Noorjehan Should Have Continued To Sign Indian Films, An Article Options

[Inaam]

Pakistani film critic and author Aijaz Gul shares with Utpal Borpujari of Deccan Herald some interesting aspects of his book on the melody queen.

Article courtesy: Hum Tum



Awaz De Kahan Hai, Jawan Hai Mohabbat, Aaja Meri Barbaad Mohabbat, Dil Ke Afsane Nigahon Ki Zuban are some of the evergreen songs that sway the hearts of listeners even today, over five decades after they were first sung. The lyrics of all these songs were no doubt great, but what made them immortal was the voice that brought them alive. And that voice belonged to Noorjehan, someone whom even Lata Mangeshkar looked up to as an inspiration. A great singer, but with a controversial personal life, she had also acted in a range of films but what keeps her alive even today is her songs.

Mallika-e-Tarannum – Noorjehan, the Melody Queen is a biography of the great artiste whose singing genius continues to enthrall millions in India, where she bloomed as an artiste, and Pakistan, where she decided to settle down after Partition. Pakistani film critic and author Aijaz Gul shares with Utpal Borpujari of Deccan Herald some interesting aspects of his book on the melody queen:

While writing the book, did you keep in mind the inevitable comparisons that keep happening between Noorjehan and Lata Mangeshkar?

Yes. They were both just about contemporaries. Noorjehan came to Mumbai in 1940 and Lata entered the scene around 1945. But Noorejehan joined films in 1932-1933 in Kolkata. They met in Mumbai and knew each other well. They also knew that they were supreme in Pakistan and India respectively and that they were both loved in both the countries.

Apart from the fact that she was a legendary singer, what were the aspects that drew you to Noorjehan as a subject?

I knew from the very beginning that the generation from the 1940s, 1950s and even the 1960s in India know Noorjehan very well and continued to love her even after her migration to Pakistan. Noorjehan herself had a lot of love for India and her Indian friends, and in her last visit to Mumbai, she had said that she had come back to India after 35 years to pay back her debts. It was in the light of these facts that I thought it appropriate to get the book published in India.

Had Noorjehan not shifted to Pakistan, could she have been better off as a creative artiste?

Noorjehan shifted to Pakistan because she missed her parents. Leaving the politics of 1950s and 1960s of the two countries aside, Noorjehan should have regularly visited India and rendered songs for Indian films. Of course, there must have been compulsions for not doing so. I think Noorjehan should have continued to work in Indian films, if not as an actress, certainly as playback singer.

Noorjehan’s personal life was full of tragedies. How much of this aspect have you looked into in your book?

The film industry celebrities must carry the heavy baggage of personal tragedies which is magnified because as somebody said “they are public property”. I have gone into details of her personal triumphs and tragedies. I don’t like going into the personal life of celebrities but my work would have been incomplete and lacked credibility if I had remained aloof from events of her personal life.

In India, the trend to ‘remix’ old songs has become quite viable commercially. Has there been any such trend in Pakistan with Noorjehan’s music?

Yes. Many of Noorejahn’s Urdu and Punjabi songs have been remixed. A case in point are songs from Anarkali in Urdu and Heer Ranjha in Punjabi. I personally do not subscribe to remix stuff. If the song is so good, leave it aside.

Has the Pakistani government done anything to preserve the legacy of Noorjehan as one of the greatest singers of the subcontinent?

Noorjehan lives through her melodies. Her songs are played regularly on radio and her programme Tarannum is shown continuously on Pakistan Television. Newspapers bring out articles on her and pay tributes on her death anniversary every December. Selection of her songs are brought out on latest CDs on regular basis.

Did you have to leave out any interesting aspect that you found during research, from the book because of any particular reason?

Yes. I did not go into graphic and spicy details of her personal acts. I believe that after one’s demise you should not discuss those graphic details.

Original link: http://www.deccanherald.com/Content/Jan320...08010244488.asp

[nasir]

I think Noorjehan should have continued to work in Indian films, if not as an actress, certainly as playback singer.

If that had happened, the history of Bollywood would have been different. As an actress, she would have acted opposite all the male leads of that time, including Dilip, Dev and Raj at least till early Fifties. As a singer she would have held on her own for a longer time, thus offering great competition to the Mangeshkar sisters. Under the batons of Naushad, and other music directors there would have been more memorable songs to her credit.

Just a passing thought of course....

[Inaam]

I agree with you, Nasir Sahab.

[Pulkit]

It would have been a great treat to have Noor Jehan sing for Indian films post partition. Many composers were fond of her including Naushad, O.P. Nayyar and C. Ramchandra. A versatile artist she could have added magic to many songs and in return got a platform for fullest use of her potential.

[nasir]

I agree with you, Nasir Sahab.

Thanks Inaam bhai.
Strange, how destiny works!


Nasir.

[Akhtar]

Perhaps during the mid to late seventies and onwards she would have been better of in India, as in my opinion the quality of Pakistani lyricists declined rapidly in those decades (and continues to do so).

[Inaam]

Perhaps during the mid to late seventies and onwards she would have been better of in India, as in my opinion the quality of Pakistani lyricists declined rapidly in those decades (and continues to do so).

Very true, very true!!!