And the Award for the Best Female Playback Singer goes to?
When Noorjehan visited India in 1982 to celebrate the Golden Jubilee of Indian talkie movies, one of the songs she chose to sing was Baithi hun teri yaad ka lekar ke sahara from Village Girl (1945), composed by Shyam Sundar, to a deafening applause. She was the dominant female playback singer of the year, having memorable songs from Badi Ma, Village Girl and Zeenat. Her first superhit Hindi film was Khandan (1942), followed by some more successful films in which she was the lead actor-singer, such as Naadan (1943), Dost and Lal Haveli (1944). Thus by 1945 she was among the leading actor-singers of the era.
This was also the year of tentative entry of Lata Mangeshkar in Hindi film world in a tiny role as actor-singer in Badi Ma. It is understandable that she would be in awe of the Malika-e-Tarannum, Noorjehan who forever remained her ‘Didi’. By the time Lata Mangeshkar swept away everyone and, later, herself became the Big Didi, Noorjehan had migrated to Pakistan. Therefore, Noorjehan versus Lata Mangeshkar question was never tested, but the romance for Noorjehan remained behind her in India.
Amirbai Katnataki was one singer who always sounded supremely melodious. Khursheed belonged to the other end of the spectrum with full-throated courtesan-style singing. Both the singers had major presence in the year. If you consider the two being representatives of two different styles, you can put Suraiya, Rajkumari in the camp of the former, and Shamshad Begum and Zohrabai Ambalewali to the latter. You can never miss their singing. There were several other singers figuring in my list of the Memorable Songs in my Overview post of 1945.
Number of Female solos and singers in the list of Memorable Songs
The list of Memorable Songs includes 26 female solos divided as follows:
Noorjehan 8
Amirbai Karnataki 4
Khursheed 4
Naseem Akhtar 3
Shamshad Begum 2
Zohrabai Ambalewali 2
Jyoti 1
Rajkumari 1
Suraiya 1
TOTAL 26
Addition by the readers
The additions the readers make to my list of Memorable Song has been a valuable feature of the year-wise reviews. This year has been special for several reasons. One, it shows there is a deep romance for vintage songs among the music lovers, even among some young persons who belong to the post-Aradhana era when the Golden and Vintage style of music was a thing of the remote past, and the main source of access to vintage music, the radio, was being replaced by television. Two, some of the additions are extremely melodious which I either heard for the first time, or had not taken much notice of. Three, the number of ‘new’ female solos the readers have added are almost as many as the number I had included in my ‘long list’. I should mention here that male solos and duets added by them are very few compared to the female solos. This vindicates my fascination for vintage female singers who made a beautiful kaleidoscope of different styles of singing and timbre of voices. In Lata Mangeshkar era, this became monochromatic, while male singing became more varied.
Anup (Mehfil Mein Meri) added songs by Amirbai Karnataki from Amrapali, Munawwar Sultana and Zeenat Begum from Dhamki, and a Zeenat Begum song from Bhai Jaan. Gaddeswarupji added a Begum Akhtar song, Main raja ko apne rijha ke rahungi, from Panna Dai. Canasya added Amirbai Karnataki’s Jhanan jhana mori baaje payaliya from Chaand Tara. N Venkataraman added Snehprabha Pradhan’s Hansnewaalon ko rulaaoge ye maaloom na tha from Din Raat, and an uncredited song Man ke meet mere sun le geet mere from Shri Krishna Yuddh, which, he guessed, could be sung by Bela Mukherjee. He also added a song by Renuka Devi from the film Ghulami.
Neeruahaf has a made a mark for herself for being deeply into the vintage era music. She has added a Zeenat Begum song from Champa, and Amirbai Karnataki’s Ro ro ke sunaati hain aankhen mera fasana from Chaand Tara. She also mentioned Snehprabha Pradhan’s Hansnewaalon ko rulaaoge ye maaloom na tha with a great deal of respect and said it deserves Honourable Mention. She added Snehprabha Pradan’s another song, Naina bhaye more baawre, from Preet for Honourable Mention.
Raunak Joy turns out to be another great lover of vintage era music. He forces us to look at Hamrahi’s music as more than the trivia that it was the first film which featured Jana Gana Mana. He has posted four superb female solos from the film – three by Binota Bose (including a ‘ghazal’) and one by Rekha Mullick. Raunak also draws our attention to some more songs from Waseeyatnama besides the two I have included in my list in the overview post. These include two solos by Utpala Sen (including a ‘ghazal’) and another ghazal by Ila Ghosh. R C Boral was the music director for both these films. With these additions Raunak joins the bandwagon of New Theatres-romantics.
Besides the above R C Boral tracks, Raunak has added a Suraiya solo from Phool, Begum Akhtar’s Fasl-e-gul ayi humein yaad teri sataane lagi from Panna Dai and Snehprabha Pradhan’s Mori galiyon ki peepal nishani from Preet. That makes third Snehprabha Pradhan song added by the readers.
Overall perspective of female solos in 1945
Thanks to the readers’ contributions now we have much better perspective of the female solos of 1945. My initial remarks give the impression that Noorjehan was the clear front-runner by miles. I am inclined to modify my views. I have always been a great fan of Amirbai Karnataki. The four songs I had included in my list of Memorable Songs are some of her overall best and match in sweetness and melody with any of the songs of the year. Yet I had completely missed to include songs from Chaand Tara in which she was the lead singer and sang eight songs. With the readers filling up this gap and adding from some other films, now my view is that as far as ‘music’ is concerned she is as tall as Noorjehan, or, I dare say, even taller. Noorjehan’s aura was to a great deal due to her stardom.
My view of Zeenat Begum is that with any addition we get more of the same. It may be my perception, but I can’t think of her any song which is my eternal favourite. The real find was Binota Bose’s songs added by Raunak. I was very well familiar with her songs, but in New Theatres female singers I stopped at Kanan Devi and Uma Shashi. It was a coincidence that during the last few weeks Vividh Bharti in its Bhoole Bisre Geet played Binota Bose’s Din hain bahar ke aye (Hamrahi) a couple of times. I was struck by its charm, and then I realised how powerful radio has been in impacting our memory and shaping our favourites.
I was pleasantly surprised to find three songs of Snehprabha Pradhan added by the readers. I had included none. Her first song I had heard courtesy Doordarshan’s 4-part programme Gata Jaaye Banjara, produced by Sidharth Kak and anchored by Poonam Dhillon, and HMV’s compilation of Vintage songs, has held me spellbound forever. The song was Naacho nacho pyare man ke more from the film Punarmilan (1940). I was looking for the same magic. The songs started very promisingly, but soon there was a big let-down. All the three songs suffered from the same technical shortcoming which I will mention in the ‘Special Songs’. While talking of ‘Special Songs’, 1945 turns out to be a very special year. In other years I ‘looked for’ special songs. This year special songs have poured into my basket. The regular readers are aware of the significance of this section; for new visitors ‘Special Songs’ are meant to cover some unique songs which may not make it to the main list, some of which are new discoveries, yet as good as any other well-known song.
Special songs
There are situations when you want to do several things at once. So many outstanding songs have been added by the readers, but I have to start somewhere.
1. Ro ro ke sunati hain aankhen meri afsana by Amirbai Karnataki from Chaand Tara (1945), lyrics Swami Ramanand, music Gyan Dutt
This is Neeruahaf’s choice for the best female solo of the year. I had completely missed it. This song starts off with a long prelude, Main tujhse poochhti hun O unche shaanwaale, aise banaye tune zaalim jahaanwaale/ Naashad kar ke humko tum shad ho rahe ho, barbaad karke humko aabad ho rahe ho, as a remonstration to the Almighty, and then the sad song of complaint of helplessness starts. An excellent song. Thank you Neeruahaf.
2. Jhanana jhanann mori baaje payaliya by Amirbai Karnataki from Chaand Tara (1945), lyrics Swami Ramanand, music Gyan Dutt
Continuing with Amribai Karnataki, Canasya has added this nice song also from Chaand Tara.
3. Din hain bahar ke aye by Binota Bose from Hamrahi, lyrics Munshi Zakir Hussain, music R C Boral
This beautiful song by Binota Bose has been added by Raunak Joy. Let me quote his fond observation about this song: “..R C Boral was the king of preludes and here he comes up with such a modern stylised prelude that he seems to have had a clear influence on O P Nayyar and to an extent on C Ramchandra. The tune is so delectable that it comes as no surprise that this was a favourite with none other than Anil Biswas, who chose this song as one of the three best songs of R C Boral in his Rasikeshu programme with Tushar Bhatia. At a personal level, I rate this song as the second best female solo of the year 1945 after Noorjehan’s ‘Aa intezar hai tera’.
4. Payam-e-mohabbat saba la rahi hai by Utpala Sen from Waseeyatnama, lyrics Zakir Hussain, music R C Boral
Raunak adds this excellent ghazal from another film composed by R C Boral in the year, Waseeyatnama. I have included a couple of songs from this film in my master list, but missed this one. I can’t help observing that some of the Bengali female singers retained their Bengali tinge in ghazals. The contrast would be obvious if you listen to a ghazal by Begum Akhtar from Panna Dai. But I should make it clear, Payam-e-mohabbat has stuck with me, but Fasl-e-gul figures nowhere among Begum Akhtar’s best ghazals.
5. Fasl-e-gul aayi, humein yaad teri aane lagi by Begum Akhtar from Panna Dai, lyrics D N Madhok, music Gyan Dutt
Begum Akhtar’s film songs are a rarity, her enormous fame rests entirely on her non-film ghazals, light classical and folk songs. Therefore, I did not take much notice of her film songs. Here is a ghazal from the film Panna Dai. Her name is not mentioned in the cast, therefore, she might have sung it playback for another actor. This also has a version by Zohrabai Ambalewali.
6. Main raja ko apne rijha ke rahungi by Begum Akhtar from Panna Dai, lyrics D N Madhok, music Gyan Dutt
Gaddeswarupji has added a another Begum Akhtar song from this film of a very different style.
7. Is duniya ki pagdandi par tumhin ho mere saathi by Amribai Karnataki from Amrapali, lyrics Miss Kamal (Pradeep), music Saraswati Devi
The year is full of Amirbai Karnataki. Here is a very nice song added by Anup.
8. Pardes mein jaanewale saajan yaad teri phir aayi by Amirbai Karnataki from Chaand Tara (1945), lyrics DN Madhok, music Gyan Dutt
As I got on into Chaand Tara, courtesy the readers, I discovered this absolutely melodious song which I cannot miss to post here.
9. Madhuban mein Radha jhoole hindole by Khursheed from Prabhu Ka Ghar (1945), lyrics Pt. Indra, music Khemchand Prakash
This beautiful song of Krishna swinging Radha on the swing I heard recently on the radio. I have included some songs from Prabhu Ka Ghar, but I had missed this in my overview post. This is the type of Khursheed song which I never miss. I have to again give credit to the radio, its impact is much more than listening to the same song on the Internet.
10. Hansnewaalon ko rula doge ye maaloom na tha by Snehprabha Pradhan from Din Raat (1945), lyrics Nadeem Santokh, music Datta Chandekar
This song has been added by Venkataramanji and strongly endorsed by Neeruahaf for Honourable Mention. This probably is the first appearance of Snehprabha Pradhan on SOY. I have written about my fascination for Snehprabha Pradhan ever since I heard her first song, from a 1940-film. Therefore, I added Hansnewaalon ko rula doge with high expectations. The song starts very well at a medium scale which is her natural scale. But when she comes to antara (listen to 1.35 to 1.55), she moves to higher notes much beyond her natural scale which sounds discordant.
11. Naina bhaye more baawre man mein peeda hoye by Snehprabha Pradhan from Preet (1945), lyrics D N Madhok, music Bulo C Rani
I looked up another song added by Neeruahaf. This song starts absolutely melodiously, but at antaras (1.25 to 1.55; 2.24-2.57) Snehprabha again flies off in a higher orbit which is not her comfortable domain. This just needed small guidance from her music teacher or the music director to keep to her scale.
12. Ae gham-e-dil kyan karun, ae wahshat-e-dil kya karun by Masood Parvez and Renuka Devi from Ghulami, lyrics Majaz, music S K Pal
This year has become exceptionally special. I end this section of ‘Special Songs’ with the eternal Majaz nazm, Ae gham-e-dil kyan karun, which we have all heard a million times in the voice of Talat Mahmood from the film Thokar (1953), composed by Sardar Malik. You may ask what this song is doing here. Shekhar Gupta (based in Singapore), who writes to me more often that he comments on SOY, informs that this nazm first appeared in a film in Ghulami (1945).
Shekhar gives some more information on Ae gham-e-dil kya karun – the nazm had 15 stanzas of which Thokar used only two, whereas the song in Ghulami used four stanzas, as a duet between Masood Parvez and Renuka Devi. Since both are in the star cast of the film, it must have been picturised on them. Here is the full nazm in Devanagari script. You can also find the full nazm in Roman script here.
The above link also has a bonus track: the original of Saawan aaye ya na aaye piya ghar aaye saawan hai from the film Sadhana (1939), written by Kanhaiyalal Chaturvedi, composed by Aunupam Ghatak. I would not like to speculate whether Shakeel Badayuni and Naushad (Dil Diya Dard Liya, 1966) were ‘inspired’ by this song. The similarity may be coincidental. In Shakeel Badayuni’s lyrics the original ‘…piya ghar aaye saawan hai’ has become ‘…jiya jab jhoome saawan hai’. And since every music director has to work with 12 notes, there are greater chances of coincidence.
Shortlisting best ten female solos
I have included the readers’ best additions in the ‘Special songs’, I would confine the selection of the Best Ten of the year from the 26 female solos in my list of Memorable Songs. Since this was a year of duopoly, first I will include the songs by ‘other’ singers, so that we don’t miss them.
Naina bhar aaye neer by Shamshad Begum from Humayun is a landmark song. She has sung very few songs which are as melodious. This song makes automatic entry. The same film also had Rajkumari’s Rasm-e-ulfat kisi surat se nibhaye na bane. As we go down the list we find a great song, Aaj hans hans ke do do baatein ki hain sanam ne hamaare, which has a Suraiya solo version as well as a female duet version by her with Hamida Bano. Khursheed is endowed with a very unique vintage era voice. I cannot let go of Itana bhi na wo samajha ke gaye kyun shama bechaari jalti hai (Moorti). This is already four slots. There are some more songs by Khursheed, Zohrabai Ambalewali and Naseem Akhtar which are favourites of music lovers. But we need at least six slots for the two leading singers of the year: Noorjehan and Amirbai Karnataki.
Many readers have mentioned Noorjehan’s Aa intezaar hai tera and Diya jalakar aap bujhaya from Badi Ma as their top favourites. But Baithi hun teri yaad ka lekar ke sahara (Village Girl) is a great favourite with everyone. This film had another memorable song Kis tarah bhoolega dil unka khayal aya hua. Two songs from Zeenat – Andhiyan gham ki yu chalin and Bulbulo mat ro yahan – are remembered with a great deal of respect by Noorjehan fans. That is six of her songs. We would need to do some pruning to accommodate Amirbai Karnataki whose all songs in my list of Memorable Songs are absolutely gorgeous.
I would specially mention Amirbai’s Jogan bana ke piya chhod gaye galiyon mein (Chaand Chakori), Bairan ban gayi nindiya ho koi jaye kaho (Chhamia) and Ye hawaayein salaam kahti hain (Ghar).
If we prune Noorjehan to three songs, we get ten. For getting their order we can quickly review the readers’ choices.
Readers’ choices
Arunji (Arunkumar Deshmukh) is always very prompt with his choices for the best. He is unambiguously for Baithi hun teri yaad ka lekar ke sahara. Anup chooses two Noorjehan songs as the joint best – Baithi hun teri yaad ka and Diya jalakar aap bujhaya. Mumabikar8 makes a general point that Badi Ma, Village Girl and Zeenat are three notable albums of the year. We an presume that her choice for the best female solo song would be one of the Noorjehan songs from the above movies.
Canasya chooses Diya jalakar aap bujhaya as the best. Arvind mentions Andhiyan gham ki yun chalin. Raunak’s choice for the best female solo is Noorjehan’s Aa intezaar hai tera. He also gives a list of his choice for the Best Ten, with an Honorary 11th Spot for another Noorjehan song, Bulbulo mat ro yahan (Zeenat). He finally concludes that Noorjehan is “The Female Singer of the Year.”
In the face of such overwhelming support for Noorjehan, it requires courage to take a different stand. Neeruahaf’s choice for the best song is Amirbai Karnataki’s Ro ro ke sunaati hain aankhen meri afsana (Chaand Tara) which I have placed at the top spot in ‘Special Songs’.
Best Ten Female Solos of 1945
Armed with the above detailed analysis now we can place the Best Ten female solos of 1945 in an order.
1. Baithi hun teri yaad ka lekar ke sahara by Noorjehan from Village Girl (1945), lyrics Wali Saheb, music Shyam Sundar
2. Diya jalakar aap bujhaya by Noorjehan from Badi Ma, lyrics Zia Sarahadi, music K Datta (Datta Koregaonkar)
3. Aa intezar hai tera by Noorjehan from Badi Ma, lyrics Zia Sarhadi, music K Datta
4.Ye hawaayein salaam kahti hain by Amirbai Karnataki from Ghar (1945), lyrics Rooobani, music AR Qureshi
5. Naina bhar aaye neer mere hatheele raja by Shamshad Begum from Humayun, lyrics Anjum+Kavi Shant (?), music Ghulam Haider
You will rarely find Shamshad Begum singing and Ghulam Haider coming up with this incredibly beautiful classical raga-based song, a complete contrast of their Punjab School of music. Experts to please confirm the raga, Tilak Kamod (?). it is picturised on the lead actress Veena.
6. Bairan ban gayi nindiya ho by Amirbai Karnataki from Chhamia (1945), Music Gyan Dutt
There was some magic in Amirbai Karnataki’s voice which did not need crutches of stardom on the screen. We remember Naushad, C Ramchandra, Anil Biswas and Khemchand Prakash for her songs. But let me refresh the memory of the readers, Gyan Dutt composed most songs for her.
7. Jogan bana ke piya chhod gaye galiyon mein by Amirbai Karnataki from Chaand Chakori, lyrics Pt. Indra, music Bulo C Rani
Now Bulo C Rani creates a charming song for Amirbai Karnataki.
8. Itana bhi na wo samajha keg aye kyun shama bechari jalti hai by Khursheed from Moorti, lyrics Pt. Indra, music Bulo C Rani
Pt. Indra, Bulo C Rani come together again to compose a quintessential Khursheed song. As I mentioned earlier, she belongs to the full-throated courtesan-style singing camp. It was important to include her for the full flavour of vintage era female singing. The YT caption wrongly mentions Suraiya’s name.
9. Aaj hans hans ke do do baatein ki hain sanam ne hamaare by Suraiya from Main Kya Karun, lyrics D N Madhok, music Ninu Majumdar
Frankly, I had not heard the name of this movie, and find here a wonderful song by Suraiya. Its duet version by Suraiya and Hamida Bano is faster and in a happy mood. The duet is perhaps better known.
10. Rasm-e-ulfat kisi surat se nibhaye na bane by Rajkumari from Humayun, lyrics Shams Lakhanavi+Anjum Pilbhiti, music Ghulam Haider
I have included Shamshad Begum’s Naina bhar aaye neer at #5. This solo by Rajkumari, picturised on the second leading lady Nargis is also very good, deserving to be in the list of Top Ten.
To conclude,
The Award for the Best Female Playback Singer of 1945 goes to Noorjehan.
And the Best Female Solo is:
Baithi hun teri yaad ka leker ke sahara
And Amirbai Karnataki is honoured as a Distinguished Female singer of 1945.
Acknowledgement and Disclaimer:
The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.
{ 41 comments… read them below or add one }
Thank you so much AKji for your very kind words. I have skimmed through the post and am glad that Amirbai Karnataki ji has been thus honoured. Will write something more coherent when I go through the post properly, listening to all the songs that have been listed. Extremely grateful to you, for all the trouble that you take for putting such posts together. Wish you’d continue with this.
AKji,
The special songs are wonderful, I specially liked the first three on the list. The third by R C Boral with the fascinating prelude was the best for me.
And,
I agree with your conclusion. Amirbai is my favourite too. She was just outstanding. One of the best female playback singers. I love her voice.
Hats off to your painstaking efforts for the post.
Anup
🙂
Neeruahaf,
Thanks a lot for your appreciation. I am looking forward to your detailed comments.
Anup,
Thanks a lot for your appreciation. We are on the same page.
AKji
Isn’t it strange that the ‘discordant notes’ that you find in Snehprabha Pradhan’s songs seem absolutely fantastic to me? The sections of the songs that don’t appeal to you sound lovely to my ears; and in the song “Naina bhaye more baanware” give an absolute haunting touch to the entire song. Guess the way no two persons ever read the same book, no two persons ever heard the same song:)
Neeruahaf,
It is an interesting observation. If you found those portions, which sounded odd to me, fantastic, there is something about personal taste. As I said the song sounded great to me except those ‘odd’ portions.
AK ji
Thanks for the information about Majaz’s nazm; as you said we think of Talat saab singing it. However, I am wondering why you have included it in this list, shouldn’t it be in the post on duets (which I am eagerly waiting for)?
#6: It would be interesting to know where the others stand on this matter of ‘personal taste’. Always fascinating to see how we respond differently to the same things.
Neeruahaf,
First part: Absolutely. A slip, I got carried away, or may be I was drowsy in late night when I was working on it.
Thanks a lot for mentioning this.
As is the norm now, the concluding part on Female Solo songs for 1945 is very comprehensively presented.
By including the songs from the readers, the post become very interesting as well.
I have just begun my “Micro View of Female Songs of 1945′. Let me see if I can get anything more, interesting, than what is presented here.
Noorjehan’s Bauthi Hun Teri Yaad Mein is indeed a very memorable song, but the contribution of Amirbai Karnataki, both in quantity and quality, for the year 1945 is so enormous, that she should have been adjudged at least a joint winner.
Ashokji,
Thanks a lot for your appreciation. Amirbai Karnataki fully deserves to be a joint winner. Given support for Noorjehan all the way, I could think of a special mention as “Distinguished Singer of the Year”.
AK ji,
Out of all the series you had in SOY, ” The best songs of….” is my favourite. The reason is, one can enjoy nostalgia while listening to selected songs from that particular year. What more one wants from
HFM ?
I have also noticed that your selection of songs for choosing the best is very impartial and full liberty is provided to select the best song as per one’s choice.
Alert and active readers provide additional songs. I have seen hardly 2 or 3 Blogs, where so many readers participate whole heartedly in the discussions and also try to contribute.
Credit, of course, goes to you.
Waiting anxiously for the ” Best songs of 1944″.
Thanks.
-AD
Arunji,
Thanks for your kind words. SOY and this series, in particular, are valuable because of the participation of readers like you. Many readers like this series and have requested for its continuation.
AK ji;
Nostalgic moments relived again ! ! . I have set my time table …or lets say set clock to listen to vintage songs…..in a slow mode.
Started first with Special songs and got bowled over by song…Din hain bahar ke aye by Binota Bose from Hamrahi . Truly R C Boral hit the right notes with proper selection of instruments with nice prelude and interlude. Binota Bose kept the right rhythm rolling in best possible way . Enjoyed the song immensely .
Song…Main raja ko apne rijha ke rahungi by Begum Akhtar from Panna Dai, lyrics D N Madhok, music Gyan Dutt….was a surprise for me . Beautifully sung and enjoyed listening with Begam Akhtar in different mode as I too had limited knowledge of her singing ghazals only.
Snehprabha Pradhan songs were new to me . I liked the voice but as you said she had limitations singing at higher notes.
Will continue as i proceed….again at leisure pace.
Ksbhatiaji @13, long ago, I wrote a bit about Snehprabha Pradhan https://gaddeswarup.blogspot.com/2012/07/snehprabha-pradhan-remebered.html
Gaddeswarup Ji @ 14;
Thanks a lot . All the links converge to the passions that actors used to live by specially during Indian India and British India as well. Snehprabha’s dancing style seems to be unique. What is amazing is her effortless singing even with the Borals style of compositions that had influence of Pankaj mullick and to some extent a reflection of German Orchestra too. Puran Milan song is truly exceptional . A good study for a young actress to perform and sing . The song is a visual treat also with fine camera work and sets . The turbaned waiters to watch for the service to dignified people sitting in a disciplined way and all dressed up in typical achhkan….all very familiarly looking like Rehman …the great actor of mid 40s thru 70s .
I am carried away with such cinematic touches… a study for me to watch , hear and enjoy. Thanks for inputs by Sudhir , Atul …etc.
Gaddeswarupji @14,
The link to your blog took me to a beautiful journey into Snehprabha Pradhan’s stardom, and her romance with Sparkes, post her divorce. Sparkes’ writing is beautiful, this is the kind of writing one can spend the entire life reading. It has everything, fluent British English, humour, his infatuation and sincere love for ‘Sneh’, interaction of two entirely different cultures, and oral history of the period as the real people who came to an alien land saw it. I am not yet finished reading all he has written, but I will be very sad if they were not married. Probably, Sparky remained only a ‘husband’ as everything a husband means, except in law. And that must have been because of the tempestuous nature of Sneh who could fly on a short fuse at the slightest misunderstanding.
Every writing on Snehprabha Pradhan refers to that one song dance from Punarmilan (1940) which made her enormously famous. I have alluded to this, you have given its link.
Thanks again. Would like to know more on Sneh-Sparky.
KS Bhatiaji @13, 15,
I am happy you enjoyed the Wrap Up 2, especially the Special Song, Din hain bahar ke aaye, so much. For this we have to thank Raunak. Your poetic musings have made it more beautiful.
Continuing with your poetry, you have enhanced Snehprabha Pradhan’s famous stage dance song. I would also recommend you to read the reminiscences of Sparkes, several of his articles are about his love affair with Sneh. You start wishing like me that they were married. I don’t know what finally happened.
AJ Ji,
It was long ago, details are a bit hazy. I do not think they married, though she visited him in England later according to him. She wrote an autobiography, I think. As an armchair leftist, what interested me was her parents were social workers of different castes and I was vaguely under the impression, she returned to some sort of social work later on. But I am not sure. Parts of Sparkes story sound believable and there are photographs. As usual, our best bet may be Shri Arunkumar Deshmukh. He has written once (at least) about her https://atulsongaday.me/2019/09/25/nadi-kinaara-ho-taaron-bhari-raaten/
I am again busy with mathematics. About 27 years ago, I published paper with Peter Scott which had some mistakes. We wrote a few other papers using that, Though the paper has been used by others, it seemed a good idea to write up corrections at some stage. I am 79 now, that is what I am trying to complete now before it is too late.
AK ji and Gaddeswarup ji,
From Snehprabha’s Bio, here is a relevant portion…..
In 1946,when Tarabai-her mother died,she was so heartbroken that she contemplated suicide also. In the early 50s,she came in contact with the famous doctor of Bombay Dr. V.N.Shirodkar,with whom she stayed for another 40 years of her life. After leaving films,she did some noteworthy roles on Marathi stage. She wrote several books too,like her autobiography-” Snehankita” and ” Rasik prekshakanna saprem” etc. Snehprabha Pradhan died on 7-12- 1993.
After she divorced Kishore Sahu,she got introduced to a British soldier on war duty in India-Edward Sparkes. Their romance became well known. They travelled all over India,but could not marry,as he had to return to England in 1947.
Snehprabha was the Dreamgirl of Dev Anand and he wanted to work with her desperately. He had acted with Nargis in Khel-1950 which was a flop. He never wanted to work with Nargis again in his life,but when a film ‘Birha ki Raat’-1950 was offered to him opposite Nargis,he accepted it only because Snehprabha Pradhan was in it. Thus Dev Anand’s dream was fulfilled !
-AD
Gaddeswarupji,
Great to hear you are working on a mathematics problem at this age because you discovered that there was some mistake in your 27-year old paper. Arunji has commented on Snehprabha Pradhan.
Arunji,
Thanks a lot for the additional information about Snehprabha Pradhan. So she was not destined for a conventional marriage post her divorce. I got the impression that she also travelled to London with Sparkes.
Arunji, Many thanks for the clarifications.
AK Ji,
It has always been a pleasure participating here. Though I am obsessed with other things off and on, I continue to browse the posts here. On the positive side, I wrote two papers this year which are among my best I think. But working in mathematics always alternates with the enjoyment film songs for which this blog has been a great source for several years.
AKji,
A great summarization by way of clear expression of facts and observations.
Earlier too I have stated vintage songs forever offers a great listening pleasure, especially when you have an array of female singers. The ‘Special Songs section’ is truly special and thanks for giving due importance to the contribution made by the readers.
Amirbhai could have been the joint winner. I appreciate your decision to give wieghtage to the overwhelming choice of the readers.
Special song No.4- the singer should be Utpala Sen and not Utpala Dutt- and inadvertent error, I am sure.
You deserve huge kudos for the painstaking efforts.
Venkataramanji,
Thanks a lot for your appreciation, and the correction. On Amirbai Karnataki you must have sensed where my preference lie. But I am happy that I am not the only one who is so fond of her.
AK ji;
Love affair / story of Sparks and Snehprabha made an interesting reading. I suppose there is always a Pathak ji factor in ones life span …..some even undeclared.
Gaddeswarup ji;
Mathematics is a reason for music . Music only start after 1,2,3 . Music is surely a mathematical wave riding the space structured by Sin , Cos and Tangent curves.
I am 5 years younger to you and still gets glued to maths…be it Pure or Applied . This passion was passed on to me by my father who was double M A in Maths and English literature . I have still in my possession his hand written copy of 1928 covering the various question papers of I C S examinations of 1924 onwards. The sums are same which I did in my I I T Engineering course. I do share few pages with my Wattsap group. Engineering maths had more of Statics Dynamics, Hydrodynamics , Fluid Mechanics and so on . At higher secondary level the higher theorems attracted me alot as they attracted deep insight studies. Nine Point Circle was my favorite theorem….that was in 1962/63 .
Yes , Music is a great alternative to Maths . I go where music takes me. Please send me the links where I can have a look of your research papers and get updated too. In my younger days I used to listen to music while doing Maths sums . ….a great feeling that never died.
KS Bhatiaji,
In Sneh-Sparkes love story, Snehprabha Pradhan comes out as a highly temperamental person who would fly into furious rage for something very trivial, all because of her suspicions and insecurities. This is from Sparkes’ perspective, I am curious to know if and how she has described the affair in her autobiography. It is in Marathi, so not accessible to me. I read Sparkes’ more posts. She did go to England and stayed at their family home for a few days. These days turned out to be stormy, and the parting was final.
I can understand your romance for music and mathematics. Many active members of SOY have that kind of background.
AK ji
Like that absolutely ‘new’ rendition of Majaz’s nazm, I came across this song by Ashok Kumar @YouTube and was surprised since I had heard it only in the voice of his younger brother Kishore Kumar. Most probably it has already been discussed on this blog but for those who haven’t heard it here is a song from Jeevan Naiya (1936) which seems strangely familiar and yet not:
https://www.youtube.com/watch?v=tZTtYfieivM
On another note, KS Bhatia ji #13, is with you regarding Snehprabha ji’s singing☺
Neeruahaf,
Ashok Kumar’s original Koi humdum na raha has been in the circuit for a few ears, and it has been discussed earlier on SOY. I don’t know whether you are also aware of another ‘original’ in the voice of Ashok Kumar. If not, you would be thrilled.
https://www.youtube.com/watch?v=RtthfgNa7YY&t=13s
KS Bhatiaji is with me not only on Snehprabha Pradhan’s singing, but also on her love affair with the British Air Force officer, Sparkes. He is a romantic poet as must have realised by now.
I have commented very few times on these yearly reviews, but I listen a lot more songs than what are listed in the main article. I think for general readers collection of songs and special songs is quite handy to listen. I dont understand, why none of the songs suggested by readers is considered for the final rankings, and only some of them are listed as special songs.
Regarding Snehlata Pradhan, I knew her name but had not listened to her songs. After Gaddeswarupji’s posting the link, I listened to her songs in Punar Milan – 1940 and I found that she is a very good singer. Regarding her song mentioned by Neeruahaf, I remembered once Mumbaikar8 asked SSW about Lata’s voice screeching (or something like that) and he replied that this impression is subjective and depends on each listener. I think there was no singer other than Rafi, who could hold his own in any scale and could sing any genre with excellence. The only thing where he came second to Manna Dey were the songs which needed more classical rendering, for which he being just a play back singer, he was not supposed to have perfection. He shunned rigorous classical riyaz, because that would have affected his rendition of softer playback songs. Manna Dey paid the price of too much classical riyaz. To me both of Snehprabha’s songs are great and the aberrations pointed out by AK were perhaps modulations suggested by MD himself and they hardly affect the quality of the songs. Her modulations remind me of Shamshad Begum’s modulations, which she tried in some Hindi songs and a lot in Panjabi songs because Panjabi audience loved that.
On the love story, I dont give much credence to Sparkes writings. He may be mixing some fiction in facts. He was just an ordinary soldier, while Snehprabha was a celebrity. So his showing himself close to her is a ‘thing to boast’ for him. If he shows her as eccentric that is also a gullible story in view of many juicy stories about filmy heroines prevalent across the world. In fact, I doubt if she even went to England, unless some other source confirms that. I have not read his articles, but if he had not disclosed the date and time of her visit then it is surely a concoction. Probably she has not included any thing related to Sparkes in her autobiography, because he was just another person in her life.
Hans,
Thanks a lot for your detailed comments. You always bring something extra to the discussion. There is no hard and fast rule that ‘new’ songs other than those listed by me in the overview post cannot be in the final list. In some years I have done that. Most often, it is a tough selection even among the shortlisted songs.
I have to accept liking for Snehlata Pradhan’s songs is a matter of personal preference. The Punarmilan (1940) dance song enchanted me, but not the songs of this year.
On her love affair I have a more charitable view of Sparkes. She was not merely a trophy for him, it was deeper. I would urge you to read his memoirs if you have time. He writes well. I don’t think it is possible to concoct the description of her London visit and stay at his house. The reasons for break-up between two people is such a personal matter, others can hardly understand. The two sides would have their own story. I would love to read her autobiography, if available, in Hindi or English. I think she must have mentioned it.
AKji
I lap up all posts of this genre from you. I am able to learn at first hand nature of songs of these bygone years thanks to the mole like digging on your part to unearth them. This way I stand to gain by getting access to songs of this elk and enjoying them in leisure.
You had announced the end of this type of post with 1945. Already there is a minor rumble to go back further. Your journey may extend almost up to the first talkie. You are like Sir Arthur Conan Doyle who tried to kill Sherlock Holmes in the short story “Final Problem” as he was more interested in writing historicals. Public outcry forced his hand and Holmes was resurrected in the next short story – “The Empty House”. You are like an individual riding a tiger and unable to get down and escape. I will be looking forward to such posts in future
Mr Rangan,
Thanks a lot for your appreciation. That announcement was in a context. But if the blog goes on beyond 2020 as it looks certain now, lot of my earlier notions have to change.
AK ji:
I am late to the party but would second the sentiments that have been expressed by Arun ji, Venkataraman ji, Ashok ji, Bhatia ji, Rangan ji, and others. Noorjehan and Amirbai were two unexceptionable choices that year. The accompanying write-up and the special songs are huge bonuses. Thanks. Anup ji had mentioned Munnawar Sultana in his earlier comment without listing any songs. Here are ‘Bekason ki bekasi ko’ and ‘Nahin hai koi bhi sunanewala’ (Munawwar Sultana in Albeli; MD: G A Chisti; please ignore the ‘false image’ in the first video)
https://www.youtube.com/watch?v=85IJGtK4Rhk&ab_channel=MunawwarSultana-Topic
https://www.youtube.com/watch?v=oUS39nBAXgU&ab_channel=Albeli-Topic
Rangan ji @ 32 provides a very apt analogy. Sir Arthur Conan Doyle had decided to do away with Sherlock Holmes and devote more time to his historical novels that he regarded more highly. Similarly, Dorothy Sayers thought that her translation of Dante’s ‘Divine Comedy’ would give more enduring fame than her Lord Peter Wimsey novels. But time and public have proven them wrong. So much so that, even after Conan Doyle and Dorothy Sayers are long gone, Holmes and Peter Wimsey continue to flourish in pastiches, my favourite being ‘The seven percent solution: Being a reprint from the reminiscences of John H. Watson, M.D. (The Journals of John H. Watson, M.D.)’ by Nicholas Meyer.
Canasya,
Thanks a lot for your appreciation. Munawwar Sultana,the singer is perhaps different than Munawwar Sultana, the actor.
Last part, I am gratified by the sentiments. On a lighter note, if you stroll around Baker Street, if you stroll around Baker Street you can even today shake Sherlock Holmes’ hands and have your picture taken with him. He does not ask for, but you are expected to tip him about £5.
I am extremely delighted by the fact that both Amirbai and Noorjahan were declared as the joint winners here. As you so rightly pointed out, radio ( or for that matter any other means of mass media) does play a huge role in shaping our favorites. Indeed, it was precisely because of the same that I ended up giving Amirbai the short shrift, carried as I was by the Noorjahan wave that seemed to have swept the entire nation from 1944 onwards till 1947. But I am really happy that you have done justice towards Amirbai- with Neeruji’s Ro Ro ke & Anupji’s Iss Duniya Ki pagdandi becoming my newfound favorites.
Coming back to Noorjahan, in hindsight, I feel that while she and her art brought immense joy to the music industry. it kind of proved detrimental for the film folks. Its a personal theory, which I have named ‘ The N & N effect’ , where the two N’s stands for Noorjahan and Naushad. Most of the films of that period which either had music by Naushad or starred Noorjahan, were pretty poor pictures. And I say this strictly speaking from the pov of quality filmmaking. Barring Zeenat- which I find a good film, rest all films like Rattan, Anmol Ghadi, Jugnu, Gaon ki Gori, Badi Maa etc, are average pictures, held together by some great music, which lead to their massive success. On the other hand, genuinely good movies like Neecha Nagar, Kalpana, Main Kya Karun, Ramshastri, Anjangarh , all performed poorly at the turnstiles. So, in a way, one can say that the music of Naushad and Noorjahan wasn’t exactly music to the ears of good filmmakers of our country, though of course Naushad and Noorjahan are not to be blamed in anyway for the same.
P.S: Thanks for the acknowledgements in the article. Genuinely means a lot.
Raunak,
Thanks a lot for your appreciation. Your N&N theory is interesting. I am not too enamoured of your first N, but I have a great respect for the other N, i.e. Naushad. If I have to pick one MD, it would be him. Because of its runaway success, it is very difficult to think of Rattan as a mediocre film, though when I wrote “The Jewel in the Crown of Naushad: Rattan”, I had described the film as Naushad’s music to which a film had been attached – which echoes your sentiments. A ‘blockbuster’ and great music often present this dilemma whether an average film has been lifted by music. This is not always true, there are many examples of great music in films that went bust. To be fair, Naushad was also associated with some milestone films.
I am a great fan of Amirbai Karnataka. Noorjehan Madam carried some aura, but as a singer overall I rate Amirbai Karnataki much higher than her.
I actually forgot to mention that the ‘ N&N theory’ applies for the period 1944-49, and is meant as an explanation for the record box-office success of films which were very run of the mill, and yet crushed films which were miles ahead in terms of content and cinematic magic. This is in sharp contrast to the years preceding and succeeding this period. For example, 1943 Kismet or the 1949 Mahal – both blockbusters, but also at the same films, which truly offered the viewers something fresh and new. But the same cannot be said for say Rattan or Anmol Ghadi or Mirza Sahiban – films which seemed to be poor derivatives of NT films by Barua and Debaki Bose, but minus their psychological depth, technical excellence and realistic depiction. Yet these films succeeded , and the only possible explanation that I could come up with is that audiences were taken spellbound by the magic created by these two N’s. Otherwise how does one explain the success of a rank mediocre film like AR Kardar’s Dillagi over films like J.K. Nanda’s Lahore and Kishore Sahu’s Sawan Aaya Hai.
Naushad, I agree, is one of our greatest. And while it’s true that he has to his credit some great films – films which scored on the basis of their own artistic merit and not just star power and musical magic; fact remains that most of them are from a later time period than the one in question here. Baiju Bawra, Amar, Mother India, Mughal-e-Azam & Gunga Jamuna are truly powerful pictures that had Naushad’s music, but within the time period of 1944-49, it’s only Andaaz that scores as cinema and not just as mere entertainment.
Raunak,
I understand what you are saying. We can debate till the cows come home, but I doubt if we will get a satisfactory answer. I can make two observations: (i) A priori no one can predict if a movie will be a blockbuster. There are many examples of surprise sensations, and also the reverse – everything is right, but the film fails. (ii) There wouldn’t be agreement on the artistic merit of various films. You have mentioned Andaaz in glowing terms. I think its success was more due to the novelty of three stalwarts acting in the film and the glamour quotient. But it soon degenerates into a regressive them on which I have often commented. Even if I discount that it reflected social values of the time, I would expect better from a leftist-liberal Mehboob.
I agree with all that you said. That said, my praise for Andaaz was majorly due to its filmmaking merits. The way it is mounted, acted and constructed is praiseworthy. Technically accomplished and well scripted, Andaaz scores over most of the films of its time. It is because of these qualities that I ignored it’s theme – which I completely agree is regressive in its nature. But then Mehboob was a barely literate man, so his films, thematically were rarely progressive. Indeed, his treatment of women characters in films I have always found questionable, but then I guess it’s wrong to expect progressive pictures – the kind that say Barua or Nitin Bose did, when they made a Manzil or President respectively; from a man as little educated like Mehboob was. As far as Mehboob being a leftist- liberal goes – I think that’s more a hogwash sort of propaganda made by his followers like Rauf Ahmed and company. Mehboob was always a very conservative man and that shows in his films too; though of course that doesn’t take away from his skill as a quality filmmaker- who inspite of being very inconsistent and majorly mediocre in most of his ventures, did dole out few films like Andaz, Amar, Bahen – films which chartered new territories and scaled heights that Hindi melodrama don’t reach very often.
Raunak,
Thanks a lot for your very erudite comments. One thing cannot be disputed, his films had everlasting music by Naushad, and earlier by Anil Biswas. On his left-liberal stance, the film Roti (1942) is often sited. I saw the film with great expectations. I commented somewhere that I felt it had comic-book socialism. Very clear to even a schoolboy!