasi chhayee hai – Taraana duet with Lata Mangeshkar (1951)
- Aansoo samajh ke kyon mujhe – Chhaya (1961)
- Aha rim jhim ke ye pyare pyare geet liye – Usne kaha tha duet with Lata Mangeshkar (1960)
- Sham-E-Gham ki qassam – Foothpath (1953)
- Jalte hain jiske liye – Sujata (1959)
- Meri yaad me tum na – Madhosh (1951)
- Phir wohi sham wohi gam – Jahan Aara (1964)
- Aye mere dil kahin aur chal – Daag (1952)
- Zindagi dene wale sun – Dil-e-Nadaan (1953)
- Main dil hoon ek armaan bhara – Anhonee (1952)
- Andhe Jahan ke Andhe Raste – Patita
- Kadale Neela Kadale- Malayalam Movie "Dweep" ( Music By M.S.Baburaj)
- Ashkon ne jo Paya Hai – Chaandi ki Deewar (1964) (Music: N Dutta ; Lyricist: Sahir Ludhianv)
- Bechain Nazar Betaab Jigar – Yasmeen (1955), Music: C Ramchandra, Lyricist: Jan Nisar Akhtar
- Raat Ne Kya Kya Khwab Dikhaye – Ek Gaon KI Kahani (1957)
- Chal diya caravaan, lut gaye hum yahan, tum vahaan – Laila Majnu
- Hoke majboor mujhe usne bhulaaya hogaa – Haqeeqat song with Rafi, Manna-de & Bhupendra
- Aye Dil Mujhe Aisi Jaga Le Chal – Aarzoo (1949)
- Milte Hi AAnkhen Dil Hua Deewana – Baabul (1950)
- Mera Jeevan Saathi Bichhar gaya – Baabul (1950)
- Koi Nahin Mera Iss Duniya Mein – Daag (1952)
- Hum Dard Ke Maron Ka – Daag (1952)
https://en.wikipedia.org/wiki/Talat_Mahmood
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Mohammed Zahur Khayyam
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Mohammed Zahur Khayyam
Khayyam at his 85th birthday bash in 2012
Born 18 February 1927 (Age 91)
Rahon, Nawanshahr District, Punjab, British India
(now in Punjab, India)
Occupation Music director, film score composer, Background musician
Spouse(s) Jagjit Kaur
Mohammed Zahur "Khayyam" Hashmi, better known as Khayyam, is an Indian music director and background score composer whose career spanned four decades (1953–1990).[1][2]
He has won three Filmfare Awards for Best Music in 1977 for Kabhi Kabhie and 1982 for Umrao Jaan, and a lifetime achievement award in 2010 . He was awarded the 2007 Sangeet Natak Akademi Award in Creative Music, by the Sangeet Natak Akademi, India's National Academy of Music, Dance and Theatre.[3] He has been awarded the third-highest civilian honour, Padma Bhushan by the Government of India for 2011.[4]
Contents
Khayyam was born as Sa'aadat Hussain in undivided Punjab in Rahon, a town in Nawanshahr District which was then the Nawanshahr tehsil of Jalandhar District. As a boy Khayyam ran away to Delhi to learn music but was forced to return to complete his education. Khayyam then went to Lahore to learn music from the famous Baba Chishti.
He was never interested in studies and was always fascinated by the music of Indian cinema. He was inclined to music since a very young age. He often escaped to the city to watch movies. Khayyam soon ran away to his uncle's house in Delhi, in the hope of becoming an actor. Khayyam's uncle enrolled him in a school, but when he saw his passion for films, he allowed him to learn music, which was actually a step forward in realizing his ambitions. He got his training in music under Pandit Amar Nath.
Career[edit]
He went to Lahore looking for roles in films. There he also learnt music from famous Baba Chishti who was a famous Panjabi music director. One day Khayyam went to meet Baba Chishti, and after listening to a composition by Chishti sung to him its first part. Impressed, Chishti gave him an offer of joining him as an assistant. Khayyam assisted Chishti for six months and came to Ludhiana in 1943. He was only 17 then.
After a stint in the Army in the Second World War, Khayyam went to Bombay to fulfil his dream. He made his debut as Sharmaji of the Sharmaji-Varmaji composer duo with the movie Heer Ranjha in 1948. He went solo after his co-composer Rahman Varma went to the newly created Pakistan post partition. One of his earliest breaks was in the film Biwi in which the song "Akele mein wo ghabrate to Honge" sung by Mohammed Rafi was a huge hit. But he gained greater recognition from the film Phir Subha Hogi starring Raj Kapoor and Mala Sinha, in which songs written by Sahir Ludhyanvi and sung by Mukesh and Asha Bhonsle were set to tune by Khayyam, notable amongst them "Wo Subha Kabhi to Aayegi", "Aasman Pe hai Khuda aur Zameen pe Hum" and "Chin-o-Arab Humara".
The film Shola Aur Shabnam established Khayyam's reputation as a great composer. The songs written by Kaifi Azmi are some of the greats of the Hindi Film Industry. From Shola aur Shabnam "Jaane kya dhoondti rehti hein ye aanken mujhmen" sung by Rafi and "Jeet Hi lenge Baazi Hum tum" sung by Lata and Rafi, from the Chetan Anand directed Aakhri Khat "Baharon mera jeevan bhi sawaron" by Lata and "Aur kuch der theher, aur kuch der na ja" by Rafi. Also, noticeable are songs from the film Shagun which had Khayyam's wife Jagjit Kaur sing "Tum apna ranj-o-gham" and "Tum chali Jaogi". From the film Lala Rukh "Hai Kali Kali ke lab par" sung by Rafi and from Footpath "Shyam-e-Gham ki Kasam" sung by Talat Mehmood. From Mohhabat Isko Kehte hein "Theheriye hosh mein aa lun to chaley jaiyega" by Rafi and Suman Kalyanpur.
The 1970s saw Khayyam team up with Sahir Ludhyanvi once again to work in the Yash Chopra-directed "Kabhi Kabhi". The songs were super hits and showed Khayyam's versatility with huge hits like "Kabhi Kabhi mere dil mein Khayal ata hai" (Sung by Mukesh), "Tere chehre se nazar Nahin hatti" (Kishore & Lata) and "Mein Pal do pal ka Shayar Hun" (Mukesh). The film Shankar Hussain had Rafi sing "Kahin ek Masum Nazuk si Lardki" and Lata render "Aaap yun Faaslon Se", both classic Khayyam songs.
Khayyam's gave memorable music to the late-1970s and early-1980s was from Trishul, Thodi Si Bewafaai, Bazaar and Noorie. Again pairing with Sahir in Trishul he produced great songs like "Mohabbat bare kaam ki cheez hai" and "Janeman tum kamal karti ho" and the light "Gapuchi Gapuchi gam gam". "Hazar rahen" from Thodi si Bewafai and "Aaja re o mere dilbar Aaja" from Noorie and "Dikahyi Diye" from Bazaar are some noticeable songs. Khayyam also created music for the Kamal Amrohi directed "Razia Sultan" and his "Aye dil-e-nadan" sung by Lata capturing the mood beautifully. One of popular song is Cho lene do.
Khayyam was still to deliver his best and the opportunity came in Muzaffar Ali's Umrao Jaan in 1981. He made Asha Bhonsle sing songs which are indisputably her best. "In Aankhon ki masti ke", "Ye Kya Jagah hai doston" and "Dil Cheez kya hai" are evergreen.
Khayyam also composed non film songs noticeably "Paaon padun tore Shyam, Brij mein laut chalo" and "Ghazab kiya tere Vaade pe Aitbaar kiya". He also composed for Meena Kumari's album, 'I Write, I Recite' featuring nazms of Meena Kumari sung by her.
Khayyam has always preferred to work with the poets having strong background of poetry side lining the regular film lyricists. That is the reason one finds poetry playing an equal role in Khayyam's compositions as the music or the singer. Khayyam prefers to give full freedom to the poets to express their views thereby making the expression of the songs more poetic and more meaningful.
He has worked with both the contemporary and the legends in the field of poetry. That's the reason one finds in his account the work profiled by Mirza Ghalib, Daagh, Wali Saheb, Ali Sardar Jafri, Majrooh Sultanpuri, Sahir Ludhianvi, and among the new ones Naqsh Lyalpuri, Nida Fazli, Jan Nisar Akhtar & Ahmed Wasi to name a few.
Khayyam's music had the touch of ghazal but was rooted in Indian classical music. The compositions were soulful, melodious and emotional, the songs were rich in poetry and purpose and the style was noticeably different from the popular brand of music in those days, which used to be either semi-classical, ghazal or light and peppy.[5]
On his 89th birthday, Khayyam announced the formation of a charitable trust — Khayyam Jagjeet Kaur KPG Charitable Trust — and decided to donate his entire wealth to the trust to support budding artists and technicians in India. His wealth at the time of announcement was valued at around ₹10 crore (US$1.4 million).[6]
Awards and nominations[edit]
Won[7]
Nominated
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
Mohammed Zahur Khayyam
Khayyam at his 85th birthday bash in 2012
Born 18 February 1927 (Age 91)
Rahon, Nawanshahr District, Punjab, British India
(now in Punjab, India)
Occupation Music director, film score composer, Background musician
Spouse(s) Jagjit Kaur
Mohammed Zahur "Khayyam" Hashmi, better known as Khayyam, is an Indian music director and background score composer whose career spanned four decades (1953–1990).[1][2]
He has won three Filmfare Awards for Best Music in 1977 for Kabhi Kabhie and 1982 for Umrao Jaan, and a lifetime achievement award in 2010 . He was awarded the 2007 Sangeet Natak Akademi Award in Creative Music, by the Sangeet Natak Akademi, India's National Academy of Music, Dance and Theatre.[3] He has been awarded the third-highest civilian honour, Padma Bhushan by the Government of India for 2011.[4]
Contents
- 1Early life
- 2Career
- 3Awards and nominations
- 4Filmography
- 5Further reading
- 6References
- 7External links
Khayyam was born as Sa'aadat Hussain in undivided Punjab in Rahon, a town in Nawanshahr District which was then the Nawanshahr tehsil of Jalandhar District. As a boy Khayyam ran away to Delhi to learn music but was forced to return to complete his education. Khayyam then went to Lahore to learn music from the famous Baba Chishti.
He was never interested in studies and was always fascinated by the music of Indian cinema. He was inclined to music since a very young age. He often escaped to the city to watch movies. Khayyam soon ran away to his uncle's house in Delhi, in the hope of becoming an actor. Khayyam's uncle enrolled him in a school, but when he saw his passion for films, he allowed him to learn music, which was actually a step forward in realizing his ambitions. He got his training in music under Pandit Amar Nath.
Career[edit]
He went to Lahore looking for roles in films. There he also learnt music from famous Baba Chishti who was a famous Panjabi music director. One day Khayyam went to meet Baba Chishti, and after listening to a composition by Chishti sung to him its first part. Impressed, Chishti gave him an offer of joining him as an assistant. Khayyam assisted Chishti for six months and came to Ludhiana in 1943. He was only 17 then.
After a stint in the Army in the Second World War, Khayyam went to Bombay to fulfil his dream. He made his debut as Sharmaji of the Sharmaji-Varmaji composer duo with the movie Heer Ranjha in 1948. He went solo after his co-composer Rahman Varma went to the newly created Pakistan post partition. One of his earliest breaks was in the film Biwi in which the song "Akele mein wo ghabrate to Honge" sung by Mohammed Rafi was a huge hit. But he gained greater recognition from the film Phir Subha Hogi starring Raj Kapoor and Mala Sinha, in which songs written by Sahir Ludhyanvi and sung by Mukesh and Asha Bhonsle were set to tune by Khayyam, notable amongst them "Wo Subha Kabhi to Aayegi", "Aasman Pe hai Khuda aur Zameen pe Hum" and "Chin-o-Arab Humara".
The film Shola Aur Shabnam established Khayyam's reputation as a great composer. The songs written by Kaifi Azmi are some of the greats of the Hindi Film Industry. From Shola aur Shabnam "Jaane kya dhoondti rehti hein ye aanken mujhmen" sung by Rafi and "Jeet Hi lenge Baazi Hum tum" sung by Lata and Rafi, from the Chetan Anand directed Aakhri Khat "Baharon mera jeevan bhi sawaron" by Lata and "Aur kuch der theher, aur kuch der na ja" by Rafi. Also, noticeable are songs from the film Shagun which had Khayyam's wife Jagjit Kaur sing "Tum apna ranj-o-gham" and "Tum chali Jaogi". From the film Lala Rukh "Hai Kali Kali ke lab par" sung by Rafi and from Footpath "Shyam-e-Gham ki Kasam" sung by Talat Mehmood. From Mohhabat Isko Kehte hein "Theheriye hosh mein aa lun to chaley jaiyega" by Rafi and Suman Kalyanpur.
The 1970s saw Khayyam team up with Sahir Ludhyanvi once again to work in the Yash Chopra-directed "Kabhi Kabhi". The songs were super hits and showed Khayyam's versatility with huge hits like "Kabhi Kabhi mere dil mein Khayal ata hai" (Sung by Mukesh), "Tere chehre se nazar Nahin hatti" (Kishore & Lata) and "Mein Pal do pal ka Shayar Hun" (Mukesh). The film Shankar Hussain had Rafi sing "Kahin ek Masum Nazuk si Lardki" and Lata render "Aaap yun Faaslon Se", both classic Khayyam songs.
Khayyam's gave memorable music to the late-1970s and early-1980s was from Trishul, Thodi Si Bewafaai, Bazaar and Noorie. Again pairing with Sahir in Trishul he produced great songs like "Mohabbat bare kaam ki cheez hai" and "Janeman tum kamal karti ho" and the light "Gapuchi Gapuchi gam gam". "Hazar rahen" from Thodi si Bewafai and "Aaja re o mere dilbar Aaja" from Noorie and "Dikahyi Diye" from Bazaar are some noticeable songs. Khayyam also created music for the Kamal Amrohi directed "Razia Sultan" and his "Aye dil-e-nadan" sung by Lata capturing the mood beautifully. One of popular song is Cho lene do.
Khayyam was still to deliver his best and the opportunity came in Muzaffar Ali's Umrao Jaan in 1981. He made Asha Bhonsle sing songs which are indisputably her best. "In Aankhon ki masti ke", "Ye Kya Jagah hai doston" and "Dil Cheez kya hai" are evergreen.
Khayyam also composed non film songs noticeably "Paaon padun tore Shyam, Brij mein laut chalo" and "Ghazab kiya tere Vaade pe Aitbaar kiya". He also composed for Meena Kumari's album, 'I Write, I Recite' featuring nazms of Meena Kumari sung by her.
Khayyam has always preferred to work with the poets having strong background of poetry side lining the regular film lyricists. That is the reason one finds poetry playing an equal role in Khayyam's compositions as the music or the singer. Khayyam prefers to give full freedom to the poets to express their views thereby making the expression of the songs more poetic and more meaningful.
He has worked with both the contemporary and the legends in the field of poetry. That's the reason one finds in his account the work profiled by Mirza Ghalib, Daagh, Wali Saheb, Ali Sardar Jafri, Majrooh Sultanpuri, Sahir Ludhianvi, and among the new ones Naqsh Lyalpuri, Nida Fazli, Jan Nisar Akhtar & Ahmed Wasi to name a few.
Khayyam's music had the touch of ghazal but was rooted in Indian classical music. The compositions were soulful, melodious and emotional, the songs were rich in poetry and purpose and the style was noticeably different from the popular brand of music in those days, which used to be either semi-classical, ghazal or light and peppy.[5]
On his 89th birthday, Khayyam announced the formation of a charitable trust — Khayyam Jagjeet Kaur KPG Charitable Trust — and decided to donate his entire wealth to the trust to support budding artists and technicians in India. His wealth at the time of announcement was valued at around ₹10 crore (US$1.4 million).[6]
Awards and nominations[edit]
Won[7]
- 1977: Filmfare Best Music Director Award: Kabhi Kabhie
- 1982: Filmfare Best Music Director Award: Umrao Jaan
- 1982: National Film Award for Best Music Direction: Umrao Jaan
- 2007: Sangeet Natak Akademi Award: Creative Music
- 2010: Filmfare Lifetime Achievement Award
- 2011: Padma Bhushan
- 2018: Hridaynath Mangeshkar
Nominated
- 1980: Filmfare Best Music Director Award: Noorie
- 1981: Filmfare Best Music Director Award: Thodisi Bewafai
- 1982: Filmfare Best Music Director Award: Bazaar
- 1984: Filmfare Best Music Director Award: Razia Sultan
- Foot Path (1953)
- Gul Bahar (1954)
- Phir Subha Hogi (1958)
- Lala Rukh (1958)
- Shola Aur Shabnam (1961)
- Shagoon (1964)
- Mohabbat Isko Kahete Hain (1965)
- Aakhri Khat (1966)
- Sankalp (1975)
- Kabhi Kabhie (1976)
- Shankar Hussain (1977)
- Trishul (1978)
- Khandaan (1979)
- Noorie (1979)
- Thodi Si Bewafaai (1980)
- Chambal Ki Kasam (1980)
- Nakhuda(1981)
- Dard (1981)
- Ahista Ahista (1981)
- Dil-E-Nadaan (1982)
- Bazaar (1982)
- Baawri (1982)
- Sawaal (1982)
- Dil... Akhir Dil Hai (1982)
- Razia Sultan (1983)
- Mehndi (1983)
- Lorie (1984)
- Bepanaah (1985)
- Anjuman (1986)
- Ek Naya Rishta (1988)
- Parbat Ke Us Paar (1988)
- Jaan-E-Wafa (1990)
- Yatra (2006)
- Bazaar E Husn (2014)
- Ghulam Bandhu (2016)
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Waheeda Rehman
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Waheeda Rehman
Waheeda Rehman in 2012
Born 3 February 1938 (age 80)
Chengalpattu, Madras Presidency,
( Tamil Nadu, India)
Other names Waheeda Rahman
Occupation Actress
Years active 1955–1991, 2002–present
Notable work
Spouse(s) Shashi Rekhi (1974–2000; his death)
Children 2
Awards
Contents
Waheeda Rehman was born in a Muslim family in Chengalpattu, Tamil Nadu, India.[8] She and her sister learnt Bharatnatyam in Chennai, where Guru Trichunder Meenakshi Sundaram Pillai and (in Bombay), Guru Jayalaxmi Alva, Doyen among nattuvanars taught[9] and performed on stage together. Her father, who was a district commissioner, died while she was in her teens.[10][11]
Rehman was in her teens when her father died. Her dream was to become a doctor, but, due to her family's circumstances and her mother's illness, she abandoned her goal. In order to help her family, she hit the silver screen with Telugu films; Jayasimha (1955), followed by Rojulu Marayi (1955) and a Tamil film Kaalam Maari Pochu (1956). It was in Vijaya-Suresh's Ram aur Shyam (a remake of the Telugu movie Ramudu Bheemudu) in 1967 that she acted again under the direction of the topnotch Telugu director Tapi Chanakya, who incidentally directed her movies Rojulu Maaraayi (in Telugu) (1955) and Kaalam Maaripochu (in Tamil) (1956).
It is a common misconception that Rehman was born in Andhra Pradesh.[12]"I was born in Chengalpattu", she reveals, "I used to have a house in Chennai and agricultural land in the Red Hills area". So, why the widespread belief that she was born in Hyderabad? "It's a long story", she says, "When I was in Chennai, I did three to four Telugu movies. In the first one, Rojulu Maraayi, I did only a folk dance number. However, it went on to become a hit! I was in Hyderabad celebrating its success and Guru Dutt happened to be there. He was on a lookout for new faces and heard that I could speak in Urdu. It is because he spotted me in Hyderabad that people assume I was born there".
Acting career and personal life[edit]
Her first appearance in a Hindi film was in CID (1956). Later, she was seen in a series of successful films including Pyaasa (1957), 12 O'Clock (1958), Kaagaz Ke Phool (1959), Sahib Bibi Aur Ghulam and Chaudhvin Ka Chand (1961). Her other notable works include Solva Saal (1958), Baat Ek Raat Ki (1962), Kohra (1964), Bees Sal Baad (1962), Guide (1965), Teesri Kasam, Mujhe Jeene Do (1966), Neel Kamal and Khamoshi (1969).
Waheeda Rehman started her career in films in 1954 and her first successful films were the Telugu films Jayasimha (1955), Rojulu Marayi (1956) and Tamil film Kaalam Maari Pochu (1955). It was M.G.Ramachandran who offered her the song "Salaam Babu" in Modern Theatres production of the Tamil film Alibabavum 40 Thirudargalum (1956 film).
In the success party of Rojulu Maaraayi, Guru Dutt noticed her and decided to groom her and have her act in Hindi films. Waheeda considered Guru Dutt as her mentor. Dutt brought her to Bombay (now Mumbai) and cast as a vamp in his production CID (1956), directed by Raj Khosla. A few years after joining the Hindi film industry, she lost her mother. After the success of C.I.D., Dutt gave her a leading role in Pyaasa (1957). Their next venture together, Kaagaz Ke Phool (1959), depicted the story of a successful director's decline after he falls for his leading lady. Dutt's existing marriage and her film successes with other directors caused them to drift apart personally and professionally, although they continued to work together into the 1960s (Chaudhvin Ka Chand). She completed Sahib Bibi Aur Ghulam (1962) under some strain. They broke away from each other after its indifferent reception at the Berlin Film Festival in 1963. Soon afterward, Guru Dutt died on 10 October 1964 in Mumbai reportedly from an overdose of sleeping pills and alcohol.
Waheeda Rehman established a great working relationship with Dev Anand, and together as a pair had number of successful films to their credit. The box office hits of the pair include CID (1956), Solva Saal (1958), Kala Bazar (1960), Baat Ek Raat Ki (1962) and Guide (1965); box office duds were Roop Ki Rani Choron Ka Raja (1961) and Prem Pujari (1970). She reached her peak with Guide (1965) and was much in demand. Rehman was cast as Gulabi in Satyajit Ray's Bengali film Abhijan in 1962. She worked in the comedy film Girl Friend in 1960 with Kishore Kumar. She was offered the lead actress's role in films even opposite actors junior to her by experience like Dharmendra, but they flopped. But she continued to taste success in the late sixties when she was paired with well established stars. She delivered hits opposite Dilip Kumar in three successive years; Dil Diya Dard Liya in 1966, Ram Aur Shyam in 1967 and Aadmi in 1968 and some box office duds but critically acclaimed films with Rajendra Kumar; Palki, Dharti and Shatranj; two films opposite Raj Kapoor; Ek Dil Sau Afsane and the acclaimed Teesri Kasam, which was the debut film of Basu Bhattacharyya; a few films opposite Biswajeet such as Bees Saal Baad and Kohra; this helped her continue to get lead roles in the early seventies. Her career's biggest hit Khamoshi came in 1970, opposite Rajesh Khanna.
Her career continued throughout the 1960s, 1970s, and 1980s. She won the Filmfare Best Actress Award for her roles in Guide (1965), where she hit the peak of her career, and Neel Kamal (1968), but despite excellent offbeat roles in subsequent films, including a National Award winning performance in Reshma Aur Shera (1971), some of the films failed at the box office. Seeing her films being successful, Waheeda decided to experiment with roles at this stage of career. She accepted Reshma Aur Shera, opposite her old co-star Sunil Dutt, with whom she had previously in the sixties had hits such as Ek Phool Char Kaante, Mujhe Jeene Do, Meri Bhabhi and Darpan. Her performance was appreciated by critics, but the film failed at the box office. But Waheeda continued to experiment with roles and accepted the offer to play a mother to Jaya Bhaduri in Phagun (1973). This, she regards the mistake of her career, as after this film flopped, suddenly people started offering her motherly roles to heroes.
Film expert Rajesh Subramanian informs that Manmohan Desai had approached her on behalf of Shammi Kapoor during the making of Naseeb. In the song "John Jani Janardhan", Shammi Kapoor and Waheeda Rehman make a grand entry holding hands. Incidentally this was the first time the two stars appeared together on screen. Later she also did Manmohan Desai's Coolie and Allah Rakha.
From the mid-seventies, Waheeda's career as lead heroine ended and her career as character actor began. At around this time, Kamaljit, who starred opposite her in Shagoon (1964), proposed and they got married in 1974. After her appearance in Lamhe (1991), she retired from the film industry for 12 years.
In her new innings from the seventies, her successful films where she played pivotal roles include Kabhi Kabhie (1976),Trishul (1978), Jwalamukhi (1980), Namkeen and Namak Halaal (1982), Mashaal (1984), Chandni(1989) and Rang De Basanti(2006). She played the central character in the Mahesh Bhatt directed film Swayam that starred Akash Khurana and Anupam Kher. She also appeared in a tele-series being directed by Gulzar.
In recent years she made a comeback playing elderly mother and grandmother roles in Om Jai Jagadish (2002), Water (2005), Rang De Basanti (2006), 15, Park Avenue and Delhi 6 (2009) which were all critically acclaimed.
(L-R) Nanda, Waheeda Rehman, Helen and Sadhana
In October 2004, a Waheeda Rehman film retrospective was held at the Seattle Art Museum and the University of Washington where Waheeda participated in spirited panel and audience discussions on her most memorable films; Pyaasa, Teesri Kasam and Guide - although her most successful film is still considered to be Khamoshi, with costar Rajesh Khanna.
After her marriage to Shashi Rekhi (screen name Kamaljeet)[13] on 27 April 1974, she shifted to a farmhouse in Bangalore. She has two children named Sohail and Kashvi, who are writers. On 21 November 2000, her husband died following a prolonged illness. She moved back to her ocean view bungalow in Bandra, Mumbai where she currently lives.
She is also an ambassador for Rang De working with them in the fight against poverty.[14]
Filmography[edit]
Rojulu Marayi Telugu
1955 Jayasimha Princess Telugu
1955 Kaalam Maari Pochu Guest appearance in the song
"Yeru thooki povayae annae chinnanae" Tamil
1956 Alibabavum 40 Thirudargalum Dancer Tamil
1956 CID Kamini Hindi
1957 Pyaasa Gulabo Hindi
1958 12 O'Clock Bani Choudhary Hindi
1958 Solva Saal Laaj Hindi
1959 Kaagaz Ke Phool Shanti Hindi
1960 Kala Bazar Alka Hindi
1960 Ek Phool Char Kaante Sushma Hindi
1960 Chaudhvin Ka Chand Jameela Hindi
1960 Girl Friend Hindi
1961 Roop Ki Rani Choron Ka Raja Rani Hindi
1962 Sahib Bibi Aur Ghulam Jaba Hindi
1962 Bees Saal Baad Radha Hindi
1962 Baat Ek Raat Ki Neela/Meena Hindi
1962 Rakhi Radha Hindi
1962 Abhijan Gulabi Bengali
1963 Mujhe Jeene Do Chameli Jaan Hindi
1963 Kaun Apna Kaun Paraya Asha Hindi
1963 Ek Dil Sau Afsane Sunita Hindi
1964 Kohra Rajashwari Hindi
1964 Shagoon Geeta Hindi
1964 Majboor Sushila Mehta Hindi
1965 Guide Rosie Marco/Miss Nalini Hindi
1966 Teesri Kasam Hira Bai Hindi
1966 Dil Diya Dard Liya Roopa Hindi
1967 Patthar Ke Sanam Taruna Hindi
1967 Ram Aur Shyam Anjana Hindi
1967 Palki Mehroo Hindi
1967 Ghar Ka Chirag Hindi
1968 Neel Kamal Rajkumari Neel Kamal/Sita Hindi
1968 Aadmi Meena Hindi
1968 Baazi Elizabeth D'Silva Hindi
1969 Khamoshi Nurse Radha Hindi
1969 Shatranj Meena Thakur Hindi
1969 Meri Bhabhi Maya Hindi
1970 Prem Pujari Suman Mehra Hindi
1970 Man Ki Aankhen Guddi (Geeta) Hindi
1970 Dharti Jwala/Princess Chitralekha Hindi
1970 Darpan Madhvi Hindi
1971 Man Mandir Krishna and Radha Hindi
1971 Reshma Aur Shera Reshma Hindi
1972 Zindagi Zindagi Meeta Sharma Hindi
1972 Trisandhya Indu Hindi
1972 Subha O Sham Shirin Hindi
1972 Dil Ka Raaja Laxmi Hindi
1972 Thrisandhya Malayalam
1973 Phagun Shanta Bangan/Shamrao Dhamle Hindi
1973 Justice Hindi
1974 Bangaru Kalalu Telugu
1976 Aadalat Radha Hindi
1976 Kabhi Kabhie Anjali Malhotra Hindi
1978 Trishul Shanti Hindi
1979 Aaj Ki Dhara Hindi
1980 Jyoti Bane Jwala Malti Hindi
1980 Jwalamukhi Savita Devi Hindi
1982 Sawaal Anju D. Mehta Hindi
1982 Namak Halaal Savitridevi Hindi
1982 Namkeen Jugni (Jyoti) Hindi
1982 Dharam Kanta Radha Singh Hindi
1983 Himmatwala Savitri Hindi
1983 Mahaan Janki Hindi
1983 Coolie Salma Hindi
1983 Pyaasi Aankhen Hindi
1983 Ghungroo Rani Maa Hindi
1984 Sunny Gayatri Inderjeet Hindi
1984 Mashaal Sudha Kumar Hindi
1984 Maqsad Sharda Hindi
1985 Bayen Hath Ka Khel Hindi
1986 Simhasanam Telugu
1986 Singhasan Rajmata Vardhan Hindi
1986 Allah Rakha Adv.Salma Anwar Hindi
1989 Chandni Mrs. Khanna Hindi
1991 Lamhe Dai Jaan Hindi
1991 Swayam Hindi
1994 Ulfat Ki Nayee Manzilen Hindi
2002 Om Jai Jagadish Saraswati Batra Hindi
2005 Water Bhagavati (Narayan's Mother) Hindi
2005 Maine Gandhi Ko Nahin Mara Principal Khanna Hindi
2005 15 Park Avenue Mrs. Mathur/Mrs. Gupta English/Bengali
2006 Rang De Basanti Ajay's Mother Hindi
2006 Chukkallo Chandrudu Arjun's Grand-Mother Telugu
2009 Delhi 6 Dadi (Annapurna Mehra) Hindi
2013 Love in Bombay Hindi
2015 Arshinagar Bengali
2017 The Song of Scorpions Zubaida Hindi
2018 Vishwaroopam II Tamil-Hindi Bilingual
Awards[edit]
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
Waheeda Rehman
Waheeda Rehman in 2012
Born 3 February 1938 (age 80)
Chengalpattu, Madras Presidency,
( Tamil Nadu, India)
Other names Waheeda Rahman
Occupation Actress
Years active 1955–1991, 2002–present
Notable work
- Pyaasa (1957)
- Kaagaz Ke Phool (1959)
- Kala Bazar (1960)
- Chaudhvin Ka Chand(1960)
- Bees Saal Baad (1962)
- Guide (1965)
- Teesri Kasam (1966)
- Neel Kamal (1968)
- Reshma Aur Shera (1971)
Spouse(s) Shashi Rekhi (1974–2000; his death)
Children 2
Awards
- Filmfare Awards for Best Actress
- BFJA Awards
- Filmfare Lifetime Achievement Award
- National Film Award for Best Actress
Contents
- 1Early life and background
- 2Acting career and personal life
- 3Filmography
- 4Awards
- 5Nominations
- 6Notes
- 7References
- 8External links
Waheeda Rehman was born in a Muslim family in Chengalpattu, Tamil Nadu, India.[8] She and her sister learnt Bharatnatyam in Chennai, where Guru Trichunder Meenakshi Sundaram Pillai and (in Bombay), Guru Jayalaxmi Alva, Doyen among nattuvanars taught[9] and performed on stage together. Her father, who was a district commissioner, died while she was in her teens.[10][11]
Rehman was in her teens when her father died. Her dream was to become a doctor, but, due to her family's circumstances and her mother's illness, she abandoned her goal. In order to help her family, she hit the silver screen with Telugu films; Jayasimha (1955), followed by Rojulu Marayi (1955) and a Tamil film Kaalam Maari Pochu (1956). It was in Vijaya-Suresh's Ram aur Shyam (a remake of the Telugu movie Ramudu Bheemudu) in 1967 that she acted again under the direction of the topnotch Telugu director Tapi Chanakya, who incidentally directed her movies Rojulu Maaraayi (in Telugu) (1955) and Kaalam Maaripochu (in Tamil) (1956).
It is a common misconception that Rehman was born in Andhra Pradesh.[12]"I was born in Chengalpattu", she reveals, "I used to have a house in Chennai and agricultural land in the Red Hills area". So, why the widespread belief that she was born in Hyderabad? "It's a long story", she says, "When I was in Chennai, I did three to four Telugu movies. In the first one, Rojulu Maraayi, I did only a folk dance number. However, it went on to become a hit! I was in Hyderabad celebrating its success and Guru Dutt happened to be there. He was on a lookout for new faces and heard that I could speak in Urdu. It is because he spotted me in Hyderabad that people assume I was born there".
Acting career and personal life[edit]
Her first appearance in a Hindi film was in CID (1956). Later, she was seen in a series of successful films including Pyaasa (1957), 12 O'Clock (1958), Kaagaz Ke Phool (1959), Sahib Bibi Aur Ghulam and Chaudhvin Ka Chand (1961). Her other notable works include Solva Saal (1958), Baat Ek Raat Ki (1962), Kohra (1964), Bees Sal Baad (1962), Guide (1965), Teesri Kasam, Mujhe Jeene Do (1966), Neel Kamal and Khamoshi (1969).
Waheeda Rehman started her career in films in 1954 and her first successful films were the Telugu films Jayasimha (1955), Rojulu Marayi (1956) and Tamil film Kaalam Maari Pochu (1955). It was M.G.Ramachandran who offered her the song "Salaam Babu" in Modern Theatres production of the Tamil film Alibabavum 40 Thirudargalum (1956 film).
In the success party of Rojulu Maaraayi, Guru Dutt noticed her and decided to groom her and have her act in Hindi films. Waheeda considered Guru Dutt as her mentor. Dutt brought her to Bombay (now Mumbai) and cast as a vamp in his production CID (1956), directed by Raj Khosla. A few years after joining the Hindi film industry, she lost her mother. After the success of C.I.D., Dutt gave her a leading role in Pyaasa (1957). Their next venture together, Kaagaz Ke Phool (1959), depicted the story of a successful director's decline after he falls for his leading lady. Dutt's existing marriage and her film successes with other directors caused them to drift apart personally and professionally, although they continued to work together into the 1960s (Chaudhvin Ka Chand). She completed Sahib Bibi Aur Ghulam (1962) under some strain. They broke away from each other after its indifferent reception at the Berlin Film Festival in 1963. Soon afterward, Guru Dutt died on 10 October 1964 in Mumbai reportedly from an overdose of sleeping pills and alcohol.
Waheeda Rehman established a great working relationship with Dev Anand, and together as a pair had number of successful films to their credit. The box office hits of the pair include CID (1956), Solva Saal (1958), Kala Bazar (1960), Baat Ek Raat Ki (1962) and Guide (1965); box office duds were Roop Ki Rani Choron Ka Raja (1961) and Prem Pujari (1970). She reached her peak with Guide (1965) and was much in demand. Rehman was cast as Gulabi in Satyajit Ray's Bengali film Abhijan in 1962. She worked in the comedy film Girl Friend in 1960 with Kishore Kumar. She was offered the lead actress's role in films even opposite actors junior to her by experience like Dharmendra, but they flopped. But she continued to taste success in the late sixties when she was paired with well established stars. She delivered hits opposite Dilip Kumar in three successive years; Dil Diya Dard Liya in 1966, Ram Aur Shyam in 1967 and Aadmi in 1968 and some box office duds but critically acclaimed films with Rajendra Kumar; Palki, Dharti and Shatranj; two films opposite Raj Kapoor; Ek Dil Sau Afsane and the acclaimed Teesri Kasam, which was the debut film of Basu Bhattacharyya; a few films opposite Biswajeet such as Bees Saal Baad and Kohra; this helped her continue to get lead roles in the early seventies. Her career's biggest hit Khamoshi came in 1970, opposite Rajesh Khanna.
Her career continued throughout the 1960s, 1970s, and 1980s. She won the Filmfare Best Actress Award for her roles in Guide (1965), where she hit the peak of her career, and Neel Kamal (1968), but despite excellent offbeat roles in subsequent films, including a National Award winning performance in Reshma Aur Shera (1971), some of the films failed at the box office. Seeing her films being successful, Waheeda decided to experiment with roles at this stage of career. She accepted Reshma Aur Shera, opposite her old co-star Sunil Dutt, with whom she had previously in the sixties had hits such as Ek Phool Char Kaante, Mujhe Jeene Do, Meri Bhabhi and Darpan. Her performance was appreciated by critics, but the film failed at the box office. But Waheeda continued to experiment with roles and accepted the offer to play a mother to Jaya Bhaduri in Phagun (1973). This, she regards the mistake of her career, as after this film flopped, suddenly people started offering her motherly roles to heroes.
Film expert Rajesh Subramanian informs that Manmohan Desai had approached her on behalf of Shammi Kapoor during the making of Naseeb. In the song "John Jani Janardhan", Shammi Kapoor and Waheeda Rehman make a grand entry holding hands. Incidentally this was the first time the two stars appeared together on screen. Later she also did Manmohan Desai's Coolie and Allah Rakha.
From the mid-seventies, Waheeda's career as lead heroine ended and her career as character actor began. At around this time, Kamaljit, who starred opposite her in Shagoon (1964), proposed and they got married in 1974. After her appearance in Lamhe (1991), she retired from the film industry for 12 years.
In her new innings from the seventies, her successful films where she played pivotal roles include Kabhi Kabhie (1976),Trishul (1978), Jwalamukhi (1980), Namkeen and Namak Halaal (1982), Mashaal (1984), Chandni(1989) and Rang De Basanti(2006). She played the central character in the Mahesh Bhatt directed film Swayam that starred Akash Khurana and Anupam Kher. She also appeared in a tele-series being directed by Gulzar.
In recent years she made a comeback playing elderly mother and grandmother roles in Om Jai Jagadish (2002), Water (2005), Rang De Basanti (2006), 15, Park Avenue and Delhi 6 (2009) which were all critically acclaimed.
(L-R) Nanda, Waheeda Rehman, Helen and Sadhana
In October 2004, a Waheeda Rehman film retrospective was held at the Seattle Art Museum and the University of Washington where Waheeda participated in spirited panel and audience discussions on her most memorable films; Pyaasa, Teesri Kasam and Guide - although her most successful film is still considered to be Khamoshi, with costar Rajesh Khanna.
After her marriage to Shashi Rekhi (screen name Kamaljeet)[13] on 27 April 1974, she shifted to a farmhouse in Bangalore. She has two children named Sohail and Kashvi, who are writers. On 21 November 2000, her husband died following a prolonged illness. She moved back to her ocean view bungalow in Bandra, Mumbai where she currently lives.
She is also an ambassador for Rang De working with them in the fight against poverty.[14]
Filmography[edit]
Rojulu Marayi Telugu
1955 Jayasimha Princess Telugu
1955 Kaalam Maari Pochu Guest appearance in the song
"Yeru thooki povayae annae chinnanae" Tamil
1956 Alibabavum 40 Thirudargalum Dancer Tamil
1956 CID Kamini Hindi
1957 Pyaasa Gulabo Hindi
1958 12 O'Clock Bani Choudhary Hindi
1958 Solva Saal Laaj Hindi
1959 Kaagaz Ke Phool Shanti Hindi
1960 Kala Bazar Alka Hindi
1960 Ek Phool Char Kaante Sushma Hindi
1960 Chaudhvin Ka Chand Jameela Hindi
1960 Girl Friend Hindi
1961 Roop Ki Rani Choron Ka Raja Rani Hindi
1962 Sahib Bibi Aur Ghulam Jaba Hindi
1962 Bees Saal Baad Radha Hindi
1962 Baat Ek Raat Ki Neela/Meena Hindi
1962 Rakhi Radha Hindi
1962 Abhijan Gulabi Bengali
1963 Mujhe Jeene Do Chameli Jaan Hindi
1963 Kaun Apna Kaun Paraya Asha Hindi
1963 Ek Dil Sau Afsane Sunita Hindi
1964 Kohra Rajashwari Hindi
1964 Shagoon Geeta Hindi
1964 Majboor Sushila Mehta Hindi
1965 Guide Rosie Marco/Miss Nalini Hindi
1966 Teesri Kasam Hira Bai Hindi
1966 Dil Diya Dard Liya Roopa Hindi
1967 Patthar Ke Sanam Taruna Hindi
1967 Ram Aur Shyam Anjana Hindi
1967 Palki Mehroo Hindi
1967 Ghar Ka Chirag Hindi
1968 Neel Kamal Rajkumari Neel Kamal/Sita Hindi
1968 Aadmi Meena Hindi
1968 Baazi Elizabeth D'Silva Hindi
1969 Khamoshi Nurse Radha Hindi
1969 Shatranj Meena Thakur Hindi
1969 Meri Bhabhi Maya Hindi
1970 Prem Pujari Suman Mehra Hindi
1970 Man Ki Aankhen Guddi (Geeta) Hindi
1970 Dharti Jwala/Princess Chitralekha Hindi
1970 Darpan Madhvi Hindi
1971 Man Mandir Krishna and Radha Hindi
1971 Reshma Aur Shera Reshma Hindi
1972 Zindagi Zindagi Meeta Sharma Hindi
1972 Trisandhya Indu Hindi
1972 Subha O Sham Shirin Hindi
1972 Dil Ka Raaja Laxmi Hindi
1972 Thrisandhya Malayalam
1973 Phagun Shanta Bangan/Shamrao Dhamle Hindi
1973 Justice Hindi
1974 Bangaru Kalalu Telugu
1976 Aadalat Radha Hindi
1976 Kabhi Kabhie Anjali Malhotra Hindi
1978 Trishul Shanti Hindi
1979 Aaj Ki Dhara Hindi
1980 Jyoti Bane Jwala Malti Hindi
1980 Jwalamukhi Savita Devi Hindi
1982 Sawaal Anju D. Mehta Hindi
1982 Namak Halaal Savitridevi Hindi
1982 Namkeen Jugni (Jyoti) Hindi
1982 Dharam Kanta Radha Singh Hindi
1983 Himmatwala Savitri Hindi
1983 Mahaan Janki Hindi
1983 Coolie Salma Hindi
1983 Pyaasi Aankhen Hindi
1983 Ghungroo Rani Maa Hindi
1984 Sunny Gayatri Inderjeet Hindi
1984 Mashaal Sudha Kumar Hindi
1984 Maqsad Sharda Hindi
1985 Bayen Hath Ka Khel Hindi
1986 Simhasanam Telugu
1986 Singhasan Rajmata Vardhan Hindi
1986 Allah Rakha Adv.Salma Anwar Hindi
1989 Chandni Mrs. Khanna Hindi
1991 Lamhe Dai Jaan Hindi
1991 Swayam Hindi
1994 Ulfat Ki Nayee Manzilen Hindi
2002 Om Jai Jagadish Saraswati Batra Hindi
2005 Water Bhagavati (Narayan's Mother) Hindi
2005 Maine Gandhi Ko Nahin Mara Principal Khanna Hindi
2005 15 Park Avenue Mrs. Mathur/Mrs. Gupta English/Bengali
2006 Rang De Basanti Ajay's Mother Hindi
2006 Chukkallo Chandrudu Arjun's Grand-Mother Telugu
2009 Delhi 6 Dadi (Annapurna Mehra) Hindi
2013 Love in Bombay Hindi
2015 Arshinagar Bengali
2017 The Song of Scorpions Zubaida Hindi
2018 Vishwaroopam II Tamil-Hindi Bilingual
Awards[edit]
- Filmfare Best Actress Award for Guide in 1967[15]
- Filmfare Best Actress Award for Neel Kamal in 1968[16]
- Filmfare Lifetime Achievement Award in 1994[17]
- Padma Bhushan in 2011[18]
- Bengal Film Journalists' Association Awards, Best Actress (Hindi) for Teesri Kasam in 1967[19]
- NTR National Award in 2006
- Filmfare Award for Best Supporting Actress – Sahib Bibi Aur Ghulam (1962)[20]
- Filmfare Award for Best Actress – Ram Aur Shyam (1967)[21]
- Filmfare Award for Best Actress – Khamoshi (1970)[22]
- Filmfare Award for Best Supporting Actress – Kabhi Kabhie (1976)[23]
- Filmfare Award for Best Supporting Actress – Namkeen (1982)[24]
- Filmfare Award for Best Supporting Actress – Lamhe (1991)[25]
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Shakila
Biography
Showing all 12 items
Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trivia (8)
January 1, 1935
Died September 20, 2017 in Mumbai, India (heart attack)
Noor Jehan (nicknamed Noor) and Nasreen. Their ancestors belonged to the royal families of Afghanistan and Iran. Their paternal grandparents and mother were killed during family feuds over the throne. Their father and his sister Feroza Begum brought the children to Mumbai, India. Shakila and her sisters faced tough times, since their father died soon after. Her aunt, who was engaged to marry a prince, lost him in an accident, and she decided to remain unmarried and raise her three nieces. Her aunt was fond of movies and took the girls to showings. Their family friends with Kardar and Mehboob Khan. In fact, it was 'Kardar' who offered her the chance to act in Dastaan (1949). She took the name Shakila and made her debut as a child artiste in the film, which starred Suraiya. She quickly acted in another film with Suraiya titled Duniya (1949). After working in some routine films in secondary roles including Gumasta (1951), Sindbad the Sailor (1952), Rajrani Damyanti (1952), Aagosh (1953), Shahenshah (1953), Raj Mahal (1953), Armaan (1953), people finally noticed her in Guru Dutt's Aar-Paar (1954). In Aar-Paar, she played the other woman in Guru Dutt's life, the cabaret dancer, who is disdained by society and is a complex and embittered person. Aar-Paar was a superhit film and its best songs were picturized on Shakila. Her sister Noor also acted in Aar-Paar (1954) and later married famous comedian Johnny Walker and quit films, as did Nasreen, who became a housewife.
Dutt was impressed with Shakila's performance to repeat her in Raj Khosla's C.I.D. (1956), but she was eclipsed by Dutt's protégé Waheeda Rehman who made her debut in that film. Shakila's aunt was managing her career and she didn't want Shakila to be typecast in fantasy films, so she quoted a large sum of Rs. 10000 for Alibaba and Forty Thieves (1954) thinking it would dissuade the producer from casting her, but he agreed and she acted in the film. It became a hit. As a consequence, Shakila was reduced to B-grade mythological and fantasy films and she earned the title "Arbi Chehra" (Arabian Princess) from the film fraternity. She acted in Lalpari (1954), Veer Rajputani (1955), Roop Kumari (1956), Agra Road (1957), Al-Hilal (1958) etc. She played a ethereal fairy in "Hatim Tai" (1956), which is an A-grade color hit film, based on an Arabian Nights tale. She created some stir in 1957, when her film opposite Kishore Kumar - Begunah was banned after 10 days of its release. The film was a carbon copy of Hollywood's Knock on Wood (1954) starring Danny Kaye and the producers of that film went to court and won the case to stop the further screening of this film. As a consequence, all the negatives of this film were destroyed. In 1958, she starred opposite Sunil Dutt in suspense/thriller Post Box. 999. In the latter part of her career, Shakti Samanta cast her in China Town (1962) opposite Shammi Kapoor, and the songs became a rage.
During the course of her fourteen-year career, she appeared in more than 50 films with well-known actors and directors. After that, she quit the industry and got married and moved to Germany. After her marriage ended, she came back to Mumbai and remarried to an Afghan man who was the Consulate General in India. They had a daughter Meenaz together, and they went to live abroad. In 1991, she suffered a terrible blow when her daughter jumped to her death. Putting the tragedy behind her, she moved back to Mumbai and stayed close to her sisters and friends. She declined all film and television serial offers and refused to make a comeback, since she wanted fans to remember her as a young, beautiful heroine. She died of a massive heart attack at the age of 82 on September 20, 2017 in Mumbai, India.
- IMDb Mini Biography By: Ramstep
Noor Jehan, nicknamed Noor, and they both acted in Aar-Paar (1954).
Her friends in the film industry were Waheeda Rehman, Nanda, and Jabeen Jalil. The four of them used to go everywhere together. She also became friends with Mala Sinha, Nimmi, Dilip Kumar and his wife Saira Banu.
Her best known films are Aar-Paar (1954), C.I.D. (1956), and China Town (1962).
Her sister Noor's husband is comedian Johnny Walker.
Daughter Meenaz jumped to her death in 1991.
Her youngest sister is small time actress Nasreen who quit films to become a housewife. Not to be confused with Pakistani actress by the same name. Nasreen's daughter Zohra debuted in the film Pahunchey Huwe Log (1986) .
Has a son.
https://www.imdb.com/name/nm0787630/bio
Shakila (actress)
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
For other uses, see Shakila (disambiguation).
.jpg)
Shakila and Johnny Walker in Aar Paar (1954)
Shakila (1 January 1935 — 20 September 2017) was Indian actress, best known for her roles in Guru Dutt's films: Aar Paar (1954) and C.I.D. (1956).
Contents
Career[edit]
She starred with Shammi Kapoor in Shakti Samanta's China Town (1962). She also had worked beautifully in films like Post Box 999. She was married twice.[1] Her husband's name is Johny Barber.[2]
She retired from cinema in 1963, when she married and decided to move to the United Kingdom with her husband who was not from the film industry. She had a daughter with him named Meenaz, who committed suicide in 1991. Shakila's sister Noor (short for Noorjehan) was married to Johnny Walker.[3]
Shakila died at the age of 82 due to a heart attack on 20 September 2017. Shakila was buried at Mahim cemetery in Mumbai, Maharashtra.
Filmography[edit]
- 1949 Duniya
- 1950 Dastan
- 1953 Armaan
- 1953 Madmust
- 1953 Shahenshah
- 1953 Aaghosh
- 1954 Aar-Paar - Dancer (Captain's Moll)
- 1954 Daan
- 1954 Gul Bahar
- 1954 Halla Gulla
- 1954 Khushboo
- 1954 Laila
- 1954 Lal Pari
- 1954 Ali Baba 40 Chor - Marjina
- 1954 Noor Mahal
- 1955 Mast Qalandar
- 1955 Ratna Manjari
- 1956 C.I.D. - Rekha
- 1956 Caravan
- 1956 Hatim Tai
- 1956 Jhansi Ki Rani - Kashi (as Shakeela)
- 1956 Malika
- 1956 Paisa Hi Paisa
- 1956 Roop Kumari
- 1957 Begunah
- 1957 Naag Padmini
- 1957 Paristan
- 1957 Agra Road
- 1958 Al Hilal
- 1958 Chaubees Ghante
- 1958 Post Box 999 - Nilima
- 1959 Forty Days
- 1959 Guest House - Neela
- 1959 Kali Topi Lal Rumal - Champa
- 1959 School Master
- 1960 Abdulla
- 1960 Baraat
- 1960 Dr. Shaitan
- 1960 Gambler
- 1960 Shriman Satyawadi - Geeta
- 1961 Reshmi Rumal - Rekha Rai
- 1962 Baghdad Ki Raaten
- 1962 China Town - Rita D. Rai
- 1962 Naqli Nawab - Shabnam
- 1962 Tower House - Sabita
- 1963 Kahin Pyaar Na Ho Jaaye - Bimla
- 1963 Mulzim - Asha
- 1963 Ustadon Ke Ustad - Nita
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