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Ek Fankaar

, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman,

 
> Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman,
rashmi mehta
post Mar 20 2009, 06:37 PM
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page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.



http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)


songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.


[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

This post has been edited by rashmi mehta: Jun 1 2011, 08:24 AM


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rashmi mehta
post Jul 17 2009, 02:12 AM
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Tanuja Samarth (Marathi: ????? ?????), popularly known as Tanuja (September 23, 1943) is an Indian actress.

She is the mother of Kajol and Tanisha. She is a grandmother of Nysa [kajol's daughter]


To a legacy born, but the author of her own destiny; a romantic at heart, but a marriage turned sour.

The U-turns of destiny not withstanding,

this spirited non-conformist has always taken life in her stride.

For yesteryear's actress of rare ability, the limelight doesn't burn as brightly today.

But nothing can dim this grandmother's zest for life.



Tanuja was born in Bombay into a Marathi family of four children as Tanuja Samarth

to poet Kumarsen Samarth and his wife Shobhna Samarth.

Her mother was a famous 1930s and 1940s actress and her father was a poet and film director.

When she was very young her parents separated.

When 1940s star Shobhana Samarth decided to launch her daughter Nutan with Hamari Beti (1950),

she also gave her younger daughter Tanuja a break as a child actor. The film did not do much for either of Shobhana's betis.

But thus Tanuja entered films as a child actress and continued working until 1973.

She started her film career with her older sister Nutan in the film Hamari Beti (1950) as Baby Tanuja.

Soon, Tanuja was packed off abroad where she fine-tuned her etiquette and

familiarised herself with English, French and German. She returned with only a working knowledge of Hindi but

willingly shared screen space as an adult actress with her now famous sister Nutan for their home production

Chhabili (1960) which was directed by her mother.

This film too failed to provide the wind below Tanuja's wings.

Tanuja's true transformation into an adult heroine came with Hamari Yaad Aayegi (1961), helmed by director Kidar Sharma

who had discovered Raj Kapoor, Madhubala and Geeta Bali.

Ever up to monkey tricks, young Tanuja was even slapped by the veteran director for giggling during a dramatic scene.

Fortunately, the film also proved to be a slap on the face of her detractors.

Playing a street waif, she got her first recognition as a spontaneous actress.

But the film did not register on the box-office radar and is remembered only for chanteuse Mubarak Begum's curse-in-verse,

Kabhi tanhaiyon mein yun, hamari yaad aayegi ... phir na jee sakoge tum, na tujhko maut aayegi.

The early 1960s saw Tanuja's career stuck in development hell.

Her roles were a curious clutch of supporting roles in major films like

Aaj Aur Kal (her vivacious character provided a striking personality contrast to a morose Nanda),

and Benazir (with Meena Kumari and Ashok Kumar); a role with comedian Mehmood (Bhoot Bangla) and

lead parts opposite medium impact newcomers like Dharmendra in Chand Aur Suraj.

When Guru Dutt died, leaving Tanuja's big hope Baharein Phir Bhi Aayegi incomplete,

Dharmendra replaced him. Mala Sinha may have had the more dramatic role,

but it was Tanuja whom Dharmendra loved and serenaded.

But the big solo hit eluded her. Tanuja's progress was as arduous as any pilgrim's.

Her late 1960s roles ranged from good (she sizzled in Jewel Thief),

to bad (a go-nowhere role in Hema Malini's debut Sapnon Ka Saudagar),

to indifferent (Nai Roshni, Wahan Ke Log, Juari).

Creatively, the bright spark was Do Dooni Char co-starring Kishore Kumar.

In this adaptation of Shakespeare's Comedy Of Errors, Tanuja displayed formidable comic timing.


It was her unusual pairing with Jeetendra in Jeene Ki Raah (1969) that catapulted Tanuja into stardom. She played a wheelchair-bound rich girl who is spurred to walk after she is smitten by Jeetendra. But, unknown to her, he is already married. Tanuja stayed true to her zingy personality and dried off any excessive melodrama.


In the same year, Tanuja won the Best Supporting Actress Filmfare Award for Paisa Ya Pyar.

Tanuja was flooded with films, and some like Pavitra Papi (1970) showcased a more sedate side of the actress.

In Haathi Mere Saathi (1971), she shared space with elephants, big cats and Rajesh Khanna, the catnip of the 1970s.

Her romantic role had negative shades towards the second half --

she thinks her husband's favourite elephant tried to kill her child and demands the tusker be banished --

but Tanuja won the audiences by bringing depth to her character.

Rajesh Khanna and Tanuja did two more films together, Mere Jeevan Saathi and Humshakal,

but they proved to be also-rans.

Tanuja then refused the role eventually played by Zeenat Aman in the ground-breaking Hare Rama Hare Krishna

as she did not want to play Dev Anand's sister.

Tanuja was eminently interesting when she tried something different, like Basu Bhattacharya's Anubhav (1971).

She let Bhattacharya shoot the film in her apartment and was rewarded with a memorable role of

a wife caught between an unfulfilling marriage (to Sanjeev Kumar) and an ex-lover (Dinesh Thakur).

In a vastly underrated performance,

Tanuja made evident with the subtlest of gestures the many shifts in her character's psyche.

A whirlwind romance with Mukherjee scion Shomu, her Ek Baar Muskara Do (1972) director,

resulted in Tanuja getting married in 1973 and taking it easy after daughter Kajol's birth on August 5, 1974.


Tanuja was wheelchair-bound once again (a la Jeene Ki Raah) in one of her last films as a heroine, Imtihaan (1974).

She was cast more to type in Humrahi, a rollicking comedy which had Tanuja exchanging barbs and jokes with Randhir Kapoor.

Thereafter, she grittily pulled herself out of a stagnant marriage but was swamped by character roles

in films often starring former heroes.

Her Pyar Ki Kahani hero Amitabh Bachchan had to call her bhabhi in Khuddar (1982).

But the occasional powerful character like in Raj Kapoor's Prem Rog (1982) kept her creative muse alive and

reminded us of her talent and the famous sparkle in her eye.



She was not classically beautiful with her Barbara Striesand nose and darker than your average Bollywood starlet complexion.

Nor was Tanuja especially talented or could she really dance very well.

But then there is something about Tanuja something fresh and infectious, endearing.

She is so darn cute, that's it.

She bounces and pouts and makes girly faces, thoroughly modern 70s girly faces.

Tanuja was that rich father's spoilt daughter who followed her headstrong heart

that you see in so many Bolywood films of the late 60s and 70s.

She had that part down pat.

And every rich spoilt daughter who follows her headstrong heart in every Bollywood film that followed Tanuja's lead

owes a bit of their characterization to her.

Besides being the real life daughter of 40s film star Shobhana Samarth and the sister of Nutan,

Tanuja is the mother of Kajol, one of the biggest superstars of today's Bollywood.


Tanuja tells Anubha Sawhney what makes her a self-sustaining soul and the woman she wants to be.

I grew up in awe of my mother: My earliest memories, after I was born on September 23, 1943,

in Bombay to Shobhana Samarth and Kumar Singh as the second of four children,

are of the fascination I had for my mother.

I still remember her red toenails, her red lipstick, her gorgeous sarees with backless cholis,

her eyelashes with imported mascara, her oval face... she was so perfect!

I was never beautiful. Mom was the pretty one.

In fact, people joked that although my parents were good-looking, I hadn't inherited their genes.

For my parents, discipline came first: My father was a director and my mother, an actress.

Both were strict disciplinarians and we were not allowed chocolates on weekdays.

People from the film industry visited us — David, Jayant, Moti kaka, KN Singh, Begum Para, Nadira.

But I was never taken to the sets till Tai (Nutan) was launched in Hamari Beti.

I was a movie star at five! My first school was Villa Theresa, a kindergarten.

I then went to Walsingham, a co-ed school from where I remember Vikas Desai, Vasant Desai's son.

I had no interest in studies and was a complete brat. In fact, I was the only kid my mother beat up!

I was five when my parents made Hamari Beti. When Mom asked whether I wanted to act in a movie,

I replied, 'Does that mean no school?' I played baby Nutan in the film and memorised everybody's dialogues,

in addition to my own! During shooting,

I lost two of my baby teeth and refused to open my mouth. And when I heard my own squeaky voice on tape,

I refused to speak! Lots of lemonade with ice finally won me over!

I was terrified of boarding school: I was all of eight when I was sent to St Joseph's, Panchgani.

Before me, Tai had been sent to boarding school, but was brought back by Dad after she howled and howled.

I was terrified when I was told that I had no choice but to attend St Joseph's,

where one was required to wear red skirts and sleep on spring beds minus mattresses if one wet the bed!

I spent a major part of my days at boarding school with a red skirt and no mattress!

But I made lots of friends at school and am still in touch with them.

My parents separated before my brother was born: When my parents went their own ways, Jaideep was yet to be born.

But although they were no longer husband and wife, they were still Mom and Dad for us.

In fact, Dad came to meet us almost everyday. Around then, Mom decided that I would study at St George's in Switzerland

because I had a flair for languages.

While in Switzerland, Dad wrote to me in German and I always replied in German.

I had a blast in Switzerland! When I flew to Switzerland, it was the first time I was aboard an aeroplane.

At St George's, I met Sabeeha (Tiger Pataudi's sister), who became my best friend,

and Pier Franco Giacardi — my first boyfriend! Pier spoke no English and I spoke no Italian; so, we communicated in French.

When he asked if it was okay to kiss me, I — half-curious — said 'yes'.

Pier slobbered all over my face and I ran back to the school.

Later, we became good friends and he wrote mushy letters to me.

Films offered a solution to financial problems: Back home, we had a cash crunch and Mom called me back to India.

I never attended college. My mother suggested that I could either sulk or do what I wanted to do with a smile.

I smiled and jumped into Hindi cinema at the age of 16. Chhabili was released in 1960, and Memdidi, the next year.

In 1962, I made a foray into Bengali films with Deya Naya opposite Uttam Kumar. It became a superhit.

Bengali films gave me more satisfaction: I have never really been away from films.

I had a brief role in Bhoot and feature in the upcoming releases Khakee and Rules: Pyaar Ka Superhit Formula.

Down the years, I have enjoyed commercial success in Hindi cinema with Baharen Phir Bhi Aayengi,

Jewel Thief, Haathi Mere Saathi, Anubhav, Imtihaan, Humrahi, Bandish, Prem Rog, Kaamchor, Masoom and,

more recently, Saathiya.

But I personally feel that my Hindi film career was never too hot. My Bengali films, on the other hand, always did well.

Shomu and I were not meant to be together: I first met Shomu Mukherjee on the sets of Ek Baar Muskura Do. We fell in love and tied the knot. What happened later is not important except that we are not together anymore. We agreed to disagree. The only thing I am grateful for is my two daughters Kajol and Tanisha. As far as the girls are concerned, what happened between husband and wife is none of their business. Shomu and I never argued in front of them and, when they went to boarding school, we visited them as parents each month.

Intellectual stimulation is what I look for: Even today, my daughters say, 'We have to find you someone, Mama.'

I always ask them, 'From where will you find someone with my kind of money and my kind of intelligence?'

For me, it's the brains that matter, the body comes later. I could get many 'use and abuse' type of men,

but I don't want them. There isn't one single male who I have met so far who is intellectually stimulating enough for me

to fall for.

Kajol has always been mischievous: On one occasion, when Kajol was six, she got angry with me and said,

'I'm going to stay with Dad.' When I asked her to go, she said she would get the driver to drop her.

I refused, saying it was my car and my driver. I also forbade her from using my phone to call her father.

She rushed to the neighbour's house and called her father, who was not home.

After pondering over what to do, Kads meekly rung the doorbell, and asked to be let in. We became friends!

At home, my daughters had a little box into which I would drop money each time I swore.

Once, when Kads was banging her head against the floor, I said I would beat the s**t out of her if she misbehaved.

With a smirk on her face, she replied, '50 bucks, Mama. You said: s**t.' I was stumped!

I have become 'Mom' for Ajay too: I am glad that Kads has Ajay Devgan in her life.

He is a very warm human being. Before their wedding, Ajay called me 'Tanuji', like his father.

After they tied the knot, he never addressed me directly for a long time. One day,

I insisted that he address me as something. His reply was, 'Okay, Mom.'

As a grandmom, Nysa keeps me busy: When Kajol was carrying Nysa, it took a host of people to convince her

that she had gone into labour. She even brushed me away, saying I knew nothing!

But once she realised that it was time, Kads walked past both Ajay and me and went straight into the OT!

Within 15 minutes, Nysa was born. I had no time to be excited, it happened so fast.

These days, Nysa keeps all of us busy.

I live life on my own terms: I don't think about the future.

Death doesn't scare me. And I don't believe in the concept of God, but this doesn't bother me.

I believe in romance. Still, I am also a loner — I like the company of people, but only on my own terms.

Come to think of it, I am a paradox. But I am happy being myself.

anubha_sawhney@indiatimes.com

This post has been edited by rashmi mehta: Jul 17 2009, 02:50 AM
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