Hi friends!
I have found two different articles with the same tittle ‘Lata and Noor Jehan- parallel Lines Meet’. Both the articles are very long. One of the articles is written by Khadija Siddiqi and the other one by Rashna Mehmood.
Can anybody put some light on the authors and articles as well?
Inaam
Full Version: Lata And Noor Jehan- Parallel Lines Meet
I thot the article was by Vish Krishnan!!! 
Must be dreaming!!!! 
Ummer should know.
Must be dreaming!!!! Ummer should know.
Inaam,
Those very long articles were written by Vish Krishnan. Maybe you are talking about some other articles by the same title or some other people taking credit for the same article.
Ummer.
Those very long articles were written by Vish Krishnan. Maybe you are talking about some other articles by the same title or some other people taking credit for the same article.
Ummer.
Well I have read articles in the past, which has drawn parallels between Madam and Lata jii. I read this one also, found it pretty good: http://www.muziq.net/artists/madam/prof_abdul.shtml
I just checked, I also have an article with the same tittle by Vish Krishnan? I think I should post all three articles here. What you guys think?
Inaam
Inaam
Go ahead Inaam. We can compare them. Any idea abt the dates of publication?
I remember an article on Asha by Raju Bharatan later revamped a bit and published by some Girija lady!!!
I remember an article on Asha by Raju Bharatan later revamped a bit and published by some Girija lady!!!
QUOTE(priya @ Jul 16 2005, 12:23 PM)
Go ahead Inaam. We can compare them. Any idea abt the dates of publication?
I remember an article on Asha by Raju Bharatan later revamped a bit and published by some Girija lady!!!
I remember an article on Asha by Raju Bharatan later revamped a bit and published by some Girija lady!!!
Most probably Raju Bharatan's wife Girija Rajendran.
Good Lord!!! Yes that was the name. Hubby ke article ko modify karke khud publish kiya??? Sheesh!!! As if that is all there is to write about Asha!!!! 
Ooops we are supposed to talk abt Madam. Did U see the videos uled? 
Ooops we are supposed to talk abt Madam.
Did U see the videos uled?
QUOTE(priya @ Jul 18 2005, 11:16 AM)
Good Lord!!! Yes that was the name. Hubby ke article ko modify karke khud publish kiya??? Sheesh!!! As if that is all there is to write about Asha!!!!
Ooops we are supposed to talk abt Madam. Did U see the videos uled?
Ooops we are supposed to talk abt Madam.
Did U see the videos uled? Some of them. Since I travel a fair bit, it is hard to keep up with HF these
days.
Ok I am posting all the articles here for comparision-- No idea about the date of publication.
Lata and Noor Jehan- parallel Lines Meet
khadija_sadiqui
Noorjehan was born in the Kasur area of Punjab on September 21 1929. There are some arguments about the year in which she was born.If 1929 is indeed right, then that would make her senior to Lata Mangeshkar by a grand 7 days. Lata came along on September 28 1929 in the Holkar city of Indore - a place that now remembers the grand dame through the Lata Mangeshkar award instituted in 1984. For me personally, Indore brings back fond childhood and teenage memories. While Lata was initially tutored by her father Dinanath, Baby Noorjehan was put to work under the tutelage of Ustad Ghulam Mohammed Khan. She pursued that training through her childhood years. By contrast, Lata's childhood was less stable. After Master Dinanath's death, she was adopted by Vinayak Damodar Karnataki, a close personal friend of the Mangeshkar family, godfather to the 5 siblings, and a rather famous moviemaker in his own right (better known as Master Vinayak, and also father of movie star Nanda).Master Vinayak would play a key role in helping Lata and Asha get started with their careers. And further, he would one day bring the two sisters and Noorjehan together in a single movie. I had read somewhere that Noorjehan moved to Calcutta where she became a stage actress at the rather tender age of 6. But it was also around that time that Punjabi movie makers like K.D. Mehra were looking to staff their Lahore productions with the right kind of people. I may be stretching this a bit, but perhaps people like Mehra can take credit for bringing the stage child of Calcutta to Lahore cinema. The years 35-37 were to
have bit parts for the child in movies like GAIBI
GOLA (her first?), MISAR KA SITARA, AAZADI, NARIRAJ,
FAKHR-I-ISLAAM etc. During this period, Lata was taught by a series of accomplished musicians. She was still a
child oblivious to the machinations of the movie world,
and still unsure as to her real mission in life.
She could be a singer or an actress. Indeed, both
Lata and Noorjehan did just that - act and sing for
movies. Lata acted her last movie role in the early '50s. Noorjehan made her career out of it. Enter Mr.
Dalsukh M. Panchholi. This (perhaps forgotten) moviemaker was doing roaring business in those days,
especially in the arena of importing movie technology
from the US. He had a fairly stable operation with
Panchholi Studios, Lahore. And he will go down in
history as the man who provided Baby Noorjehan with
her first prominent role as well as a stable job in a
series of Punjabi movies. People really took notice of the glamour girl in the Punjabi hit GUL-E-BAKAVLI(1939). I do wonder sometimes if our National
Archives still have prints available for movies of this age.
continue..
khadija_sadiqui
Noorjehan was born in the Kasur area of Punjab on September 21 1929. There are some arguments about the year in which she was born.If 1929 is indeed right, then that would make her senior to Lata Mangeshkar by a grand 7 days. Lata came along on September 28 1929 in the Holkar city of Indore - a place that now remembers the grand dame through the Lata Mangeshkar award instituted in 1984. For me personally, Indore brings back fond childhood and teenage memories. While Lata was initially tutored by her father Dinanath, Baby Noorjehan was put to work under the tutelage of Ustad Ghulam Mohammed Khan. She pursued that training through her childhood years. By contrast, Lata's childhood was less stable. After Master Dinanath's death, she was adopted by Vinayak Damodar Karnataki, a close personal friend of the Mangeshkar family, godfather to the 5 siblings, and a rather famous moviemaker in his own right (better known as Master Vinayak, and also father of movie star Nanda).Master Vinayak would play a key role in helping Lata and Asha get started with their careers. And further, he would one day bring the two sisters and Noorjehan together in a single movie. I had read somewhere that Noorjehan moved to Calcutta where she became a stage actress at the rather tender age of 6. But it was also around that time that Punjabi movie makers like K.D. Mehra were looking to staff their Lahore productions with the right kind of people. I may be stretching this a bit, but perhaps people like Mehra can take credit for bringing the stage child of Calcutta to Lahore cinema. The years 35-37 were to
have bit parts for the child in movies like GAIBI
GOLA (her first?), MISAR KA SITARA, AAZADI, NARIRAJ,
FAKHR-I-ISLAAM etc. During this period, Lata was taught by a series of accomplished musicians. She was still a
child oblivious to the machinations of the movie world,
and still unsure as to her real mission in life.
She could be a singer or an actress. Indeed, both
Lata and Noorjehan did just that - act and sing for
movies. Lata acted her last movie role in the early '50s. Noorjehan made her career out of it. Enter Mr.
Dalsukh M. Panchholi. This (perhaps forgotten) moviemaker was doing roaring business in those days,
especially in the arena of importing movie technology
from the US. He had a fairly stable operation with
Panchholi Studios, Lahore. And he will go down in
history as the man who provided Baby Noorjehan with
her first prominent role as well as a stable job in a
series of Punjabi movies. People really took notice of the glamour girl in the Punjabi hit GUL-E-BAKAVLI(1939). I do wonder sometimes if our National
Archives still have prints available for movies of this age.
continue..
Lata and Noor Jehan- parallel Lines Meet
More about Panchholi Studios. A young and ambitious director/story writer who called himself Shauqat Hussain Rizvi had become a close friend of Mr. Panchholi. He showed tremendous promise, and would not have any trouble finding employment with Panchholi OR with other studios. I suppose he came in looking for a job one day, and instead, he met Noorjehan, quite
possibly on the sets of GUL-E-BAKAVLI, or soon thereafter. The Punjabi bit parts continued with movies like HEER SYAL, SASSI PUNNU, YAMLA JAAT, CHOUDHURY etc. But after GUL-E-BAKAVLI, there was someone in Noorjehan's life. Three years after she had her first break, Shauqat Hussain made his directorial debut with
Panchholi Studio's KHAANDAAN (1942). It was also
around this time that Shauqat Hussain and Noorjehan got
married. I am not sure as to the year, but from
everything I have read, she may well have been
dallying with her first teenage year when the wedding took place. KHAANDAAN was a reasonably big hit. Starring Noorjehan and Ghulam Mohammed, it followed the two previous Panchholi hits KHAZANCHI and ZAMINDAR (1941-42).While these 2 movies did not star Noorjehan, they represented a distinguished gathering of stars like Shanta Apte, Ghulam Mohammed, Mohammed Ismail, Ramola, and a budding S.D. Narang. But they were best known for their music by Master Ghulam Haider, by then a Panchholi standard. Master Haider was a close associate of Dalsukh M., and a big name in Lahore and Bombay alike. And he was already a big Noorjehan fan.While she was doing her bit parts in Panchholi's Punjabi productions, Master Haider was there, quietly setting the very same movies to music. But KHANDAAN was different. Here was the leading lady, the born-again GUL-E-BAKAVLI, singing what Master Haider himself would deem his best songs. The handful of Noorjehan songs in KHANDAAN are classics starting with "Ud Jaa Panchhi Ud Jaa",and moving on to "Shok Sitaaron Se Hilmil Hum Khelenge", "Mere Liye Jahaan MeinChain Naa Qaraar Hai", and my favourite Tu Kaun Si Badli Mein Mere Chaand Hai Aa Ja Tar Hain Mere Zakhm-E-Jigar, Dil Mein Samaa JaThe interlude and following stanzas flow into some beautiful Patdeep phrasesthe likes of which are seldom heard in movies.KHAANDAAN was the first big movie in Noorjehan's life. It put her name right alongside the blockbuster names of the '40s. Another piece of trivia. The story for KHAANDAAN was written by Urdu playwright Imtiaz Ali Taj. Known and famous for his 1922 play ANARKALI (made into several stage productions of that era), he too would figure again in Noorjehan's life after 1947.It was 1942.
Continue...
More about Panchholi Studios. A young and ambitious director/story writer who called himself Shauqat Hussain Rizvi had become a close friend of Mr. Panchholi. He showed tremendous promise, and would not have any trouble finding employment with Panchholi OR with other studios. I suppose he came in looking for a job one day, and instead, he met Noorjehan, quite
possibly on the sets of GUL-E-BAKAVLI, or soon thereafter. The Punjabi bit parts continued with movies like HEER SYAL, SASSI PUNNU, YAMLA JAAT, CHOUDHURY etc. But after GUL-E-BAKAVLI, there was someone in Noorjehan's life. Three years after she had her first break, Shauqat Hussain made his directorial debut with
Panchholi Studio's KHAANDAAN (1942). It was also
around this time that Shauqat Hussain and Noorjehan got
married. I am not sure as to the year, but from
everything I have read, she may well have been
dallying with her first teenage year when the wedding took place. KHAANDAAN was a reasonably big hit. Starring Noorjehan and Ghulam Mohammed, it followed the two previous Panchholi hits KHAZANCHI and ZAMINDAR (1941-42).While these 2 movies did not star Noorjehan, they represented a distinguished gathering of stars like Shanta Apte, Ghulam Mohammed, Mohammed Ismail, Ramola, and a budding S.D. Narang. But they were best known for their music by Master Ghulam Haider, by then a Panchholi standard. Master Haider was a close associate of Dalsukh M., and a big name in Lahore and Bombay alike. And he was already a big Noorjehan fan.While she was doing her bit parts in Panchholi's Punjabi productions, Master Haider was there, quietly setting the very same movies to music. But KHANDAAN was different. Here was the leading lady, the born-again GUL-E-BAKAVLI, singing what Master Haider himself would deem his best songs. The handful of Noorjehan songs in KHANDAAN are classics starting with "Ud Jaa Panchhi Ud Jaa",and moving on to "Shok Sitaaron Se Hilmil Hum Khelenge", "Mere Liye Jahaan MeinChain Naa Qaraar Hai", and my favourite Tu Kaun Si Badli Mein Mere Chaand Hai Aa Ja Tar Hain Mere Zakhm-E-Jigar, Dil Mein Samaa JaThe interlude and following stanzas flow into some beautiful Patdeep phrasesthe likes of which are seldom heard in movies.KHAANDAAN was the first big movie in Noorjehan's life. It put her name right alongside the blockbuster names of the '40s. Another piece of trivia. The story for KHAANDAAN was written by Urdu playwright Imtiaz Ali Taj. Known and famous for his 1922 play ANARKALI (made into several stage productions of that era), he too would figure again in Noorjehan's life after 1947.It was 1942.
Continue...
Lata and Noor Jehan- parallel Lines Meet
For Noorjehan and Shauqat Hussain, there was only
one more world to conquer.They had not yet come
face-to-face with the glitter of Bombay cinema. Even as it was all one country, it must have seemed far. One thing was clear though. Panchholi Arts, huge as the studio was, had become a small place to contain
their ambitions. They knew they would try Bombay out. It was only a matter of getting the first
offer. It was about now that Master Vinayak, a movie giant in his own way, was planning his exit from
Navyug Chitrapat, a movie studio he had helped
create. He was no stranger to this business, having started with Kolhapur Cinetone in 1933. His acting style had evolved from the stage medium to Shantaram's
earlyPrabhat Studio films. It was during this period that he came under the influence of Marathi intellectuals such as P.K. Atre, C. V. Joshi and V. S.
Khandekar, a rare breed that broke away from feudal social genre movies, andintroduced what may be a major contribution of Marathi cinema of that age - modern Indian satire. It was time for Master Vinayak to move out and create his own place with his own personal signature. Huns Pictures was born in 1936. The distinct politicalsatire transported through the characters of Gundyabhau and Chimanrao (always played by Vishnupant Jog and Damuanna Malvankar respectively) became a Marathi movie phenomenon whose wit and sarcasm has been perpetuated by more recent literary personalities like P.L. Deshpande, Ram Gabale, G.D. Madgulkar, Raja Paranjape et al. But in 1936, that is what what it was.
Four years of creative fun at Huns Pictures.
Master Vinayak moved on again, this time to create
Navyug Chitrapat.The time was around 1940. Now, in
addition to the movie studio, he had the responsibility of his godchildren. It would be a good two years
into MasterVinayak's Navyug career before anyone
would notice Lata Mangeshkar.Two events of 1942 are
relevant here. First, Master Vinayak started his last
Navyug Chitrapat movie PAHILI MANAGALAGAUR, and ensured a bit part for 13-year old Lata. This, from all records, is Lata's first stint with movies. The
musicwas created by Dada Chandekar, but to the best of anyone's knowledge, there wasno Lata in any of the songs. Curiously enough, around the same time, a 9-year old Mumtaz Jehan Begum was making her debut as a singer with Bombay Talkies'BASANT. She did not know then that she would go on to epitomize glamour and
become Madhubala, but would never sing again. Nor did Lata have an inkling thatshe would go on to
epitomize glamour of a different kind. Master Vinayak started PAHILI..., but due to a new business project, he would not stay long enough to complete it. Colleague R.S. Junnarkar finished the job,just in time before Navyug closed down.
Continue...
For Noorjehan and Shauqat Hussain, there was only
one more world to conquer.They had not yet come
face-to-face with the glitter of Bombay cinema. Even as it was all one country, it must have seemed far. One thing was clear though. Panchholi Arts, huge as the studio was, had become a small place to contain
their ambitions. They knew they would try Bombay out. It was only a matter of getting the first
offer. It was about now that Master Vinayak, a movie giant in his own way, was planning his exit from
Navyug Chitrapat, a movie studio he had helped
create. He was no stranger to this business, having started with Kolhapur Cinetone in 1933. His acting style had evolved from the stage medium to Shantaram's
earlyPrabhat Studio films. It was during this period that he came under the influence of Marathi intellectuals such as P.K. Atre, C. V. Joshi and V. S.
Khandekar, a rare breed that broke away from feudal social genre movies, andintroduced what may be a major contribution of Marathi cinema of that age - modern Indian satire. It was time for Master Vinayak to move out and create his own place with his own personal signature. Huns Pictures was born in 1936. The distinct politicalsatire transported through the characters of Gundyabhau and Chimanrao (always played by Vishnupant Jog and Damuanna Malvankar respectively) became a Marathi movie phenomenon whose wit and sarcasm has been perpetuated by more recent literary personalities like P.L. Deshpande, Ram Gabale, G.D. Madgulkar, Raja Paranjape et al. But in 1936, that is what what it was.
Four years of creative fun at Huns Pictures.
Master Vinayak moved on again, this time to create
Navyug Chitrapat.The time was around 1940. Now, in
addition to the movie studio, he had the responsibility of his godchildren. It would be a good two years
into MasterVinayak's Navyug career before anyone
would notice Lata Mangeshkar.Two events of 1942 are
relevant here. First, Master Vinayak started his last
Navyug Chitrapat movie PAHILI MANAGALAGAUR, and ensured a bit part for 13-year old Lata. This, from all records, is Lata's first stint with movies. The
musicwas created by Dada Chandekar, but to the best of anyone's knowledge, there wasno Lata in any of the songs. Curiously enough, around the same time, a 9-year old Mumtaz Jehan Begum was making her debut as a singer with Bombay Talkies'BASANT. She did not know then that she would go on to epitomize glamour and
become Madhubala, but would never sing again. Nor did Lata have an inkling thatshe would go on to
epitomize glamour of a different kind. Master Vinayak started PAHILI..., but due to a new business project, he would not stay long enough to complete it. Colleague R.S. Junnarkar finished the job,just in time before Navyug closed down.
Continue...
Lata and Noor Jehan- parallel Lines Meet
But before all that, Master Vinayak put in a word
with Vasant Joglekar, a script-writer/assistant
director at Navyug who was working on his very own
KITI HASAAL. His efforts at getting Lata to sing for PAHILI MANAGALAGAUR didnot succeed, but with KITI HASAAL, he was almost adamant. Finally, one day,music director Sadashivrao Nevrekar brought the shy 13-year old into the recording studio. The Marathi song "Naachu Ya Gade Khelu Saari Mani Haus Bhari" stands as Lata'sfirst recording. The movie was KITI HASAAL, and the year was 1942. The song never saw the light of day. But Master Vinayak must have been at least a bitgratified. Perhaps he sensed that the foundation had been laid for a newstandard in good female singing.In the 1942-43 period, Master Vinayak launched Prafulla Pictures, his third and last motion picture studio. He would make 6 movies under this banner. Additionally, he would direct one movie under Shantaram's Rajkamal Kalamandir, and he would also act in Shantaram's DR. KOTNIS KI AMAR KAHANI. Of the 7 totalmovies created by the Master in the remaining 4 years of
his life (1943-47), the first 3 were Marathi
productions, and the remaining Hindi. Thus, before he departed, Master Vinayak made sure that Lata's entry into Bombay's Hindi medium, if not clear, was at least visible and within reach. The rest would beup to her. In his scheme of things, his beautiful god-daughter was destined tobe a great movie star and a great singer. Right or wrong, that was his belief,and he tried everything within his power to lay that groundwork. All 7 moviesmade during the 1943-48 period were to star Lata Mangeshkar, although not in particularly significant roles.
Continue...
But before all that, Master Vinayak put in a word
with Vasant Joglekar, a script-writer/assistant
director at Navyug who was working on his very own
KITI HASAAL. His efforts at getting Lata to sing for PAHILI MANAGALAGAUR didnot succeed, but with KITI HASAAL, he was almost adamant. Finally, one day,music director Sadashivrao Nevrekar brought the shy 13-year old into the recording studio. The Marathi song "Naachu Ya Gade Khelu Saari Mani Haus Bhari" stands as Lata'sfirst recording. The movie was KITI HASAAL, and the year was 1942. The song never saw the light of day. But Master Vinayak must have been at least a bitgratified. Perhaps he sensed that the foundation had been laid for a newstandard in good female singing.In the 1942-43 period, Master Vinayak launched Prafulla Pictures, his third and last motion picture studio. He would make 6 movies under this banner. Additionally, he would direct one movie under Shantaram's Rajkamal Kalamandir, and he would also act in Shantaram's DR. KOTNIS KI AMAR KAHANI. Of the 7 totalmovies created by the Master in the remaining 4 years of
his life (1943-47), the first 3 were Marathi
productions, and the remaining Hindi. Thus, before he departed, Master Vinayak made sure that Lata's entry into Bombay's Hindi medium, if not clear, was at least visible and within reach. The rest would beup to her. In his scheme of things, his beautiful god-daughter was destined tobe a great movie star and a great singer. Right or wrong, that was his belief,and he tried everything within his power to lay that groundwork. All 7 moviesmade during the 1943-48 period were to star Lata Mangeshkar, although not in particularly significant roles.
Continue...
Lata and Noor Jehan- parallel Lines Meet
It was now 1943, and business was booming between
Bombay and Lahore. The give-and-take had been going on for a long time, and one man who knew the
Bombay-Lahore connection really well was V.M. Vyas. Universally acknowledged today as the father of the Gujarati film industry, Vishnukumar Maganlal Vyas was not even 20 years old in 1922-23, when he started freelancing his scripts to moviemakers in the 2 big cities. His own first directorial break arrived in 1930, and by 1943, he was well established. Now was the time to try something totally radical. Following the great success
of Panchholi movies like KHAZANCHI, ZAMINDAR and
Noorjehan's KHAANDAAN, V.M. Vyas decided that it was high time Noorjehan made a movie in Bombay cinema. He was ready to bring the star to Bombay. To this day, Vyas seems an unlikely candidate for this
pioneering act. But he was ready with his script for DUHAAI at Sunrise Pictures, and moreover, Noorjehan
was ready to make the move. Shanta Apte, the famous
actress-singer of the pre-playback age, starred with Noorjehan and opposite leading man Kumar
(anyoneremember the "Sang-taraash" from MUGHAL-E-AZAM and the song "Zindabaad,Zindabaad"?). DUHAAI became Noorjehan's first Bombay movie, and a hit at that.It is an interesting aside that V.M. Vyas thought about doing a movie called NOORJEHAN, some time in the early '50s. The script was started, Madhubala was slated to play the role and Chitalkar agreed to do the music. The project never got off the ground. Veteran Vyas is still alive as I write these lines, a grand nonagenarian among a handful of people still around from those times.I wonder what he thinks about the NOORJEHAN opportunity now. Of course, the movie was to be about a Mughal legend, not about our melody queen - although it can be, now!Close on the heels of DUHAAI, Sunrise Pictures delivered NAUKAR, yet another Noorjehan hit with a different flavour. It was a tragic theme based on a story by Sadat Hasan Manto, a famous Urdu novelist of that time. The movie also starred Shobhana Samarth, Chandramohan and Yakub. And it was the first directorial break for Shauqat Hussain in the Bombay context. It would not be his last. NAUKAR and DUHAAI had one more thing in common. Their music was done by Rafique Ghaznavi, a man who (one might suggest) was rediscovered in NAJMA, the first ever Mehboob studio movie. He would also do the music for TAQDEER, the second movie under the Mehboob banner. But his biggest claim to fame was the deep, resonating voice with which he rendered the lines Muddai Laakh Buraa Chaahe To Kya Hota Hai Wohi Hota Hai Jo Manzoor-E-Khuda Hota Hai
Continue...
It was now 1943, and business was booming between
Bombay and Lahore. The give-and-take had been going on for a long time, and one man who knew the
Bombay-Lahore connection really well was V.M. Vyas. Universally acknowledged today as the father of the Gujarati film industry, Vishnukumar Maganlal Vyas was not even 20 years old in 1922-23, when he started freelancing his scripts to moviemakers in the 2 big cities. His own first directorial break arrived in 1930, and by 1943, he was well established. Now was the time to try something totally radical. Following the great success
of Panchholi movies like KHAZANCHI, ZAMINDAR and
Noorjehan's KHAANDAAN, V.M. Vyas decided that it was high time Noorjehan made a movie in Bombay cinema. He was ready to bring the star to Bombay. To this day, Vyas seems an unlikely candidate for this
pioneering act. But he was ready with his script for DUHAAI at Sunrise Pictures, and moreover, Noorjehan
was ready to make the move. Shanta Apte, the famous
actress-singer of the pre-playback age, starred with Noorjehan and opposite leading man Kumar
(anyoneremember the "Sang-taraash" from MUGHAL-E-AZAM and the song "Zindabaad,Zindabaad"?). DUHAAI became Noorjehan's first Bombay movie, and a hit at that.It is an interesting aside that V.M. Vyas thought about doing a movie called NOORJEHAN, some time in the early '50s. The script was started, Madhubala was slated to play the role and Chitalkar agreed to do the music. The project never got off the ground. Veteran Vyas is still alive as I write these lines, a grand nonagenarian among a handful of people still around from those times.I wonder what he thinks about the NOORJEHAN opportunity now. Of course, the movie was to be about a Mughal legend, not about our melody queen - although it can be, now!Close on the heels of DUHAAI, Sunrise Pictures delivered NAUKAR, yet another Noorjehan hit with a different flavour. It was a tragic theme based on a story by Sadat Hasan Manto, a famous Urdu novelist of that time. The movie also starred Shobhana Samarth, Chandramohan and Yakub. And it was the first directorial break for Shauqat Hussain in the Bombay context. It would not be his last. NAUKAR and DUHAAI had one more thing in common. Their music was done by Rafique Ghaznavi, a man who (one might suggest) was rediscovered in NAJMA, the first ever Mehboob studio movie. He would also do the music for TAQDEER, the second movie under the Mehboob banner. But his biggest claim to fame was the deep, resonating voice with which he rendered the lines Muddai Laakh Buraa Chaahe To Kya Hota Hai Wohi Hota Hai Jo Manzoor-E-Khuda Hota Hai
Continue...
Lata and Noor Jehan- parallel Lines Meet
Every Mehboob production started with those lines
(credited to Agha Hashr Kashmiri, a Farsee-Arabic-Urdu scholar from the turn of the century whose Shakespeare translations into Urdu have become legendary). With that, Rafique Ghaznavi has attained immortality. The Bombay of 1943 did one more thing for Noorjehan. It brought her in touch with one of her most ardent devotees of all times, music director Datta Koregaonkar. The Zia Sarhadi-directed movie NADAAN was made at Jyoti studio, and it featured Noorjehan and Masood. It is K Datta's first Noorjehan movie, and the glory of those songs can never diminish. One is led to believe thatJyoti Studio was the place where Mehboob was introduced first-hand to the phenomenon that was Noorjehan. He had nothing to do with the movie, but he was a big fan of K. Datta's musical talents. At any rate, perhaps the most famous NADAAN song was "Ek Anokha Gham Ek Anokhi Museebat Ho Gayi", along with other gems like "Roshni Apni Umangon Ki Mitaa Kar Chal Diye", "Dil Doon Ke Na Doon, Baaton Pe Unka Kya Bharosa", "Ab To Nahin Duniya Mein Kahin Apna Thikaana" and a couple more.Noorjehan went on to create several fans from the elite set of Bombay's music br>directors. The temperamental Sajjad Husain was among them. His 1944 DOST was another Noorjehan starrer that carried the movie based on her voice and Sajjad's music. The DOST song Koi Prem Ka De Ke Sandesaa, Haay Loot Gayaa Tha Ye Naazuk Mere Dil Ka Sheesha, Haay Toot Gayaareminds me of some old Lata songs from the late '40s. Another DOST song thatgoes "Badam Mohabbat Kaun Kare, Aur Ishq Ko Ruswa Kaun Kare" is also availableon record in standard EMI releases. In the same year, Bombay produced LAL HAVELI, yet another Noorjehan movie,this time with music by Mir Saheb, a veteran of big Minerva Movietone smashers like PUKAAR and SIKANDAR. But LAL HAVELI also had a cameo musical appearance by C. Ramchandra. There are quite a few songs in this movie that stars Surendra and Noorjehan. But only the song "Aao Mere Pyaare Saanwaria" (sungby
Noorjehan) is credited to C. Ramchandra - a rare combination there.
The End
Every Mehboob production started with those lines
(credited to Agha Hashr Kashmiri, a Farsee-Arabic-Urdu scholar from the turn of the century whose Shakespeare translations into Urdu have become legendary). With that, Rafique Ghaznavi has attained immortality. The Bombay of 1943 did one more thing for Noorjehan. It brought her in touch with one of her most ardent devotees of all times, music director Datta Koregaonkar. The Zia Sarhadi-directed movie NADAAN was made at Jyoti studio, and it featured Noorjehan and Masood. It is K Datta's first Noorjehan movie, and the glory of those songs can never diminish. One is led to believe thatJyoti Studio was the place where Mehboob was introduced first-hand to the phenomenon that was Noorjehan. He had nothing to do with the movie, but he was a big fan of K. Datta's musical talents. At any rate, perhaps the most famous NADAAN song was "Ek Anokha Gham Ek Anokhi Museebat Ho Gayi", along with other gems like "Roshni Apni Umangon Ki Mitaa Kar Chal Diye", "Dil Doon Ke Na Doon, Baaton Pe Unka Kya Bharosa", "Ab To Nahin Duniya Mein Kahin Apna Thikaana" and a couple more.Noorjehan went on to create several fans from the elite set of Bombay's music br>directors. The temperamental Sajjad Husain was among them. His 1944 DOST was another Noorjehan starrer that carried the movie based on her voice and Sajjad's music. The DOST song Koi Prem Ka De Ke Sandesaa, Haay Loot Gayaa Tha Ye Naazuk Mere Dil Ka Sheesha, Haay Toot Gayaareminds me of some old Lata songs from the late '40s. Another DOST song thatgoes "Badam Mohabbat Kaun Kare, Aur Ishq Ko Ruswa Kaun Kare" is also availableon record in standard EMI releases. In the same year, Bombay produced LAL HAVELI, yet another Noorjehan movie,this time with music by Mir Saheb, a veteran of big Minerva Movietone smashers like PUKAAR and SIKANDAR. But LAL HAVELI also had a cameo musical appearance by C. Ramchandra. There are quite a few songs in this movie that stars Surendra and Noorjehan. But only the song "Aao Mere Pyaare Saanwaria" (sungby
Noorjehan) is credited to C. Ramchandra - a rare combination there.
The End
2nd Article
Lata and Noor Jehan- parallel Lines
rashna_mahmood
By the mid-40's, Master Vinayak's Prafulla Pictures had finished its quota of Marathi productions. None of the 3 movies, CHIMUKLA SANSAR, MAZE BAL
and GAJABHAU did terribly well at the box-office.
Further, his quest for gettingLata a singing
breakthrough was not meeting with much success either.
Finally, music director Datta Davjekar who composed for MAZE BAL and some other Vinayak movies would
ultimately relent. The same script-writer/director
Vasant Joglekar who did KITI HASAAL was now directing the Hindi movie AAP KI SEWA MEIN in 1945. It was outside the Vinayak framework, but it was still Prafulla Pictures. AAP KI SEWA MEIN took more than 2 years to get released, but its place in history was secured when Datta Davjekar announced the successful recording of Paa Lagoon Kar Jori Re, Shyam Mo Se Na Khelo Hori Rethe first released Lata song for any Indian movie in any language. The time was 1945.Victorious as he might have been, Master Vinayak was now in deep financial trouble with Prafulla Pictures.
Partly due to circumstances and partly becausehe had an eye on Hindi cinema for his god-children, he
proceeded to make what would be his first Hindi movie. Somewhere in the deep recesses of the worldbeyond, the Gods applauded this move. Master Vinayak was about to set thestage for a great meeting.BADI MAA is a remarkable checkpoint. Here is where for the first time, a 16-year old Lata comes face-to-face with her own awe-inspiring ideal in 16-yearold Noorjehan. They were contemporaries by age, but in experience, there was a world of difference. Noorjehan had already seen the world she was to operatein for the rest of her life. Lata on the other hand was still to be weaned < br>off the protective shell that was Master Vinayak. The movie starred Noorjehan and a host of big names. At the bottom of thepage, two names were mentioned in fine print - actresses Lata and AshaMangeshkar!Once again, Datta Koregaonkar did the music, and it brought back memories of NADAAN. One of the greatest Noorjehan songs ever Diyaa Jalaa Kar Aap Bujhaaya Tere Kaam Niraale, Dil Tod Ke Jaane Waaleis from here. The restrained classical structure is admirably executed bythe teenage
Noorjehan. Also worth possessing are "Aa Intezaar Hai Tera, DilBeqaraar Hai Mera" and "Tum Hum Ko Bhula Baithe Ho". Finally, the Dhaani-Bhimpalasi ghazal Kisi Tarah Se Mohabbat Mein Chain Paa Na Sake Lagi Hai Aag Jo Seene Mein, Woh Bujha Na Sake touches heights of greatness. BADI MAA probably
holds the greatest collection of Noorjehan songs in
a single movie. And hidden among these Noorjehan
gems, there is a beautiful devotional song sung by Lata
("Maata Tere Charnon Mein"). The piece almost went
unnoticed, almost more because it was sung by an
almost unknown little girl called Lata Mangeshkar on an even lesser known 12-year old called Asha Mangeshkar.
"Maata Tere Charnon Mein" came close to making history.
It was almost the first Lata recording to be
released. Datta Davjekar just edged past it with his
own AAP KI SEWA MEIN.BADI MAA marked the beginning of a great friendship between Lata and Noorjehan that is alive to this day. It also marked the last time K. Datta would get to write music for Noorjehan. The man savored his 2 movies with real enthusiasm, and never got over the turmoil of post-Partition India. But to be fair, we should state that he got a fair compensation. BADI MAA introduced K. Datta to the emerging voice of a new sensation. He lost one, and he gained one, and then some more. Lata and Noorjehan would never do another movie together, nor would they ever sing together. In fact, their paths hardly crossed for nearly the next four decades, except through that extra-sensory mutual admiration that had a way of transcending geographical separation. In that respect, Lata and Noorjehan never
lost touch with each other.Noorjehan went on to complete BHAAIJAAN and VILLAGE GIRL, both in 1945.
PanditShyam Sunder could not believe the skill with which she sang his VILLAGE GIRL compositions like "Baithi Hoon Teri Yaad Ka Le Kar Ke Sahaara, Aa Jao Ke
ChamkeMeri Kismat Ka Sitaara" and "Kis Tarah Bhoolega Dil, Unka Khayaal Aaya Hua". And then was ZEENAT,
another big musical success for the actress-singer.
ZEENAT is credited with the first qawaali for Hindi
movies. I could not say if this right, but regardless
of the statistic, the Noorjehan-Zohrabai-ShamshadBegum trio excelled in Aanhein Na Bhareen, Shikwe
Na Kiye Kuch Bhi Na Zubaan Se Kaam Liyaand made major
headlines. As popular as the qawwaali was, ZEENAT was
anothercollection of exquisite Noorjehan solos. The lullaby Aa Ja Ri Nindiya, Tu Aa Kho Na Jaa Nanhi Ki Aankhon Mein Ghul Mil Jaa is a most gentle Piloo creation of that age. Another gem of a song is Aandhiyaan Gham Ki Yoon Chaln, Gaaon Ujad Ke Reh Gayaa Samjhe The Aasra Jise, Woh Bhi Bichhad Ke Reh
GayaaNoorjehan also sings "Naacho Sitaarona Naacho, Ab Chaand Nikalne Waala Hai" and she wraps it up with the
tremendous Darbari structure of Bulbul-O Mat Ro Yahaan
Aansoo Bahaanaa Hai Manaa In Qafas Ke Qaidiyon Ko,
Gul Machaana Hai ManaaThe composer was Hafiz Khan, and if I am not mistaken, he went to score at least one other movie. Was it MERA SALAAM that had the fabulous Asha-Talat duet "Haseen Chaand Sitaaron Ka Vaasta Aa Ja"?
Continue...
Lata and Noor Jehan- parallel Lines
rashna_mahmood
By the mid-40's, Master Vinayak's Prafulla Pictures had finished its quota of Marathi productions. None of the 3 movies, CHIMUKLA SANSAR, MAZE BAL
and GAJABHAU did terribly well at the box-office.
Further, his quest for gettingLata a singing
breakthrough was not meeting with much success either.
Finally, music director Datta Davjekar who composed for MAZE BAL and some other Vinayak movies would
ultimately relent. The same script-writer/director
Vasant Joglekar who did KITI HASAAL was now directing the Hindi movie AAP KI SEWA MEIN in 1945. It was outside the Vinayak framework, but it was still Prafulla Pictures. AAP KI SEWA MEIN took more than 2 years to get released, but its place in history was secured when Datta Davjekar announced the successful recording of Paa Lagoon Kar Jori Re, Shyam Mo Se Na Khelo Hori Rethe first released Lata song for any Indian movie in any language. The time was 1945.Victorious as he might have been, Master Vinayak was now in deep financial trouble with Prafulla Pictures.
Partly due to circumstances and partly becausehe had an eye on Hindi cinema for his god-children, he
proceeded to make what would be his first Hindi movie. Somewhere in the deep recesses of the worldbeyond, the Gods applauded this move. Master Vinayak was about to set thestage for a great meeting.BADI MAA is a remarkable checkpoint. Here is where for the first time, a 16-year old Lata comes face-to-face with her own awe-inspiring ideal in 16-yearold Noorjehan. They were contemporaries by age, but in experience, there was a world of difference. Noorjehan had already seen the world she was to operatein for the rest of her life. Lata on the other hand was still to be weaned < br>off the protective shell that was Master Vinayak. The movie starred Noorjehan and a host of big names. At the bottom of thepage, two names were mentioned in fine print - actresses Lata and AshaMangeshkar!Once again, Datta Koregaonkar did the music, and it brought back memories of NADAAN. One of the greatest Noorjehan songs ever Diyaa Jalaa Kar Aap Bujhaaya Tere Kaam Niraale, Dil Tod Ke Jaane Waaleis from here. The restrained classical structure is admirably executed bythe teenage
Noorjehan. Also worth possessing are "Aa Intezaar Hai Tera, DilBeqaraar Hai Mera" and "Tum Hum Ko Bhula Baithe Ho". Finally, the Dhaani-Bhimpalasi ghazal Kisi Tarah Se Mohabbat Mein Chain Paa Na Sake Lagi Hai Aag Jo Seene Mein, Woh Bujha Na Sake touches heights of greatness. BADI MAA probably
holds the greatest collection of Noorjehan songs in
a single movie. And hidden among these Noorjehan
gems, there is a beautiful devotional song sung by Lata
("Maata Tere Charnon Mein"). The piece almost went
unnoticed, almost more because it was sung by an
almost unknown little girl called Lata Mangeshkar on an even lesser known 12-year old called Asha Mangeshkar.
"Maata Tere Charnon Mein" came close to making history.
It was almost the first Lata recording to be
released. Datta Davjekar just edged past it with his
own AAP KI SEWA MEIN.BADI MAA marked the beginning of a great friendship between Lata and Noorjehan that is alive to this day. It also marked the last time K. Datta would get to write music for Noorjehan. The man savored his 2 movies with real enthusiasm, and never got over the turmoil of post-Partition India. But to be fair, we should state that he got a fair compensation. BADI MAA introduced K. Datta to the emerging voice of a new sensation. He lost one, and he gained one, and then some more. Lata and Noorjehan would never do another movie together, nor would they ever sing together. In fact, their paths hardly crossed for nearly the next four decades, except through that extra-sensory mutual admiration that had a way of transcending geographical separation. In that respect, Lata and Noorjehan never
lost touch with each other.Noorjehan went on to complete BHAAIJAAN and VILLAGE GIRL, both in 1945.
PanditShyam Sunder could not believe the skill with which she sang his VILLAGE GIRL compositions like "Baithi Hoon Teri Yaad Ka Le Kar Ke Sahaara, Aa Jao Ke
ChamkeMeri Kismat Ka Sitaara" and "Kis Tarah Bhoolega Dil, Unka Khayaal Aaya Hua". And then was ZEENAT,
another big musical success for the actress-singer.
ZEENAT is credited with the first qawaali for Hindi
movies. I could not say if this right, but regardless
of the statistic, the Noorjehan-Zohrabai-ShamshadBegum trio excelled in Aanhein Na Bhareen, Shikwe
Na Kiye Kuch Bhi Na Zubaan Se Kaam Liyaand made major
headlines. As popular as the qawwaali was, ZEENAT was
anothercollection of exquisite Noorjehan solos. The lullaby Aa Ja Ri Nindiya, Tu Aa Kho Na Jaa Nanhi Ki Aankhon Mein Ghul Mil Jaa is a most gentle Piloo creation of that age. Another gem of a song is Aandhiyaan Gham Ki Yoon Chaln, Gaaon Ujad Ke Reh Gayaa Samjhe The Aasra Jise, Woh Bhi Bichhad Ke Reh
GayaaNoorjehan also sings "Naacho Sitaarona Naacho, Ab Chaand Nikalne Waala Hai" and she wraps it up with the
tremendous Darbari structure of Bulbul-O Mat Ro Yahaan
Aansoo Bahaanaa Hai Manaa In Qafas Ke Qaidiyon Ko,
Gul Machaana Hai ManaaThe composer was Hafiz Khan, and if I am not mistaken, he went to score at least one other movie. Was it MERA SALAAM that had the fabulous Asha-Talat duet "Haseen Chaand Sitaaron Ka Vaasta Aa Ja"?
Continue...
Lata and Noor Jehan- parallel Lines
Another phenomenon was now in the works.
Ramjankhan Mehboob Khan, the little man from the Cutch
area of Gujarat, was riding high with his own
personal banner of Mehboob Studios. Already, his NAJMA, TAQDEER, and above all, the grand epic HUMAYUN were the
talk of the industry. He had been watching thetwo
singing-acting talents of Noorjehan and Suraiyya Jamal Sheikh. And after a little break, he was ready to recall Surendra, his own discovery from hisSagar Movietone days.Mehboob had been experimenting with music directors like Rafique Ghaznavi andGhulam Haider, but he missed the stability of an Anil Biswas, his ermanent musical companion from Sagar and National Studios. A new partnership was tobe forged. This one would stay until Mehboob's dying day - May 28 1964. As great as her successes had been so far, Noorjehan herself could not predict her own next conquest. Unparalled to this day in her movie world stands ANMOL GHADI, a 1946 Mehboob Khan classic. It marked the beginning of his A-movies (ANMOL GHADI, AILAAN, ANOKHI ADA, ANDAAZ, AAN, AMAR) - I do take some liberty with spelling AILAAN in my own way. Of all of Noorjehan's hits, not just in Bombay cinema but overall, ANMOL GHADI was the biggest name. It started and perpetuated the Mehboob-Naushad partnership. With a couple of understandable exceptions, all Mehboob movies would now feature Naushad Ali. ANMOL GHADI also rejuvenated the languishing career of actor-singer Surendranath B.A. LL.B. This was NOT his first movie with Noorjehan. They had starred together in Mir Saheb's LAL HAVELI. He would go on to make AILAAN and ANOKHI ADA, both with
Mehboob Khan, his Bombay godfather. But for
Noorjehan, this would be the first and last Mehboob
movie.ANMOL GHADI was also a great hit for Suraiyya Jamal Sheikh. We forget but Suraiyya has 3 good songs
including "Main Dil Mein Dard Basaa Laayee". But they
were surrounded by the overpowering Noorjehan aura.
There really was no match for "Kya Mil Gya Bhagwan", "Mere Bachpan Ke Saathi", "Jawaan Hai Mohabbat" and above all, "Aawaaz De Kahaan Hai" - all of them among the best remembered Noorjehan creations. Above all, the runaway success of ANMOL GHADI got the Shauqat Hussain-Noorjehan team convinced of one thing. They could do it on their own. This was really just their fourth year in Bombay, and just about every Noorjehan movie had beena gold mine.The idea of a Shauqat Hussain movie banner had been brewing for a while. It was really after ANMOL GHADI that they gained the kind of confidence and financial capital they needed for the jumpstart. Noorjehan was still on contract to finish S. F. Hasnain's DIL and Ismail Memon's HUMJOLI. The time was 1946.
Continue...
Another phenomenon was now in the works.
Ramjankhan Mehboob Khan, the little man from the Cutch
area of Gujarat, was riding high with his own
personal banner of Mehboob Studios. Already, his NAJMA, TAQDEER, and above all, the grand epic HUMAYUN were the
talk of the industry. He had been watching thetwo
singing-acting talents of Noorjehan and Suraiyya Jamal Sheikh. And after a little break, he was ready to recall Surendra, his own discovery from hisSagar Movietone days.Mehboob had been experimenting with music directors like Rafique Ghaznavi andGhulam Haider, but he missed the stability of an Anil Biswas, his ermanent musical companion from Sagar and National Studios. A new partnership was tobe forged. This one would stay until Mehboob's dying day - May 28 1964. As great as her successes had been so far, Noorjehan herself could not predict her own next conquest. Unparalled to this day in her movie world stands ANMOL GHADI, a 1946 Mehboob Khan classic. It marked the beginning of his A-movies (ANMOL GHADI, AILAAN, ANOKHI ADA, ANDAAZ, AAN, AMAR) - I do take some liberty with spelling AILAAN in my own way. Of all of Noorjehan's hits, not just in Bombay cinema but overall, ANMOL GHADI was the biggest name. It started and perpetuated the Mehboob-Naushad partnership. With a couple of understandable exceptions, all Mehboob movies would now feature Naushad Ali. ANMOL GHADI also rejuvenated the languishing career of actor-singer Surendranath B.A. LL.B. This was NOT his first movie with Noorjehan. They had starred together in Mir Saheb's LAL HAVELI. He would go on to make AILAAN and ANOKHI ADA, both with
Mehboob Khan, his Bombay godfather. But for
Noorjehan, this would be the first and last Mehboob
movie.ANMOL GHADI was also a great hit for Suraiyya Jamal Sheikh. We forget but Suraiyya has 3 good songs
including "Main Dil Mein Dard Basaa Laayee". But they
were surrounded by the overpowering Noorjehan aura.
There really was no match for "Kya Mil Gya Bhagwan", "Mere Bachpan Ke Saathi", "Jawaan Hai Mohabbat" and above all, "Aawaaz De Kahaan Hai" - all of them among the best remembered Noorjehan creations. Above all, the runaway success of ANMOL GHADI got the Shauqat Hussain-Noorjehan team convinced of one thing. They could do it on their own. This was really just their fourth year in Bombay, and just about every Noorjehan movie had beena gold mine.The idea of a Shauqat Hussain movie banner had been brewing for a while. It was really after ANMOL GHADI that they gained the kind of confidence and financial capital they needed for the jumpstart. Noorjehan was still on contract to finish S. F. Hasnain's DIL and Ismail Memon's HUMJOLI. The time was 1946.
Continue...
Lata and Noor Jehan- parallel Lines
Things were slowing down a bit for Master
Vinayak. He had just turned 40. It had been a busy
life. From Prabhat to Huns to Navyug to the present
financial mess of Prafulla Pictures, he had seen a lot
of the good and bad times. In parallel, he was
playing family man, and almost single-handedly managed
the upbringing of the Mangeshkar siblings. His
biggest achievement, as history would bear out, was
not Lata Mangeshkar the teenage actress, but Lata,
the upcoming master singer whose first recording
had already been released under the auspices of
Prafulla Pictures. And now he was tired. BADI MAA had
kicked off the Hindi production sequence for Vinayak. In 1946, he would direct his second Hindi movie.
SUBHADRA is notable for a couple of reasons. First, it
introduced Lata Mangeshkar to Vasant Desai, a mainstream MD already on the payroll of Shantaram's Rajkamal Kalamandir. And more interestingly, singer-actress Shanta Apte sings a beautiful duet with Lata. I am still trying hard to locate "Main Khili Khili Phulwaari".
In the same year, Master Vinayak finished the last
movie of his life. It was only appropriate for him
to end his career with V. Shantaram, the man who
gave Vinayak his first break in the 1932 Marathi
production AYODHYECHA RAJA. But our movie here is JEEVAN YATRA, a Rajkamal production directed by Master
Vinayak, set to music by Vasant Desai, and enacted by an ensemble of big names like Nayantara, Yakub, Pratima
Devi and of course, one small name – Lata Mangeshkar. Her solo "Chidiya Bole Choo Choo" is now an antique - a rare gem that would make any collector proud. The big war in Europe was now over. The Firangi had announced their intent. They would leave soon. But somewhere in the hallowed government buildings of Whitehall and Downing Street, Rt. Honourable Sir Cyril Radcliffe was at work with his scalpel over a drawing that looked roughly like the map of 1946 India. He looked for easy boundaries like rivers and mountains, but nature was not helpful. It would force him to use his judgment. Noorjehanhad seen both sides of the new border, Lata had had just the Bombay view ofit, and Judge Radcliffe had never set foot on the subcontinent. So as Noorjehan was savouring her success with ANMOL GHADI and Lata was not quite over the euphoria of her first recording, India was being split in two. Master Ghulam Haider had
left Panchholi Arts in 1943 after some great box-office successes like KHAZANCHI, ZAMINDAR and POONJI. His Noorjehan movies were also done for
Panchholi. Starting with the Punjabi creations
GUL-E-BAKAVLI, YAMLA JAAT and CHOUDHURY, he takes the credit for KHAANDAAN, Noorjehan's first Hindi movie in a lead role, and a great one. In 1944, Master Haider left Lahore and came to Bombay. It was only a year after Noorjehan and Shauqat Hussain had made their move. In Master Haider's case, the sponsor was the newly formed Filmistan - a breakaway enterprise from the parent Bombay Talkie. The break was engineered by
heavyweights like Ashok Kumar, director Gyan Mukherji,
producer-director Sashadhar (S) Mukherjee and the money-man Rai Bahadur Chunnilal Kohli, whose 20-year old son Madan Mohan was still at war somewhere in Europe. The first Filmistan movie CHAL CHAL RE NAUJAWAAN was set to music by veteran Ghulam Haider, and perhaps its most memorable contribution is the patriotic Ashok Kumar song "Bolo Har Har Mahadev
Allah-O-Akbar".
Continue...
Things were slowing down a bit for Master
Vinayak. He had just turned 40. It had been a busy
life. From Prabhat to Huns to Navyug to the present
financial mess of Prafulla Pictures, he had seen a lot
of the good and bad times. In parallel, he was
playing family man, and almost single-handedly managed
the upbringing of the Mangeshkar siblings. His
biggest achievement, as history would bear out, was
not Lata Mangeshkar the teenage actress, but Lata,
the upcoming master singer whose first recording
had already been released under the auspices of
Prafulla Pictures. And now he was tired. BADI MAA had
kicked off the Hindi production sequence for Vinayak. In 1946, he would direct his second Hindi movie.
SUBHADRA is notable for a couple of reasons. First, it
introduced Lata Mangeshkar to Vasant Desai, a mainstream MD already on the payroll of Shantaram's Rajkamal Kalamandir. And more interestingly, singer-actress Shanta Apte sings a beautiful duet with Lata. I am still trying hard to locate "Main Khili Khili Phulwaari".
In the same year, Master Vinayak finished the last
movie of his life. It was only appropriate for him
to end his career with V. Shantaram, the man who
gave Vinayak his first break in the 1932 Marathi
production AYODHYECHA RAJA. But our movie here is JEEVAN YATRA, a Rajkamal production directed by Master
Vinayak, set to music by Vasant Desai, and enacted by an ensemble of big names like Nayantara, Yakub, Pratima
Devi and of course, one small name – Lata Mangeshkar. Her solo "Chidiya Bole Choo Choo" is now an antique - a rare gem that would make any collector proud. The big war in Europe was now over. The Firangi had announced their intent. They would leave soon. But somewhere in the hallowed government buildings of Whitehall and Downing Street, Rt. Honourable Sir Cyril Radcliffe was at work with his scalpel over a drawing that looked roughly like the map of 1946 India. He looked for easy boundaries like rivers and mountains, but nature was not helpful. It would force him to use his judgment. Noorjehanhad seen both sides of the new border, Lata had had just the Bombay view ofit, and Judge Radcliffe had never set foot on the subcontinent. So as Noorjehan was savouring her success with ANMOL GHADI and Lata was not quite over the euphoria of her first recording, India was being split in two. Master Ghulam Haider had
left Panchholi Arts in 1943 after some great box-office successes like KHAZANCHI, ZAMINDAR and POONJI. His Noorjehan movies were also done for
Panchholi. Starting with the Punjabi creations
GUL-E-BAKAVLI, YAMLA JAAT and CHOUDHURY, he takes the credit for KHAANDAAN, Noorjehan's first Hindi movie in a lead role, and a great one. In 1944, Master Haider left Lahore and came to Bombay. It was only a year after Noorjehan and Shauqat Hussain had made their move. In Master Haider's case, the sponsor was the newly formed Filmistan - a breakaway enterprise from the parent Bombay Talkie. The break was engineered by
heavyweights like Ashok Kumar, director Gyan Mukherji,
producer-director Sashadhar (S) Mukherjee and the money-man Rai Bahadur Chunnilal Kohli, whose 20-year old son Madan Mohan was still at war somewhere in Europe. The first Filmistan movie CHAL CHAL RE NAUJAWAAN was set to music by veteran Ghulam Haider, and perhaps its most memorable contribution is the patriotic Ashok Kumar song "Bolo Har Har Mahadev
Allah-O-Akbar".
Continue...
Lata and Noor Jehan- parallel Lines
Master Haider would stay on in the hope of finding his place in Bombay cinema. Mehboob's last
pre-Naushad movie HUMAYUN was a big hit, but not so much becauseof Ghulam Haider's music. He was looking for that something that would make himstay. And we can be sure he longed for that one movie that would partner him again with that voice - one that caused him to leave Lahore in the first place. It was not to be.
Noorjehan and husband Shauqat Hussain had already
started Shauqat Art Productions in Bombay, and rumour had it that they had started workon their first film. It was also discovered that they had recruited the
little-known 24-year old Yusuf Khan to play the lead role opposite Noorjehan. Maestro Feroze Nizami was
recruited to score the music. The movie was JUGNU, and
looking back now, it was almost as big a hit as ANMOL
GHADI. While the Rafi-Noorjehan duet "Yahan Badla
Wafaa Ka" became synonymous with JUGNU's success,
Noorjehan's 3 solos defined its very soul. The song "Umangen Dil Ki Machlin, Muskurayee Zindagi Apni" comes
from vintage stock. And as for the other two ("Aaj
Ki Raat Saaz-E-Dil-E-Purdard Na Chhed" and "Tum Bhi
Bhula Do, Hum Bhi Bhula Dein"), together, they
constitute the hard-hitting realization that Lata
Mangeshkar's early influence was rooted in Noorjehan's voice. This is especially true for "Tum Bhi Bhula Do...". Close your eyes and listen carefully. This could be Lata Mangeshkar singing for Feroze Nizami. JUGNU was released in 1947. But already, the Lahore
immigrants (Master Haider and Noorjehan) were starting
to have second thoughts. The British plans for
India's future were no big secret. Dalsukh M. Panchholi, the grand film distributor of Lahore was seeing the writing on the wall. He had given both
Noorjehan and Ghulam Haider their first major break in
Lahore cinema. In 1946-47, he too packed his bags and
came to Bombay, leaving the giant Panchholi Art
Pictures to its Lahore fate. It must have hurt to just
walk away from an Empire, possibly the most modernized
studioin all of South Asia. Panchholi never got over the depression.India was free. The key Noorjehan protagonists, Panchholi, Ghulam Haider, Shauqat Hussain, and Noorjehan herself, were now all in Bombay. Master Vinayak was no more. His last project was conceived as the movie MANDIR.Lata would act in it and sing as well. Vasant Desai would score the music for it, but Master Vinayak would not be part of it. Long term Navyug associate D.D. Patil completed the movie. What would be Vinayak's last turned out to bePatil's first. The new guard had arrived. Dinkar Dattajirao Patil, an 80-year old grand master today, wrote Master
Vinayak's biography in the early '70s. A well-deserved
tribute that is. Vinayak was a great man. Amidst
controversy, he kept all his family promises without
compromising his professional zeal and output. Through his life, there was innuendo to the effect that he had
secretly married Lata's mother after friend Dinanath
passed on. We will never really know. All that mattered
in 1947-48 was that with a handful of bit parts
and less than a dozen songs in her resume, 18-year old Lata Mangeshkar was an orphan all over again.
Continue...
Master Haider would stay on in the hope of finding his place in Bombay cinema. Mehboob's last
pre-Naushad movie HUMAYUN was a big hit, but not so much becauseof Ghulam Haider's music. He was looking for that something that would make himstay. And we can be sure he longed for that one movie that would partner him again with that voice - one that caused him to leave Lahore in the first place. It was not to be.
Noorjehan and husband Shauqat Hussain had already
started Shauqat Art Productions in Bombay, and rumour had it that they had started workon their first film. It was also discovered that they had recruited the
little-known 24-year old Yusuf Khan to play the lead role opposite Noorjehan. Maestro Feroze Nizami was
recruited to score the music. The movie was JUGNU, and
looking back now, it was almost as big a hit as ANMOL
GHADI. While the Rafi-Noorjehan duet "Yahan Badla
Wafaa Ka" became synonymous with JUGNU's success,
Noorjehan's 3 solos defined its very soul. The song "Umangen Dil Ki Machlin, Muskurayee Zindagi Apni" comes
from vintage stock. And as for the other two ("Aaj
Ki Raat Saaz-E-Dil-E-Purdard Na Chhed" and "Tum Bhi
Bhula Do, Hum Bhi Bhula Dein"), together, they
constitute the hard-hitting realization that Lata
Mangeshkar's early influence was rooted in Noorjehan's voice. This is especially true for "Tum Bhi Bhula Do...". Close your eyes and listen carefully. This could be Lata Mangeshkar singing for Feroze Nizami. JUGNU was released in 1947. But already, the Lahore
immigrants (Master Haider and Noorjehan) were starting
to have second thoughts. The British plans for
India's future were no big secret. Dalsukh M. Panchholi, the grand film distributor of Lahore was seeing the writing on the wall. He had given both
Noorjehan and Ghulam Haider their first major break in
Lahore cinema. In 1946-47, he too packed his bags and
came to Bombay, leaving the giant Panchholi Art
Pictures to its Lahore fate. It must have hurt to just
walk away from an Empire, possibly the most modernized
studioin all of South Asia. Panchholi never got over the depression.India was free. The key Noorjehan protagonists, Panchholi, Ghulam Haider, Shauqat Hussain, and Noorjehan herself, were now all in Bombay. Master Vinayak was no more. His last project was conceived as the movie MANDIR.Lata would act in it and sing as well. Vasant Desai would score the music for it, but Master Vinayak would not be part of it. Long term Navyug associate D.D. Patil completed the movie. What would be Vinayak's last turned out to bePatil's first. The new guard had arrived. Dinkar Dattajirao Patil, an 80-year old grand master today, wrote Master
Vinayak's biography in the early '70s. A well-deserved
tribute that is. Vinayak was a great man. Amidst
controversy, he kept all his family promises without
compromising his professional zeal and output. Through his life, there was innuendo to the effect that he had
secretly married Lata's mother after friend Dinanath
passed on. We will never really know. All that mattered
in 1947-48 was that with a handful of bit parts
and less than a dozen songs in her resume, 18-year old Lata Mangeshkar was an orphan all over again.
Continue...
Re: Lata and Noor Jehan- parallel Lines
Life was also in a state of turmoil for Noorjehan
and Shauqat Hussain, although their battle was on
a different front. Even with her raging successes of the last 5 years, Bombay seemed liked a strange land. With Shauqat Arts still in its infancy (albeit with one success), they decided to move again, this time back to Lahore. There was one more movie to finish. Offering yet another musical treat from Pandit Amarnath and Husnlal-Bhagatram,MIRZA SAHEBAAN marked the end of what V.M. Vyas's DUHAAI had started - Noorjehan's glorious Bombay years. Once again, MIRZA SAHEBAAN was a popular hit. Noorjehan's solos like "KyaYehi Tera Pyaar Tha, Mujhko To Intezaar Tha" and "Aa Ja Tujhe Afsaana JudaaiKa Sunnayen, Jo Dil Pe Guzarti Hai, Woh Aankhon Se Bataayen" were sweet. Butfor a change, the most popular songs of the movie were sung by the happy trioof Noorjehan, Shamshad Begum and Zohrabai Ambalewali. It was now 1947-48. At the musical helm of Bombay cinema were stalwarts Datta Koregaonkar, Sajjad Husain, Naushad Ali, Anil Biswas, Khemchand Prakash, and the Lahori Filmistan recruit Master Ghulam Haider. And not far away, a 29-yearold Ramchandra Narhar
Chitalkar was already creating trouble with his quest
for the new swing sound. The classicists would frown
first, and then give in.But for now, they were all
united in the quest for the next generation female
voice. Lata's Vasant Desai movies, her K. Datta
connection and her exposure to Rajkamal Kalamandir had
all collectively made an impact. She was known in
some circles as the little girl with some promise, but
none were willing to take a chance, EXCEPT Ghulam
Haider. It was in 1948 when Master Haider, perhaps
with a nostagia for Noorjehan's voice, worked hard to
get Lata her first few breaks in the post-Partition, post-Vinayak age. Three movies are notable in
this range - MAJBOOR, PADMINI and for the record,
Filmistan's SHAHEED. I believe that MAJBOOR ranks as
Lata's first breakaway from the Master Vinayak
cocoon. The song "Dil Mere Todaa, Hai Mujhe Kisi Ka Na
Chhoda"is clearly a take-off on the Noorjehan style. It was also Lata's first choice in her 1985 MY FAVOURITES
release a 4-cassette collection with songs spanning
the 1948-1981 period. Also in 1948, the Padmini song
"Bedard Tere Dard Ko SeeneSe Lagaa Ke" became
popular. And the Noorjehan-soundalike package started
to become known. Ghulam Haider was elated at the
result. It was part of his nostalgia. It was also the
last straw. He would some day go back to the real
thing. But for now, he was infatuated with this new
voice. Ghulam Haider had a few new projects. One was
PATJHAD, a movie that Panchholi,his old benefactor,
had salvaged while essentially on the run from
Lahore. Together, they finished it in the same year
(1948). The other movie was Filmistan's SHAHEED. The
studio had already employed Kumar Sachin Varman (as
the titles of those movies used to state) as their
music director starting with AATH DIN, but had not
forgotten the pioneering start they had received from
Master Haider. After a brief hiatus, they recalled him,
this time to dothe music for SHAHEED.In an
interesting incident that Lata herself narrates in her "I remember Madanmohan release" (1993), Master Haider
insisted on recording a SHAHEED song featuring Lata's
voice. It was to be a brother-sister song that went
"Pinjre Mein Bulbul Bole, Mere Chhota Sa Dil Dole".
To the utter rage of Filmistan's boss-man Rai
Bahadur Chunnilal Kohli, the brother's voice was to be
supplied by his own 24-year old son Madan whose
good-for-nothing playboyish ways around the studio were
getting on daddy's nerves. Both parties had it their
way. Master Haider completed the recording of the
Lata-Madan duet, and Rai Bahadur dropped it from the movie and from the album.
Continue...
Life was also in a state of turmoil for Noorjehan
and Shauqat Hussain, although their battle was on
a different front. Even with her raging successes of the last 5 years, Bombay seemed liked a strange land. With Shauqat Arts still in its infancy (albeit with one success), they decided to move again, this time back to Lahore. There was one more movie to finish. Offering yet another musical treat from Pandit Amarnath and Husnlal-Bhagatram,MIRZA SAHEBAAN marked the end of what V.M. Vyas's DUHAAI had started - Noorjehan's glorious Bombay years. Once again, MIRZA SAHEBAAN was a popular hit. Noorjehan's solos like "KyaYehi Tera Pyaar Tha, Mujhko To Intezaar Tha" and "Aa Ja Tujhe Afsaana JudaaiKa Sunnayen, Jo Dil Pe Guzarti Hai, Woh Aankhon Se Bataayen" were sweet. Butfor a change, the most popular songs of the movie were sung by the happy trioof Noorjehan, Shamshad Begum and Zohrabai Ambalewali. It was now 1947-48. At the musical helm of Bombay cinema were stalwarts Datta Koregaonkar, Sajjad Husain, Naushad Ali, Anil Biswas, Khemchand Prakash, and the Lahori Filmistan recruit Master Ghulam Haider. And not far away, a 29-yearold Ramchandra Narhar
Chitalkar was already creating trouble with his quest
for the new swing sound. The classicists would frown
first, and then give in.But for now, they were all
united in the quest for the next generation female
voice. Lata's Vasant Desai movies, her K. Datta
connection and her exposure to Rajkamal Kalamandir had
all collectively made an impact. She was known in
some circles as the little girl with some promise, but
none were willing to take a chance, EXCEPT Ghulam
Haider. It was in 1948 when Master Haider, perhaps
with a nostagia for Noorjehan's voice, worked hard to
get Lata her first few breaks in the post-Partition, post-Vinayak age. Three movies are notable in
this range - MAJBOOR, PADMINI and for the record,
Filmistan's SHAHEED. I believe that MAJBOOR ranks as
Lata's first breakaway from the Master Vinayak
cocoon. The song "Dil Mere Todaa, Hai Mujhe Kisi Ka Na
Chhoda"is clearly a take-off on the Noorjehan style. It was also Lata's first choice in her 1985 MY FAVOURITES
release a 4-cassette collection with songs spanning
the 1948-1981 period. Also in 1948, the Padmini song
"Bedard Tere Dard Ko SeeneSe Lagaa Ke" became
popular. And the Noorjehan-soundalike package started
to become known. Ghulam Haider was elated at the
result. It was part of his nostalgia. It was also the
last straw. He would some day go back to the real
thing. But for now, he was infatuated with this new
voice. Ghulam Haider had a few new projects. One was
PATJHAD, a movie that Panchholi,his old benefactor,
had salvaged while essentially on the run from
Lahore. Together, they finished it in the same year
(1948). The other movie was Filmistan's SHAHEED. The
studio had already employed Kumar Sachin Varman (as
the titles of those movies used to state) as their
music director starting with AATH DIN, but had not
forgotten the pioneering start they had received from
Master Haider. After a brief hiatus, they recalled him,
this time to dothe music for SHAHEED.In an
interesting incident that Lata herself narrates in her "I remember Madanmohan release" (1993), Master Haider
insisted on recording a SHAHEED song featuring Lata's
voice. It was to be a brother-sister song that went
"Pinjre Mein Bulbul Bole, Mere Chhota Sa Dil Dole".
To the utter rage of Filmistan's boss-man Rai
Bahadur Chunnilal Kohli, the brother's voice was to be
supplied by his own 24-year old son Madan whose
good-for-nothing playboyish ways around the studio were
getting on daddy's nerves. Both parties had it their
way. Master Haider completed the recording of the
Lata-Madan duet, and Rai Bahadur dropped it from the movie and from the album.
Continue...
Re: Lata and Noor Jehan- parallel Lines
I know I did. But for that meeting, my growing
days would have been without the wonderful gift of
ADAALAT songs, among a host of other beauties.On
balance, the Lata-Ghulam Haider partnership did not
produce too many songs.That was not its purpose
anyway. Strongmen Anil Biswas, Khemchand Prakash, and
soon after, Naushad and Chitalkar picked up on this
voice. And she had already met her future brother
Madanmohan. Lata needed no more help. Ghulam Haider's job
was done. He had picked up where Master Vinayak left.
He would do a few more movies for Bombay cinema.
Notable among them was KANEEZ, a Munawwar Sultana hit
with songs mainly by Shamshad and Geeta Roy. But the
background music for the movie was composed and conducted by
a new Panchholi associate - Omkar Prasad
Nayyar. That was OP's first musical opportunity
forHindi movies.For now, Master Haider must have felt
a great sense of achievement. With that,he
quietly began folding up his belongings and by 1950, he
was back in Lahore.For Lata Mangeshkar, the rest
of history is on record. For the most part,
anyway. Back in 1947-48, Noorjehan and Shauqat
Hussain finished MIRZA SAHEBAAN, their last Bombay
project, and left for what was now Pakistan. For the next
4 years,there was nothing for her to do. Big
fans like K. Datta were Sajjad H. were languishing
on this side of the border waiting for a miracle
about to happen. Other MDs like Ghulam Ahmed
Chishti, Khurshid Anwar, Rashid Attre, Firoz Nizami
and Master Haider were all somewhere in transit.
In 1951, she co-produced and acted in CHANWAY, a
Punjabi movie under the Shauqat Arts banner. But the
music was just not there. In retrospect, the Lata
years took a long time to shape up. When they did,
they stayed. For Noorjehan, the Partition was a big
blow. It would be a couple of years before she
would get back in the groove. In 1952, the
newLahore studio Film Asia produced DUPATTA, and once
again, Feroze Nizami delighted the world with
Noorjehan songs like Saanwariya Tohe Koi Pukaare
Aa Ja Re Soye Chaand SitaareThis one makes my
top-10 list for Noorjehan.
Continue...
I know I did. But for that meeting, my growing
days would have been without the wonderful gift of
ADAALAT songs, among a host of other beauties.On
balance, the Lata-Ghulam Haider partnership did not
produce too many songs.That was not its purpose
anyway. Strongmen Anil Biswas, Khemchand Prakash, and
soon after, Naushad and Chitalkar picked up on this
voice. And she had already met her future brother
Madanmohan. Lata needed no more help. Ghulam Haider's job
was done. He had picked up where Master Vinayak left.
He would do a few more movies for Bombay cinema.
Notable among them was KANEEZ, a Munawwar Sultana hit
with songs mainly by Shamshad and Geeta Roy. But the
background music for the movie was composed and conducted by
a new Panchholi associate - Omkar Prasad
Nayyar. That was OP's first musical opportunity
forHindi movies.For now, Master Haider must have felt
a great sense of achievement. With that,he
quietly began folding up his belongings and by 1950, he
was back in Lahore.For Lata Mangeshkar, the rest
of history is on record. For the most part,
anyway. Back in 1947-48, Noorjehan and Shauqat
Hussain finished MIRZA SAHEBAAN, their last Bombay
project, and left for what was now Pakistan. For the next
4 years,there was nothing for her to do. Big
fans like K. Datta were Sajjad H. were languishing
on this side of the border waiting for a miracle
about to happen. Other MDs like Ghulam Ahmed
Chishti, Khurshid Anwar, Rashid Attre, Firoz Nizami
and Master Haider were all somewhere in transit.
In 1951, she co-produced and acted in CHANWAY, a
Punjabi movie under the Shauqat Arts banner. But the
music was just not there. In retrospect, the Lata
years took a long time to shape up. When they did,
they stayed. For Noorjehan, the Partition was a big
blow. It would be a couple of years before she
would get back in the groove. In 1952, the
newLahore studio Film Asia produced DUPATTA, and once
again, Feroze Nizami delighted the world with
Noorjehan songs like Saanwariya Tohe Koi Pukaare
Aa Ja Re Soye Chaand SitaareThis one makes my
top-10 list for Noorjehan.
Continue...
Lata and Noor Jehan- parallel Lines
By this time, Master Haider was back in the swing
of things. He started his own production company
along with some friends, and made one movie there. I
lose track of Ghulam Haider's work at this point, but
the story has a good ending. He was finally
reunited with his GUL-E-BAKAVLI. It had been 10 years
since KHANDAAN, Noorjehan's first Hindi movie in a lead
role, and her last Ghulam Haider movie of the '40s.
In 1953, Noorjehan would star in GULENAR and
LAILA. The script and direction for GULENAR was
undertaken by intellectual movie-man Imtiaz Ali Taj who, along with Sadat Hasan Manto and a host of
others had also moved to Lahore after the Partition. The other movie (LAILA) wasscripted and directed by
husband Shauqat Hussain. Both movies were scored by
Master Haider. They were also his last. The 45-year
old master music composer died in 1953. With
everything in the world going her way starting 1948, there was no stopping Lata Mangeshkar. And with all the
job offers coming in from the most unpredictable
sources, she found the time for a couple of new
activities. In 1950, she would team up again with Dinkar Patil and actually score the music for his movie
RAM RAM PAHUNE. She would team up again with Dinkar
Patil tofound Surel Productions in 1952. So, a
couple of years after Noorjehan's production CHANWAY,
Lata produced WADAL (1953). And as Ghulam Haider
was preparing deliver his last few Noorjehan
movies in the 51-53 period, Datta Koregaonkar, the old
Noorjehan fanatic was creating 3 musical gifts (DAAMAN,
GUMASTA and RISHTA), all to be sung largely by his
new love - the voice of Lata Mangeshkar. And
again, just as Noorjehan's DUPATTA was hitting the scene in Pakistan, Lata would do her last acting role
in the Hindi-Marathi dual release, the
C.Ramchandra-scored CHHATRAPATI SHIVAJI. She would never act again, or score music under her original name.
Noorjehan, to the best of my knowledge, never took
credit for any musical scores.
rashna....
The End
By this time, Master Haider was back in the swing
of things. He started his own production company
along with some friends, and made one movie there. I
lose track of Ghulam Haider's work at this point, but
the story has a good ending. He was finally
reunited with his GUL-E-BAKAVLI. It had been 10 years
since KHANDAAN, Noorjehan's first Hindi movie in a lead
role, and her last Ghulam Haider movie of the '40s.
In 1953, Noorjehan would star in GULENAR and
LAILA. The script and direction for GULENAR was
undertaken by intellectual movie-man Imtiaz Ali Taj who, along with Sadat Hasan Manto and a host of
others had also moved to Lahore after the Partition. The other movie (LAILA) wasscripted and directed by
husband Shauqat Hussain. Both movies were scored by
Master Haider. They were also his last. The 45-year
old master music composer died in 1953. With
everything in the world going her way starting 1948, there was no stopping Lata Mangeshkar. And with all the
job offers coming in from the most unpredictable
sources, she found the time for a couple of new
activities. In 1950, she would team up again with Dinkar Patil and actually score the music for his movie
RAM RAM PAHUNE. She would team up again with Dinkar
Patil tofound Surel Productions in 1952. So, a
couple of years after Noorjehan's production CHANWAY,
Lata produced WADAL (1953). And as Ghulam Haider
was preparing deliver his last few Noorjehan
movies in the 51-53 period, Datta Koregaonkar, the old
Noorjehan fanatic was creating 3 musical gifts (DAAMAN,
GUMASTA and RISHTA), all to be sung largely by his
new love - the voice of Lata Mangeshkar. And
again, just as Noorjehan's DUPATTA was hitting the scene in Pakistan, Lata would do her last acting role
in the Hindi-Marathi dual release, the
C.Ramchandra-scored CHHATRAPATI SHIVAJI. She would never act again, or score music under her original name.
Noorjehan, to the best of my knowledge, never took
credit for any musical scores.
rashna....
The End
Last Article...
Lata and Noojehan - the last 40 years
rashna_mahmood
After the passing of Ghulam Haider, Noor Jehan
was, in a way, temporarily orphaned. The new front
of music makers was still regrouping. She would star
in around 10 more movies between 1955 and 1963. I
wonder if any of her Pakistani movies of that age
(PATEY KHAN, LAKHT-E-JIGAR, QAIDI, INTEZAAR, NOORAN,
CHHOO MANTAR, ANARKALI, PARDESAN, NEEND, KOEL, GHALIB,
BAJI) made it big. I have lost track of Noor Jehan's movies following 1963. Did she even do any? The Pakistani music scene of the '50s was dominated by the old stalwarts - first Master Haider, and later, Rashid Attre, Chishti and Khurshid Anwar. The research is still on, and it may take a couple of years to collect all this data. For now, I will ramble on just a bit about Noor Jehan's post-Partition work.
Rashid Attre's classic song "Mujh Se Pehli Si Mohabbat
Mere Mehboob Na Maang" is from QAIDI, a mid-'50s
movie. To this day, I think of this song as Noor
Jehan's best. There is at least one other Rashid Attre
song I remember, another smashing classic. Set in
a loose Bageshri framework, Noor Jehan sings:
Lat Uljhi Suljha Re Baalam, Main Na Lagaaongi Haath
Re Chaand Se Mukhde Ko Naagin Zulfen, Chaahe Dasein
Saari Raat Re I will never tire of it. Another
master classicist was Khurshid Anwar, who did very few
pre-Partition movies for Bombay cinema (notable are
NISHANA, an Ashok Kumar-Madhubala-Geeta Bali starrer
of 1950, and SINGAAR, and 1949 musical treat
starring Madhubalaand Suraiyya). From the '50s, I
recall 3 Noor Jehan songs by Khurshid Anwar, and they
are all cast in a classical mould. The Miyan Ki Todi
rendition of "Jis DinSe Piya Dil Le Gaye, Dukh De Gaye"
perhaps does not match up to our standards of
virus-free and domesticated classical singing, but it has its place. And to top it, the Jaijaiwanti song
"Dil Ka Diya Jalaaya Toone" is a must-have. And
then in a style that almost completely describes the
latter-day Noor Jehan, she sings Khurshid Anwar's
wonderful Tilak Shyam composition Saagar Roye, Leheren
Shor Machaayen, Yaad Piya Ki Aaye, Naina Bhar
AayeThere was also this nostalgic treat from G.A. Chishti's LAKHT-E-JIGAR ("Chanda Re Chanda Mere Daaman Ko Thaam Re"). Hazrat Chishti, in his pre-47 days was a colleague
of Pandit Amarnath, and for a while, had the charge
of Khaiyyaam's tutorship. In a weak nostalic
moment, Noor Jehan put in a half-song for Bombay. The
timewas 1955. OP Nayyar, a giant personality then as he
is now, was in trouble with the music directors'
association. The movie was MUSAFIRKHANA, and it starred
Shyama and Karan Diwan. For Rafi, the MUSAFIRKHANA duet
Jhoote Zamaane Bhar Ke, Jadu Kaisa Daar Gaye
Mo Pe, Neechi Nazar Kar Kemust have been a replay of the JUGNU dream all over again. In his own
words,he owed his first big popular break to JUGNU and its protagonists.
Continue...
Lata and Noojehan - the last 40 years
rashna_mahmood
After the passing of Ghulam Haider, Noor Jehan
was, in a way, temporarily orphaned. The new front
of music makers was still regrouping. She would star
in around 10 more movies between 1955 and 1963. I
wonder if any of her Pakistani movies of that age
(PATEY KHAN, LAKHT-E-JIGAR, QAIDI, INTEZAAR, NOORAN,
CHHOO MANTAR, ANARKALI, PARDESAN, NEEND, KOEL, GHALIB,
BAJI) made it big. I have lost track of Noor Jehan's movies following 1963. Did she even do any? The Pakistani music scene of the '50s was dominated by the old stalwarts - first Master Haider, and later, Rashid Attre, Chishti and Khurshid Anwar. The research is still on, and it may take a couple of years to collect all this data. For now, I will ramble on just a bit about Noor Jehan's post-Partition work.
Rashid Attre's classic song "Mujh Se Pehli Si Mohabbat
Mere Mehboob Na Maang" is from QAIDI, a mid-'50s
movie. To this day, I think of this song as Noor
Jehan's best. There is at least one other Rashid Attre
song I remember, another smashing classic. Set in
a loose Bageshri framework, Noor Jehan sings:
Lat Uljhi Suljha Re Baalam, Main Na Lagaaongi Haath
Re Chaand Se Mukhde Ko Naagin Zulfen, Chaahe Dasein
Saari Raat Re I will never tire of it. Another
master classicist was Khurshid Anwar, who did very few
pre-Partition movies for Bombay cinema (notable are
NISHANA, an Ashok Kumar-Madhubala-Geeta Bali starrer
of 1950, and SINGAAR, and 1949 musical treat
starring Madhubalaand Suraiyya). From the '50s, I
recall 3 Noor Jehan songs by Khurshid Anwar, and they
are all cast in a classical mould. The Miyan Ki Todi
rendition of "Jis DinSe Piya Dil Le Gaye, Dukh De Gaye"
perhaps does not match up to our standards of
virus-free and domesticated classical singing, but it has its place. And to top it, the Jaijaiwanti song
"Dil Ka Diya Jalaaya Toone" is a must-have. And
then in a style that almost completely describes the
latter-day Noor Jehan, she sings Khurshid Anwar's
wonderful Tilak Shyam composition Saagar Roye, Leheren
Shor Machaayen, Yaad Piya Ki Aaye, Naina Bhar
AayeThere was also this nostalgic treat from G.A. Chishti's LAKHT-E-JIGAR ("Chanda Re Chanda Mere Daaman Ko Thaam Re"). Hazrat Chishti, in his pre-47 days was a colleague
of Pandit Amarnath, and for a while, had the charge
of Khaiyyaam's tutorship. In a weak nostalic
moment, Noor Jehan put in a half-song for Bombay. The
timewas 1955. OP Nayyar, a giant personality then as he
is now, was in trouble with the music directors'
association. The movie was MUSAFIRKHANA, and it starred
Shyama and Karan Diwan. For Rafi, the MUSAFIRKHANA duet
Jhoote Zamaane Bhar Ke, Jadu Kaisa Daar Gaye
Mo Pe, Neechi Nazar Kar Kemust have been a replay of the JUGNU dream all over again. In his own
words,he owed his first big popular break to JUGNU and its protagonists.
Continue...
Lata and Noojehan - the last 40 years
One wonders why Noor Jehan did that crazy thing,
just a bit appearance. My guess is the Panchholi
connection. Mr. Dalsukh M. Panchholi who gave Noor
Jehan her first real movie also provided OP with his first full assignment in his own AASMAAN, may have
brought Noor Jehan over for one last time. For OP,
it came at a time when he needed all the support he could get. He would never forget that gesture. Panchholi himself died in 1959, four years after what Ithink was Noor Jehan's last Bombay song. He had just turned 50.The '50s and early '60s of the Pakistan movie scene gave us a new breed of musicians like Nazir Ali,
Nazar Hussain, Mohammed Ali Mannu, Niaz Ahmed,
MohsinRazaa, Salim Iqbal and on. They worshipped that voice and they still do. One song I can never forget is
(and I have no idea as to the composer): Nighaahen
Milaa Kar Badal Jaane Waale, Mujhe Tujh Se Koi
Shikaayat Nahin Hai Ye Duniya Badi Sangdil hai, Yahaan
Par Kisi Ko Kisi Se Mohabbat Nahin HaiThe
lyrics of this song are catchy, apt and almost funny
(although the song does not mean to be). At one point,
Noor Jehan says Karoon Khud Main Fariyaad Apni
Zubaan Se Girein Toot Kar Bijliyaan Aasmaan Se
Main Ashqon Mein Saare Jahaan Ko Bahaa Doon,
Magar Mujh Ko Rone Ki Aadat Nahin HaiAnd then there
is the world of Noor Jehan's Punjabi songs. O what a
treat it is! I really do not know if these songs
are from movies. But they are a lot of fun. In
one song, Noor Jehan sings: Sannu Neher Waale Pul
Te Bulaa Ke, Te Kore Maahi Kitthe Reh Gayaa
Saddi Akkaan Vichho Nindraan Udaa Ke Te Kore Maahi
Kitthe Reh GayaaAnd in other beautiful rendition in
Madhyamaad Sarang, she says: Ja ja We, Tainu Dil Ditta,
De Ditta, Alla VaasteThe list goes on, but I
will stop with two of my current favourites:
Seyoni Mera Maahi Mere Paag (Bhaag) Jagaawan Aa
Gayaa Mainu Heer Banaawan Aa Gayaaand Sun Vanjali
Di Mithdi Taan Re, Main Ta Ho Ho Gayi Qurbaan
Re Noor Jehan's musical output diminished after the
mid-'60s. Some time in the '80s and '90s, Pakistan
Television ran a musical series called TARANNUM. I
believe Noor Jehan has recorded a few pieces of that
serial. But other than that, she has been in
semi-retirement for a few years now. The Mailika-E-Tarannum has released several ghazals on record in the
last30 years. The Indian recording industry is gradually bringing the gems over.Perhaps some day I will write an addendum. In the early '80s, upon invitation
from Bombay's old fans, the melody queen visited
India for that grand concert where Lata met her
long-time friend in person. It had been a few years.
People who attended the evening came back with their
eyes a bit teary from the experience.
Continue...
One wonders why Noor Jehan did that crazy thing,
just a bit appearance. My guess is the Panchholi
connection. Mr. Dalsukh M. Panchholi who gave Noor
Jehan her first real movie also provided OP with his first full assignment in his own AASMAAN, may have
brought Noor Jehan over for one last time. For OP,
it came at a time when he needed all the support he could get. He would never forget that gesture. Panchholi himself died in 1959, four years after what Ithink was Noor Jehan's last Bombay song. He had just turned 50.The '50s and early '60s of the Pakistan movie scene gave us a new breed of musicians like Nazir Ali,
Nazar Hussain, Mohammed Ali Mannu, Niaz Ahmed,
MohsinRazaa, Salim Iqbal and on. They worshipped that voice and they still do. One song I can never forget is
(and I have no idea as to the composer): Nighaahen
Milaa Kar Badal Jaane Waale, Mujhe Tujh Se Koi
Shikaayat Nahin Hai Ye Duniya Badi Sangdil hai, Yahaan
Par Kisi Ko Kisi Se Mohabbat Nahin HaiThe
lyrics of this song are catchy, apt and almost funny
(although the song does not mean to be). At one point,
Noor Jehan says Karoon Khud Main Fariyaad Apni
Zubaan Se Girein Toot Kar Bijliyaan Aasmaan Se
Main Ashqon Mein Saare Jahaan Ko Bahaa Doon,
Magar Mujh Ko Rone Ki Aadat Nahin HaiAnd then there
is the world of Noor Jehan's Punjabi songs. O what a
treat it is! I really do not know if these songs
are from movies. But they are a lot of fun. In
one song, Noor Jehan sings: Sannu Neher Waale Pul
Te Bulaa Ke, Te Kore Maahi Kitthe Reh Gayaa
Saddi Akkaan Vichho Nindraan Udaa Ke Te Kore Maahi
Kitthe Reh GayaaAnd in other beautiful rendition in
Madhyamaad Sarang, she says: Ja ja We, Tainu Dil Ditta,
De Ditta, Alla VaasteThe list goes on, but I
will stop with two of my current favourites:
Seyoni Mera Maahi Mere Paag (Bhaag) Jagaawan Aa
Gayaa Mainu Heer Banaawan Aa Gayaaand Sun Vanjali
Di Mithdi Taan Re, Main Ta Ho Ho Gayi Qurbaan
Re Noor Jehan's musical output diminished after the
mid-'60s. Some time in the '80s and '90s, Pakistan
Television ran a musical series called TARANNUM. I
believe Noor Jehan has recorded a few pieces of that
serial. But other than that, she has been in
semi-retirement for a few years now. The Mailika-E-Tarannum has released several ghazals on record in the
last30 years. The Indian recording industry is gradually bringing the gems over.Perhaps some day I will write an addendum. In the early '80s, upon invitation
from Bombay's old fans, the melody queen visited
India for that grand concert where Lata met her
long-time friend in person. It had been a few years.
People who attended the evening came back with their
eyes a bit teary from the experience.
Continue...
Re: Lata and Noojehan - the last 40 year
In the mid '80s, our very own Asha Bhonsle took a
turn from her usual R.D. Burman fare, and decided
to experiment with the ghazal for a while. Was it
the Khaiyyaam influence of Umrao Jaan? Just a guess.
In any event, she released 3 albums. One was a
joint collection with A. Hariharan, the second was
with Ghulam Ali (Meeraj-E-Ghazal) and third one,
titled KASHISH was a triibute to Noor Jehan. In this
collection, she sings some Noor Jehan originals. I am
tempted to suggest that Asha does really well in some
songs. My favourites from this album (as my favourites from the corresponding Noor Jehan originals)
are:Nazar Hussain's Gul Khile Chaand, Raat Yaad Aayi
Aap Ki Baat, Baat Yaad Aayiand Mohsin Razaa's
Neeyat-E-Shauq Bhar Na Jaaye Kahin Tu Bhi Dil Se Utar Na Jaaye KahinEpilogue--------It is in the context of
this album that I make my last point of this dissertation. Noor Jehan’s originals were all rendered in the '60s and '70s. And they all have a sense of
pristine and raw quality about them. This is a
different Noor Jehan we hear from her days in Bombay. The Asha homage by contrast is highly normalized, and
I might suggest, tame. I would hazard the suggestion that in 1947, Lata was trying to get close to Noor Jehan's voice-control. In the next 20 years, the
two movie industries diverged in many ways, but
one point is relevant here. Lata's trainers,
especially Anil Biswas and Khemchand Prakash, wanted a
domesticated, classicized, well-modulated voice that would
never stray into savage territory.I don't believe
anyone put Noor Jehan through that kind of scrutiny in
the early '50s. She was the undisputable queen.
They wouldn't dare tell her what to do. On the
other hand, Lata was the great rookie of 1948. By
the early '60s, the contrast was stark. In 1947, when
Noor Jehan delighted us with "Tum Bhi Bhula Do,
Hum Bhi Bhula Dein" (JUGNU), it seemed as though
Lata's ideal singer was right there. But the germs of
voice-demodulation were present. They always are. In Lata's case, these were carefully checked and almost
clinically removed by master surgeons like Anil Biswas. It appears that in Noor Jehan's case, the demodulation
went unchecked, and grew almost wildly. The
musical handling of the words, the pronunciation, the
control, and just the overall delivery all too often
added up to a certain raw-ness. Certainlyage had
something to do with it. But there was also the
environment.In a Nazar Hussain-composed song from the '60s, Noor Jehan sings: Kyoon Chhoda Tumne Saath Hamaara Jawaab Do Khaamosh Kis Liye Ho, Khudaa-ra Jawaab Do As she throws her voice out, the lines almost start to sound like "Jawaab Dau",and "Khaamaush Kis
Liye Hau". Perhaps this is a feature, not a bug.
And perhaps it was a disservice to the Indian
audience committed by Surgeon General Anil Biswas and his distinguished colleagues of the late '40s that forever rendered Lata (and Asha) incapable ofthis
pristine-ness. But what do I know? I grew up believing that the Lata modulation was the best there was, and then I heard the latter-day Noor Jehan BEFORE I heard the Noor Jehan of the '40s.Maybe it was for the best.
Lata and Asha have their place with their masters
and their proteges - as does Noor Jehan.
rashna...
THE END
In the mid '80s, our very own Asha Bhonsle took a
turn from her usual R.D. Burman fare, and decided
to experiment with the ghazal for a while. Was it
the Khaiyyaam influence of Umrao Jaan? Just a guess.
In any event, she released 3 albums. One was a
joint collection with A. Hariharan, the second was
with Ghulam Ali (Meeraj-E-Ghazal) and third one,
titled KASHISH was a triibute to Noor Jehan. In this
collection, she sings some Noor Jehan originals. I am
tempted to suggest that Asha does really well in some
songs. My favourites from this album (as my favourites from the corresponding Noor Jehan originals)
are:Nazar Hussain's Gul Khile Chaand, Raat Yaad Aayi
Aap Ki Baat, Baat Yaad Aayiand Mohsin Razaa's
Neeyat-E-Shauq Bhar Na Jaaye Kahin Tu Bhi Dil Se Utar Na Jaaye KahinEpilogue--------It is in the context of
this album that I make my last point of this dissertation. Noor Jehan’s originals were all rendered in the '60s and '70s. And they all have a sense of
pristine and raw quality about them. This is a
different Noor Jehan we hear from her days in Bombay. The Asha homage by contrast is highly normalized, and
I might suggest, tame. I would hazard the suggestion that in 1947, Lata was trying to get close to Noor Jehan's voice-control. In the next 20 years, the
two movie industries diverged in many ways, but
one point is relevant here. Lata's trainers,
especially Anil Biswas and Khemchand Prakash, wanted a
domesticated, classicized, well-modulated voice that would
never stray into savage territory.I don't believe
anyone put Noor Jehan through that kind of scrutiny in
the early '50s. She was the undisputable queen.
They wouldn't dare tell her what to do. On the
other hand, Lata was the great rookie of 1948. By
the early '60s, the contrast was stark. In 1947, when
Noor Jehan delighted us with "Tum Bhi Bhula Do,
Hum Bhi Bhula Dein" (JUGNU), it seemed as though
Lata's ideal singer was right there. But the germs of
voice-demodulation were present. They always are. In Lata's case, these were carefully checked and almost
clinically removed by master surgeons like Anil Biswas. It appears that in Noor Jehan's case, the demodulation
went unchecked, and grew almost wildly. The
musical handling of the words, the pronunciation, the
control, and just the overall delivery all too often
added up to a certain raw-ness. Certainlyage had
something to do with it. But there was also the
environment.In a Nazar Hussain-composed song from the '60s, Noor Jehan sings: Kyoon Chhoda Tumne Saath Hamaara Jawaab Do Khaamosh Kis Liye Ho, Khudaa-ra Jawaab Do As she throws her voice out, the lines almost start to sound like "Jawaab Dau",and "Khaamaush Kis
Liye Hau". Perhaps this is a feature, not a bug.
And perhaps it was a disservice to the Indian
audience committed by Surgeon General Anil Biswas and his distinguished colleagues of the late '40s that forever rendered Lata (and Asha) incapable ofthis
pristine-ness. But what do I know? I grew up believing that the Lata modulation was the best there was, and then I heard the latter-day Noor Jehan BEFORE I heard the Noor Jehan of the '40s.Maybe it was for the best.
Lata and Asha have their place with their masters
and their proteges - as does Noor Jehan.
rashna...
THE END
QUOTE(Inaam_Nadeem @ Jul 19 2005, 01:39 AM)
Re: Lata and Noojehan - the last 40 year
In the mid '80s, our very own Asha Bhonsle took a
turn from her usual R.D. Burman fare, and decided
to experiment with the ghazal for a while. Was it
the Khaiyyaam influence of Umrao Jaan? Just a guess.
In any event, she released 3 albums. One was a
joint collection with A. Hariharan, the second was
with Ghulam Ali (Meeraj-E-Ghazal) and third one,
titled KASHISH was a triibute to Noor Jehan. In this
collection, she sings some Noor Jehan originals. I am
tempted to suggest that Asha does really well in some
songs. My favourites from this album (as my favourites from the corresponding Noor Jehan originals)
are:Nazar Hussain's Gul Khile Chaand, Raat Yaad Aayi
Aap Ki Baat, Baat Yaad Aayiand Mohsin Razaa's
Neeyat-E-Shauq Bhar Na Jaaye Kahin Tu Bhi Dil Se Utar Na Jaaye KahinEpilogue--------It is in the context of
this album that I make my last point of this dissertation. Noor Jehan’s originals were all rendered in the '60s and '70s. And they all have a sense of
pristine and raw quality about them. This is a
different Noor Jehan we hear from her days in Bombay. The Asha homage by contrast is highly normalized, and
I might suggest, tame. I would hazard the suggestion that in 1947, Lata was trying to get close to Noor Jehan's voice-control. In the next 20 years, the
two movie industries diverged in many ways, but
one point is relevant here. Lata's trainers,
especially Anil Biswas and Khemchand Prakash, wanted a
domesticated, classicized, well-modulated voice that would
never stray into savage territory.I don't believe
anyone put Noor Jehan through that kind of scrutiny in
the early '50s. She was the undisputable queen.
They wouldn't dare tell her what to do. On the
other hand, Lata was the great rookie of 1948. By
the early '60s, the contrast was stark. In 1947, when
Noor Jehan delighted us with "Tum Bhi Bhula Do,
Hum Bhi Bhula Dein" (JUGNU), it seemed as though
Lata's ideal singer was right there. But the germs of
voice-demodulation were present. They always are. In Lata's case, these were carefully checked and almost
clinically removed by master surgeons like Anil Biswas. It appears that in Noor Jehan's case, the demodulation
went unchecked, and grew almost wildly. The
musical handling of the words, the pronunciation, the
control, and just the overall delivery all too often
added up to a certain raw-ness. Certainlyage had
something to do with it. But there was also the
environment.In a Nazar Hussain-composed song from the '60s, Noor Jehan sings: Kyoon Chhoda Tumne Saath Hamaara Jawaab Do Khaamosh Kis Liye Ho, Khudaa-ra Jawaab Do As she throws her voice out, the lines almost start to sound like "Jawaab Dau",and "Khaamaush Kis
Liye Hau". Perhaps this is a feature, not a bug.
And perhaps it was a disservice to the Indian
audience committed by Surgeon General Anil Biswas and his distinguished colleagues of the late '40s that forever rendered Lata (and Asha) incapable ofthis
pristine-ness. But what do I know? I grew up believing that the Lata modulation was the best there was, and then I heard the latter-day Noor Jehan BEFORE I heard the Noor Jehan of the '40s.Maybe it was for the best.
Lata and Asha have their place with their masters
and their proteges - as does Noor Jehan.
rashna...
THE END
In the mid '80s, our very own Asha Bhonsle took a
turn from her usual R.D. Burman fare, and decided
to experiment with the ghazal for a while. Was it
the Khaiyyaam influence of Umrao Jaan? Just a guess.
In any event, she released 3 albums. One was a
joint collection with A. Hariharan, the second was
with Ghulam Ali (Meeraj-E-Ghazal) and third one,
titled KASHISH was a triibute to Noor Jehan. In this
collection, she sings some Noor Jehan originals. I am
tempted to suggest that Asha does really well in some
songs. My favourites from this album (as my favourites from the corresponding Noor Jehan originals)
are:Nazar Hussain's Gul Khile Chaand, Raat Yaad Aayi
Aap Ki Baat, Baat Yaad Aayiand Mohsin Razaa's
Neeyat-E-Shauq Bhar Na Jaaye Kahin Tu Bhi Dil Se Utar Na Jaaye KahinEpilogue--------It is in the context of
this album that I make my last point of this dissertation. Noor Jehan’s originals were all rendered in the '60s and '70s. And they all have a sense of
pristine and raw quality about them. This is a
different Noor Jehan we hear from her days in Bombay. The Asha homage by contrast is highly normalized, and
I might suggest, tame. I would hazard the suggestion that in 1947, Lata was trying to get close to Noor Jehan's voice-control. In the next 20 years, the
two movie industries diverged in many ways, but
one point is relevant here. Lata's trainers,
especially Anil Biswas and Khemchand Prakash, wanted a
domesticated, classicized, well-modulated voice that would
never stray into savage territory.I don't believe
anyone put Noor Jehan through that kind of scrutiny in
the early '50s. She was the undisputable queen.
They wouldn't dare tell her what to do. On the
other hand, Lata was the great rookie of 1948. By
the early '60s, the contrast was stark. In 1947, when
Noor Jehan delighted us with "Tum Bhi Bhula Do,
Hum Bhi Bhula Dein" (JUGNU), it seemed as though
Lata's ideal singer was right there. But the germs of
voice-demodulation were present. They always are. In Lata's case, these were carefully checked and almost
clinically removed by master surgeons like Anil Biswas. It appears that in Noor Jehan's case, the demodulation
went unchecked, and grew almost wildly. The
musical handling of the words, the pronunciation, the
control, and just the overall delivery all too often
added up to a certain raw-ness. Certainlyage had
something to do with it. But there was also the
environment.In a Nazar Hussain-composed song from the '60s, Noor Jehan sings: Kyoon Chhoda Tumne Saath Hamaara Jawaab Do Khaamosh Kis Liye Ho, Khudaa-ra Jawaab Do As she throws her voice out, the lines almost start to sound like "Jawaab Dau",and "Khaamaush Kis
Liye Hau". Perhaps this is a feature, not a bug.
And perhaps it was a disservice to the Indian
audience committed by Surgeon General Anil Biswas and his distinguished colleagues of the late '40s that forever rendered Lata (and Asha) incapable ofthis
pristine-ness. But what do I know? I grew up believing that the Lata modulation was the best there was, and then I heard the latter-day Noor Jehan BEFORE I heard the Noor Jehan of the '40s.Maybe it was for the best.
Lata and Asha have their place with their masters
and their proteges - as does Noor Jehan.
rashna...
THE END
thanx 4 the article
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