This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
In the 60s and 70s, the world of ghazals was dominated by renowned names like Noor Jehan, Malika Pukhraj, Begum Akhtar, Talat Mahmood, and Mehdi Hassan but In the 70s a new voice appeared in Ghazals in India. It was Jagjit Singh with a different melody and freshness in his voice appealed to all and he was recognized by the industry. His pairing with Chitra and the use of unconventional musical instruments in the Ghazal and catchy rhythms and soulful music popularised Ghazals to the masses during the 70s and 80s. The couple's first Album " The Unforgettables" released in 1976 made them star in the ghazal Industry in India. It became the highest-selling album at a time when there was no market for non-film albums. The Unforgettables is also notable for one exceptional ghazal, Raat Bhi Neend Bhi, based on a Firaq Gorakhpuri poem. Chitra did not like the initial composition. Jagjit changed the tune and it became one of her most recognized solos in an album over which her husband towers with Baat Niklegi Toh Phir Door Talak Jayegi and Sarakti Jaaye Hai Rukh Se. Jagjit Singh touched unprecedented heights and a number of his songs are considered classics. He is also the first Indian musician to record a purely digital CD album, titled ‘Beyond Time’ (1987). Jagjit Singh has also sung many songs for Hindi movies. Popular films include Arth, Saath Saath, Premgeet, Tum Bin, Sarfarosh, Dushman and Tarkeeb. Jagjit Singh has proved himself as a genius as he brings out the true meaning of Mirza Ghalib's poetry by singing them as melodious Ghazals. The album can be easily called a masterpiece.
On the 222nd Birth Anniversary of Ghalib, I have made a collection of Bollywood Songs on Ghalib Shayari. He is the topmost poet whose poems are used as songs in Hindi films. In 1954 a film on Mirza Ghalib was made by Sohrab Modi. The film won (1) the President's Gold Medal for the All India Best Feature Film and (2) the President's Silver Medal for Best Feature Film in Hindi in the 2nd National Film Awards for 1954. Suraiya's singing (of Mirza Ghalib's ghazals) and her acting was especially applauded by the Prime Minister, Jawahar Lal Nehru, who remarked to her " You have brought back Ghalib to life", in a special screening of the film in Rashtrapati Bhawan. Bollywood has paid a tribute to this legendary poet through a film named Mirza Ghalib (1954) in which Bharat Bhushan plays Ghalib and Suraiya plays his courtesan lover, Chaudvin. The musical score of the film was composed by Ghulam Mohammed and his compositions of Ghalib's famous ghazals are likely to remain everlasting favorites.
Her first public performance was at the age of fifteen. Her first recording was done by the Megaphone Record Company at the age of Fifteen. The famous poet Sarojini Naidu appreciated her singing during a concert that was organized in the aid of victims of the 1934 Nepal–Bihar earthquake. Her most intoxicating composition was Deewana Banana Hai to Deewana Bana De. It contained a captivating effervescence maddening her listeners. She had an endless reservoir of Ghazals as she developed a deep understanding of literary nuances of Ghazals by great Urdu poets like Ghalib, Jigar, Faiz Ahmad Faiz, Kaifi Azmi, Shakeel Badauni and Hasrat Jaipuri that were introduced to her by her husband Abbasi Sahib, who was a Barrister by profession. She also acted in a few Hindi films She was signed by East India Film Company as a singing actor. Her first film was East India Film Company’s ‘Ek Din Ka Baadshah’ (1933). This was followed by ‘Nal Damyanti’ (1933), ‘Mumtaz Begum’ (1934), ‘Roop Kumari’ (1934), ‘Ameena’ (1934), ‘Jawani Ka Nasha’ (1935), ‘Naseeb Ka Chakkar’ (1936) etc.. In all these films, she sang all her songs herself. After staying at Bombay for a few years she came back to Lucknow, where she was approached by the famous producer-director Mehboob Khan, to act in Roti which was released in 1942 and whose music was composed by the maestro Anil Biswas. Begum Akhtar was India’s most refined Ghazal performer, who was honored by the titles like; Mallika-e-Ghazal (Queen of Ghazals). She bestowed an inimitable style of singing and performed mostly self-composed masterpieces like “Woh Jo Humme Tumme Quarar Tha” and the Dadras like “Hamri Atarya Pe Aao Sanwarya Deikha Deikhi Balam Hui Jaey” and “Cha Rahi Kari Ghata, Jiya Mora Laharaye Hai” and many more. Begum Akhtar was persuaded by Madan Mohan, a famous music director to sing in two movies "Daana Paani" (1953) and "Ehsaan" (1954). The songs "Aye Ishq Mujhe Aur to Kuch Yaad" and "Hamein Dil Mein Basa Bhi Lo" were absolutely melodious and were liked by one and all. Her last movie stint was that of a classical singer in Satyajit Ray's film "Jalsa Ghar". Begum Akhtar performed last in a concert in Ahmedabad. That day she felt that her voice was not up to the mark and raised her pitch. This put much stress on her and her health deteriorated. The situation became critical and she had to be rushed to the hospital. She breathed her last on 30th October 1974,
Like most of the singers of the 40s and 50s Talat Mahmood was also influenced by singing superstar Kundanlal Saigal. He would sing Saigal songs for hours on his harmonium, he never tried to emulate his style. Later, at a function when he sang a ghazal of Mirza Ghalib, Nuktacheen Hai Gham-e-Dil, that had also been sung by Saigal, he got an offer to sing on AIR Lucknow. After listening to his voice, PK Sen of HMV offered him a one-year contract for 30 rupees. Talat left for Calcutta and recorded his first song in 1941, Sab din ek saman nahi tha, penned by Fayyaz Hashmi and composed by Kamal Dasgupta. Pankaj Mullick who was also present there liked his voice, and he invited Talat to join New Theatres. Talat couldn't have accepted the offer since he was bound by the HMV contract, and also recorded private geet and ghazals for HMV.
His first encounter with Saigal happened when Saigal was recording a song for the film, My Sister, Do naina matware tihare hum per zulam karein, composed by Pankaj Mullick. Talat was spellbound seeing his idol singing. In his own words, "Lag raha tha jaise noor ki barrish ho rahi hai (It felt as if there was a shower of bright light)."
Talat made his debut in PC Barua's film Rajlaxmi in 1945 and sang two songs in the movie. And, one song, Jago musafir jago, was picturised on him. Thereafter, Talat also performed in two films, Samapti and Swayamsiddha, as an actor-singer. During his stay in Calcutta, he recorded several popular songs in Bangla with the pseudo name Tapan Kumar and his debut rendition in Bangla, Duti pakhi duti teere majhe naadi bohe dhire dhire, broke all the records.
In 1949, Talat moved to Bombay to try his luck in Hindi films. Initially, many composers told him that he had a tremolo in his voice but composers wanted to change his singing style. It was Anil da who told Talat that this tremble in his voice was his strength, his USP. He composed a ghazal for Talat in film, Aarzoo (1950), Aye dil mujhe aisi jagah le chal, penned by Majrooh Sultanpuri. This was the beginning of the Talat Mahmood era.
Naushad took Talat for Dilip Kumar in Babul and he sang hits like Khushi ke saath duniya mein, Husnwalon ko na dil do, and duets with Shamshad Begum, Duniya badal gayee meri duniya badal gayee and Milte hi nazar dil hua deewana kisi ka.
In 1951, Anil da recorded Talat's classic number, Shukriya hai pyaar tera. Talat made his debut with SD Burman with the song, Aye zindagi ke rahi in Bahar, followed by Burman Da's Buzhdil, Ek Nazar, Sazaa.and the best was to come in Taxi Driver 1954, Jayen To Jayen Kahan. In Devdas 1955, he sang heart-rendring numbers, Kis ko khabar thi kisko yakeein tha and Mitwa lagi re ye kaisi anbujh aag. Even in Sujata, he was reluctant to take Talat to sing his evergreen number, Jalate hain jiske liye in Sujata.
By the mid-1950s, Talat became the most sought after playback singer. He was every composer's first choice, giving playback for Dilip Kumar, Raj Kapoor, Dev Anand, Shammi Kapoor, Sunil Dutt, Shashi Kapoor and Bharat Bhushan, as also for Guru Dutt in his debut film Baaz as an actor: Mujhe Dekho Hasrat ki Tasveer hoon main composed by OP Nayyar. Later, he also sang his immortal number, Pyaar par bas to nahin hai for Nayyar in Sone Ki Chidiya.
Talat sang for Khayyam Saab his masterpiece ghazal in film Footpath, Shaam-e-Gham ki Kasam, and a beautiful romantic number in the film, Lala Rukh is worth mentioning.
Talat Mehmood passed away after a cardiac arrest on 9th May 1998.
Jagjit Singh met the love of his life, Chitra Singh in a studio to record a jingle for an advertisement in 1967. Both of them were struggling singers. Initially, both were singing jingles together for many advertising companies, this brought closeness. Chitra ji was earlier married to Debo Prasad Dutta and had a daughter with him, Monica. Chitra ji decided to part ways with her former partner in 1968 and moved on to live separately with her daughter.It was in 1969 Jagjit Singh and Chitra decided to marry.
Their first Album "The Unforgettable" in 1976 made them star. The album is notable for one exceptional ghazal, Raat Bhi Neend Bhi, based on a Firaq Gorakhpuri poem. Chitra Singh did not like the initial composition. Jagjit Singh changed the tune and it became one of her most recognised solos in an album over which her husband towers with Baat Niklegi Toh Phir Door Talak Jayegi and Sarakti Jaaye Hai RukhSe. Jagjit Singh and Chitra Singh’s chemistry worked like magic and there was no looking back for the much-in-love couple. The duo recorded dozens of albums in Hindi and Punjabi and also cut devotional albums. Among their subsequent duo recordings of the 1970s were Shiv Kumar Batalvi – Birha da Sultan (1978), Live in Concert at Wembley (1979) and Come Alive (1979). Of those released in the 1980s, "The Latest" by Sudarshan Faakir was the best selling album with his lifetime hit "Woh Kagaz ki Kashti...Woh Baarish ka Paani". It was the first album by the duo with the poetry of only one Poet. Ecstasies (1984) has also been described as "one of their finest". The joint projects ceased in 1990 when their 18-year-old son, Vivek, was killed in a road accident. Chitra felt unable to sing following these events. Monica, Chitra's daughter from her first marriage, committed suicide in 2009. Jagjit Singh.s work in film encompassed playback singing for productions such as Arth, Saath Saath and Premgeet. He composed all of the songs for the latter, as well as for the TV serial Mirza Ghalib that was based on the life of the eponymous poet, Mirza Ghalib. Chitra Singh sang in Bengali as well as for Hindi films such as Saath Saath (1982) and Arth (1982). He toured the UK in 2011 and was due to perform with Ghulam Ali in Mumbai but suffered a brain haemorrhage on 23 September 2011. He was in a coma for over two weeks and died on 10 October at Lilavati Hospital, in Mumbai.
Mirza Ghalib is the topmost poet whose poems are used as songs in Hindi films.His poems, his lifestyle, his behaviour everything is a great inspiration. He continues to be one of the best and oft-quoted writers in history. Bollywood has paid a tribute to this legendary poet through a film named Mirza Ghalib (1954) in which Bharat Bhushan plays Ghalib and Suraiya plays his courtesan lover, Chaudvin. The musical score of the film was composed by Ghulam Mohammed and his compositions of Ghalib's famous ghazals are likely to remain everlasting favourites On the 221st Birth Anniversary, I have made a collection of Bollywood Songs on Ghalib Shayari. In 1954 a film on Mirza Ghalib was made by Sohrab Modi. The film won (1) the President's Gold Medal for the All India Best Feature Film and (2) the President's Silver Medal for Best Feature Film in Hindi in the 2nd National Film Awards for 1954. Suraiya's singing (of Mirza Ghalib's ghazals) and her acting was specially applauded by the Prime Minister, Jawahar Lal Nehru, who remarked to her " You have brought back Ghalib to life", in a special screening of the film in Rashtrapati Bhawan.
In her decorated career, Runa Laila has achieved such height of fame and recognition that most artists can only dream of. She has voiced the magical lyrics of some of the globally renowned lyricists and performed the duet with singers at the similar altitudes of success. She was born in East Pakistan, was educated in Pakistan, settled down in Bangladesh after the creation of the state in 1971, has worked in India and travels the world with her shows. Where does she really belong? The colourful journey of her career has taken her all over the world. From Madison Square Garden to Sydney Opera House, from Europe to Africa – the veteran has stepped on proudly carrying the legacy of Bangladesh and mesmerized her audience in India and Pakistan. She has lent her melodious voice to over 10,000 recordings, in 18 languages. She was born (17 th Nov 1952) in Sylhet to Syed Mohammed Imdad Ali, a civil servant posted in Karachi, and Amina Laila. In 1966, she made her breakthrough with the song Unki Nazron Sey Mohabbat Ka Jo Paigham Mila for the Urdu film Hum Dono. She used to perform on PTV In a show called Bazm E Laila.
Her tryst with Indian films came about after a chance meeting with music director Jaidev in Delhi, at a party hosted by businessman and music connoisseur Ashok Khanna. He gave her a chance to sing at the inauguration of Doordarshan. For a few years, she used to sing in Doordarshan. She became famous among viewers by her song Damadam Mast Kalandar. Her first recording was with Kalyanji-Anandji for the title song of Ek Se Badhkar Ek.She gained popularity in India with the songs O Mera Babu Chail Chabila and Dama Dam Mast Qalandar . After that, she sang two songs for Gharonda"Tumhe ho na ho" and "Do deewane shaher mein " composed by Jaidev. She shares a close association with Bappi Lahiri too. In fact, Bappida recorded a pop album in her voice called Superuna in London. The singer remembers it all fondly. “We recorded at the Abbey Road Studios, made famous by The Beatles and I think we were the first people from the subcontinent to have done so. It was a spectacular experience. The songs are still popular and I perform them at my shows even now.” The songs were indeed so popular that Bappida used the hit single, De De Pyar De in the film Sharaabi (1984). Her name has been written on the Guinness World Records for recording 30 songs within 3 days. In 1982, she won Golden Disk Award as her album Superuna composed by Bappi Lahiri was sold over 1 lakh copies on the first day of its release. Runa has also sung versions of Mehdi Hassan’s ghazals, which became quite famous.In October 2009, she released Kala Sha Kala, a collection of Punjabi wedding songs, in India. In 2012, Laila served as a judge on the show Sur Kshetra, an Indian television contest show for amateur singers. She described her relationship with fellow judge Asha Bhosle as that of sisters. In 2014, she collaborated with Sabina Yasmin on a song for a television play "Dalchhut Projapoti", the first time they worked on a song together
Runa Laila with her Parents and Siblings
After her sister died in 1976 from cancer, Laila held several charity concerts in Dhaka. The money raised was used to build a cancer hospital in Dhaka.Laila was named a SAARC Goodwill Ambassadors for HIV/AIDS.She is the first Bangladeshi to hold this post.She visited New Delhi in 2013 on her first trip as the SAARC ambassador. She met India's External and Health Ministers.
Akhtaribaipopularly known as Begum Akhtar was born on 7th Oct 1914 at Bada Darwaza, Town Bhadarsa, Bharatkund, District Faizabad U P.She showed interest in music at a very young age and was sent to train under the great sarangi player, Ustad Imdad Khan. Later, she learnt classical music from great exponents of this field like Mohammad Khan, Abdul Waheed Khan and Ustad Jhande Khan Saheb. Her first public performance was at the age of fifteen. Her first recording was done by the Megaphone Record Company at the age of Fifteen. The famous poet Sarojini Naidu appreciated her singing during a concert which was organised in the aid of victims of the 1934 Nepal–Bihar earthquake. This encouraged her to continue singing ghazals with more enthusiasm. Begum Akhtar was very beautiful and her sensitive voice made her an ideal candidate for a film career in her early years. Those days only those actors were chosen who can sing also. Begum Akhtar was also approached by many people from Bombay to work in films. So she acted in a few Hindi films She was signed by East India Film Company as a singing actor. Her first film was East India Film Company’s ‘Ek Din Ka Baadshah’ (1933). This was followed by ‘Nal Damyanti’ (1933), ‘Mumtaz Begum’ (1934), ‘Roop Kumari’ (1934), ‘Ameena’ (1934), ‘Jawani Ka Nasha’ (1935), ‘Naseeb Ka Chakkar’ (1936) etc.. In all these films, she sang all her songs herself. After staying at Bombay for a few years she came back to Lucknow, where she was approached by the famous producer-director Mehboob Khan, to act in Roti which was released in 1942 and whose music was composed by the maestro Anil Biswas. In 1945, Akhtari Bai married a Lucknow-based barrister, Ishtiaq Ahmed Abbasi, and became known as Begum Akhtar. However, after marriage, due to her husband's restrictions, she could not sing for almost five years. In 1949 she returned back to the recording studios.She became a regular singer in Akashvani Lucknow Radio station. Begum Akhtar was persuaded by Madan Mohan, a famous music director to sing in two movies "Daana Paani" (1953) and "Ehsaan" (1954). The songs "Aye Ishq Mujhe Aur to Kuch Yaad" and "Hamein Dil Mein Basa Bhi Lo" were absolutely melodious and were liked by one and all. Her last movie stint was that of a classical singer in Satyajit Ray's film "Jalsa Ghar". Begum Akhtar was a refined Ghazal singer and was called as Mallika-e-Ghazal or the Queen of Ghazals. She received the Sangeet Natak Akademi Award for vocal music and was awarded Padma Shri and Padma Bhushan(posthumously) by Govt. of India. She was given the title of Mallika-e-Ghazal (Queen of Ghazals).
Begum Akhtar performed last in a concert in Ahmedabad. That day she felt that her voice was not up to the mark and raised her pitch. This put much stress on her and her health deteriorated. The situation became critical and she had to be rushed to the hospital. She breathed her last on 30th October 1974, leaving many fans disappointed and heartbroken
Talat Mahmood is known as The King Of Ghazal a title he consolidated over the period of years to become the greatest name in ghazals He began his music career at the young age of 16 when he began singing the ghazals of Ghalib, Dagh, Mir and Jigar on All India Radio, Lucknow. His first disc was released in 1941, "Sab din ek samaan nahin tha, ban jaoonga kya se kya main, iska to kuch dhyan nahin tha" In 1944 came the smash hit "Tasveer teri dil mera behela na sakegi". It took the country by storm. It's popularity was so phenomenal and unrivalled that even today it remains one of the biggest non-film hits! This disc brought Talat fame throughout India and soon he was beckoned by the Calcutta Film Industry, which was then the premiere hub of film production in the 40's. He came to Bombay in 1949,His name and fame had already preceded him and people in the Mumbai Film Industry were already aware of this handsome and talented young singer and soon he was offered the song "Ae dil mujhe aisi jagha le chal jahan koi na ho" composed by the then reigning music director Anil Biswas and picturised on the great Dilip Kumar. The song was a great hit,it layed the fpoundation of a new trend of Ghazal in Bollywood.The mellowness, sweetness and pathos in his voice set him apart from all the other singers. Here was a voice that was fresh ! The style absolutely new !! He was unanimously hailed as "The King Of Ghazals" Towards the late 60's the filmi ghazals and good romantic songs gave way to the electronic rhythms of the disco generation. Disliking the new trend towards loud meaningless music, Talat decided to cut down his film singing assignments but continued his non-film ghazal recordings. His last soundtrack recording, in 1985, is the song "Mere Shareek-e-Safar", a duet sung with Miss Hemlata, from the movie "Wali-e-Azam" composed by Chitragupt and written by Ahmed Wasi.He influenced a whole generation of young singers who succeeded him; including legendary ghazal singers Jagjit Singh and Pankaj Udhas (who always honors him with the title of Shahenshah-E-Ghazal), singer Sajjad Ali and playback singer Abhijeet Bhattacharya. My Favourite Ghazals Of TALAT
Song from Aarzoo (1949) Aye Dil Mujhe Aisi Jaga Le Chal
Song from Baabul (1950) Milte Hi AAnkhen Dil Hua Deewana
Song from Madhosh (1951) Meri yaad me tum na
Song from Daag (1952) Aye mere dil kahin aur chal
Song from Foothpath (1953) Sham-E-Gham ki qassam
Song from Dil-e-Nadaan (1953) Zindagi dene wale sun
Song from Taxi Driver (1954) Jayen to jayen kahan
Song from Mirza Ghalib (1955) Dil-E-Nadaan tujhe hua kya hai
