Guest article by DP Rangan
(Suraiya was literally as sweet as a nightingale. I have covered her in some detail. But with his amazing enthusiasm for research, DP Rangan was not deterred in finding enough interesting material and uncovered songs on her. I thank Mr Rangan for this nice article and join him in paying my tribute to one of my greatest favourite singers on her 89th birth anniversary (15 June 1929 – 31 January 2004). – AK)
This is the seventh in the series of posts on this chanteuse, a rage among her admirers in late 1940s. The earlier six posts were all creations of the blog master. Four of the posts were on her combination with the music directors Naushad, S D Burman, Anil Biswas and Husnlal-Bhagatram. The fifth one was general in character based on her songs of the later part of her career, i.e. 1950s through 60s, and the sixth was a small writeup focused on a song Door papiha bola. Naushad, Husanlal Bhagatram and Ghulam Mohammad were music directors in bulk of her films and it will be difficult to exclude Naushad in any discussion of her songs. I have tried as far as possible not to repeat any of the songs from the earlier posts. Such are her achievements, blogs can be written on several aspects of her personality ad infinitum. I have tried to trace her biography and illustrated with songs not so well known as is my usual practice.
A lissome beauty of yesteryears and a heart throb of numerous fans in her heydays, Suraiya took over the reigns of an actress with singing and dancing talents, after departure of Noorjehan in 1947, and cut a wide swathe in the film world from the age of 13 to 34 when she suddenly quit filmdom at the height of her career much to the bewilderment of her fans and film magnates. Pandit Jawaharlal Nehru appreciated her acting in the film Mirza Ghalib (1954) and told her in person – “Tumne Mirza Ghalib ki rooh ko zindaa kar diya” (You have made Mirza Ghalib’s soul come alive). She rose to such dizzy heights in her career spread over twenty years. She in all her modesty averred she was no true singer, a gross understatement if any. Except for some early songs for Mehtab, she sang for herself only as an actress in films from 1946-63. During the period 1948-50, she reigned as a super singing star and received highest remuneration among all actors like Dilip Kumar, Nargis, Madhubala to name a few. Her adakari in films with Muslim background, such as Mirza Ghalib, Afsar, Shayar and a few more, was a fusion of modernity with tradition of the days and brought alive the feudal atmosphere to the scenes she enacted. While she reigned supreme in the field she was christened with other titles as Malika-e-Husn (The Queen of Beauty) and Malika-e-Adakaari (The Queen of Acting), all fused together. She is a cuckoo and peacock rolled into one for her acting, singing and dancing talents. She could be called la hermosa fembra, a title conferred on Spanish beauties in fifteenth century.
I am deeply indebted to the rich html post for my article. It was quite elaborate, itself based on extensive research conducted by the author and the bibliography looks like British Encyclopedia. My hats off to the author for his painstaking endeavor which had rendered my efforts effortless.
Suraiya Jamail Shaikh (Suraiya) was born on 15th June 1929 in Gujranwala, Punjab to Aziz Jamail Shaikh, a furniture shop owner. He moved with his family to Lahore shortly thereafter. She was brought to Bombay in 1930 as a one year old by her mother Mumtaz Begum and strong-willed maternal grandmother Badshah Begum who was to contribute to the tragedy in Suraiya’s life at a later date. Her father joined them later on. She studied in J.B. Petit High School, Fort, Bombay. Raju Bharatan, the well-known writer, Raj Kapoor and Madan Mohan were her neighbourhood companions. Raju Bharatan wrote about her, Raj Kapoor acted as hero opposite her in Daastan (1950) and Madan Mohan composed music for her film Khoobsurat (1952). She had a natural talent for singing, acting and dancing from childhood and her mother groomed her talents with a Hindustani music teacher as her guru. Mumtaz Ali imparted her dancing lessons.
Suraiya was involved in 72 films from 1937 to 1963 in various roles as child artist (1), co actor/supporting actor (10), playback singer (6) and heroine (55). From 1942 to 1952, she figured in 56 films and acted as heroine in 42 of them. There was a sharp decline thereafter and from 1953 to 1963 she acted in just 13 films and two of her songs from an incomplete film was lifted and added to the film Taqdeer (1958) by the music director Dhani Ram. 1949 was the most productive year for her. She acted as a heroine in 11 films. After 1958 her career came to a virtual standstill and she appeared in just two films, one each in 1961 and 1963. At the age of 34, she withdrew from the field and lived in self-imposed isolation till her demise in 2004.
She acted as a child artiste in the film Usne Kya Socha in 1937. Her maternal uncle Zahoor, who acted in villain roles took her to shooting scene of the film Taj Mahal in 1941 during school holidays. The director Nanubhai Vaakil had one look at the petite twelve-year-old and captivated by her charm, straightaway cast her as a child Mumtaz Mahal and her acting career started in earnest. Her first song as a solo was in the film Nai Duniya (1942).
1. Boot karoon main polish babu by Suraiya from Nayi Duniya (1942), lyrics Tanvir Naqvi, music Naushad
Naushad was much impressed when he heard her sing and engaged her as a playback singer for adult actress Mehtab in Sharda (1942). Mehtab was quite apprehensive about the outcome. The little girl had to stand on a stool to sing through the mike. After hearing it, Mehtab insisted that Suraiya should be her playback in future. She sang as a playback for her in two more films Kanoon and Sanjog (both 1943). Her first song as a playback singer for an elder artist is given below.
2. Panchhi ja peechhe raha hai bachpan mera by Suraiya from Sharda (1942), lyrics D N Madhok, music Naushad
She started her regular acting as a child artist from the film Station Master (1942), a Silver Jubilee film (two duets with Rajkumari Dubey) and Tamanna (1942). In Tamanna she had her first duet with Manna Dey under the music direction of K.C. Dey and it was Manna Dey’s first Hindi film song.
3. Jaago jaago ayi usha by Manna Dey and Suraiya from Tamanna (1942), lyrics S. K. Kalia, music KC Dey
She started her role as heroine in Ishara (1943) opposite Prithviraj Kapoor in which she sang two solos. Here is one of them.
4. Baagon me koyal by Suraiya from film Ishara (1943), lyrics D N Madhok, music Khursheed Anwar
K.L. Saigal was bowled over by her singing and acting prowess and had her as his heroine in Tadbeer (1945) and two more films, Omar Khayyam (1946) and Parvana (1947). Parwana, Saigal’s last film, was released after he passed away. Suraiya sang 11 solos and two duets with Saigal in these films.
5. Milne ke din aa gaya by Saigal and Suraya from Tadbeer (1945), lyrics Swami Ramanand Saraswati, music Lal Mohammad
6. Khaiyam hai Allah wala by Suraiya from Omar Khayyam (1946), lyrics Dr. Safdar Aah Sitapuri, music Lal Mohammad
7. Paapi papiha re pi pi na bol bairi by Suraiya from Parwana (1947), lyrics D.N. Madhok, music Khursheed Anwar
In 1946 she acted in four films. In Anmol Ghadi, a Silver Jubilee film, she paired with Noorjehan. Even with such a leading actress in the fray, she held her own and sang three solos which held their own. This song became a hit.
8. Man leta hai angadai by Suraiya from Anmol Ghadi (1946), lyrics Tanveer Naqvi, music Naushad
Another film 1857 (Gadar) in which she co-acted with singing star Surendra had many good songs set to music by the whimsical Sajjad Hussain. She had four solos and a duet with Surendra.
In the Silver Jubilee film Dard she sang four solos and a duet with Uma Devi. The hero was a non-entity named Nusrat, brother of producer AR Kardar.
9. Betaab hai dil by Suraiya and Uma Devi from Dard (1947), lyrics Shakeel Badayuni, music Naushad
Her duet with Mukesh from the film Dak Bangala (1947) was a popular song of that time.
10. Jab baadal ghir ghir ayenge (with Mukesh) from Dak Bangala (1947), lyrics D N Madhok, music Naresh Bhattacharya
During 1948, seven films of hers were released. Vidya and Pyar Ki Jeet were well received. In Vidya she paired with Dev Anand for the first time and the first film of hers in which S.D. Burman was the music director. She sang four solos and a duet with Mukesh, Lai khushi ki duniya, is well-recognised. All five songs are so good to hear. Pyar Ki Jeet was another hit film of the year. Music was given by Husnlal-Bhagatram and lyrics were written by Qamar Jalalabadi and Rajendra Krisna. Suraiya had three solos and two duets. Two of her solos O door jaanewale and Tere nainon ne chori kiya, are listened to with great fondness even today. I am posting one of the two duets.
11. Rut rangeele hai by Suraiya, Meena Kapoor and Surinder Kaur and chorus from Pyar Ki Jeet (1948), lyrics Rajendra Krishna, music Husnlal-Bhagatram
In the year 1949, she reached the peak of her performance when eleven films of hers was released. She sang 55 solos and 10 duets. Husnlal-Bhagatram composed music for four films, and other seven music directors for the other seven films. Prominent films were Dillagi (Silver Jubilee film) and Badi Bahen.
Dillagi was a great hit. Naushad composed music to the lyrics of Shakeel Badauni. Suraiya had six solos and two duets with Shyam Kumar, not to be confused with the hero Shyam. Her song Murliwale murli bhaja became a rage in rural India too as people from villages thronged to towns to see the movie. Here is a less known duet from the film. It is a long-distance duet of separation on which AK has given a wondrous post.
12. Zalim zamana mujhko tumse by Shyam Kumar and Suraiya from Dillagi (1949), lyrics Shakeel Badayuni, music Naushad
Suraiya and Lata Mangeshkar joined together for the first time in this duet from the film Baalam (1949). It is again a long-distance duet centred around a child. Sung very well by both in their own way.
13. Pardesi musafir by Suraiya and Lata Mangeshkar from Baalam (1947), lyrics Qamar Jalalabadi, Music Husnlal Bhagatram
Badi Bahen (1949) was another feather in her cap with four solos – Bigadi bananewale, Wo paas arhein ya door rahein, Tum kujhko bhool jaao and Dil tere jaane se pahle…Ho likhnewale ne likh di meri taqdeer mein barbaadi – out of the eight in the film. All the songs of Suraiya in the film are timeless in their appeal. These have been discussed in the detailed review of the best songs of 1949, as well as in the articles on Husnlal-Bhagatram.
She was at the height of popularity in these years. Unruly crowd waiting outside her house for a brief glimpse had to be controlled by the police. During premier shows she was again hassled by the crowd laying siege to the cinema theatre and she stopped attending such shows afterwards.
In 1950 (6) and 1951 (4), her ten films were released. She had 45 solos and 18 duets in these films. Barring Daastan (hero Raj Kapoor her childhood neighbour), which celebrated Silver Jubilee, and Afsar, the rest were run-of-the-mill films. There were a few popular songs as O pardesi balma (Shaan), Ae shamma tu bata, Tara ri Tara ri (both Dastan), Man mor hua and nain diwane (Afsar), Bedard shikari, Dil le gaya ji koi dil le gaya (both from Sanam). I am just posting two songs.
14. Main kah dun tumko chor by Suraiya and Mohammad Rafi from Sanam (1951), lyrics Qamar Jalalabadi, music Husnlal-Bhagatram
15. Dil ko haye dil ko by Mohammad Rafi and Suraiya from Daastan (1950), lyrics Shakeel Badauni, music Naushad
Suraiya’s affaires de coeur with Dev Anand was an important milestone in her life. They came together in the film Vidya (1948). While filming a boating scene for the song Kinare kinare chale jayenge, it capsized and Dev Anand rescued her from a likely watery grave and spark of love was ignited. They acted together in six more films, the last being Sanam (1951). Dev Anand was no laggard in such matters and formally proposed to her while on the sets of film Jeet (1949). Love affairs rarely run smooth and Suraiya hesitated to go ahead in the face of a determined opposition from her maternal grandmother on the grounds of religion, but also the loss of milch cow I think. The tragedy was it had the blessings of her parents, but they were too meek to stand solidly behind her in her hour of trial. Dev Anand, realizing the futility of waiting indefinitely, married Kalpana Kartik. Suraiya chose to remain single and found courage to oppose all subsequent offers of marriage which came her way. The song Tum mujhko bhool jaao from Badi Bahen and another O kismat tera ho bura kyon dil ke tukde kar diye from Shair seem very appropriate for the tragedy. She now started reducing her future assignments. After 1952, it became a trickle and total shutdown in 1963 with Rustom Sohrab as her last film.
In 1952, six of her films were released and only Deewana was well known and a Silver Jubilee film. She sang 20 solos and two duets in these six films. I am not posting any songs from this year as none of them appealed to me.
Mukesh ventured into film production and came out with the film Mashooqa in 1953 in which he was the hero. It bombed at the box office. He chose Suraiya to be the heroine. This was the sole film in the year for her. She had 4 solos and 2 duets with Mukesh. Roshan composed music and lyrics were by Qamar Jalalabadi and Shailendra.
In 1954 and 1955, she acted in six films (26 solos and 12 duets). Mirza Ghalib, Waris and Shama Parwana were prominent ones. In Mirza Ghalib, she put up superb performance as a young girl in love with Mirza Ghalib. She infused soul into her solos of Mirza Ghalib compositions and none had been able to outperform so far. Ghulam Mohammad gave scintillating music which will endure forever. This film was awarded President’s Gold Medal as the best feature film in that year. In Waris she paired with Talat Mohammad and its songs composed by Anil Bisas and lyrics by Qamar Jalalabadi/Majrooh Sultanpuri were welcome among contemporary cinema buffs. She sang 3 solos and 4 duets with Talat Mahmood. Here is a less heard duet.
16. Ghar tera apna ghar laage by Talat Mahmood and Suraiya from Waris (1955), lyrics Majrooh Sultanpuri, music Anil Biswas
In Shama Parwana she acted with Shammi Kapoor, son of Prithviraj Kapoor, and created a record of acting with father and his two sons in her career, which may remain solely hers for all time to come. She sang four solos and three duets. Here is a nice duet of hers with Mohammad Rafi.
17. Beqarar hai koi ae mere dildar by Suraiya from Shama Parwana (1954), lyrics Qamar Jalalabadi, music Husnlal-Bhagatram
In 1956 she acted in only one film, Mr. Lambu. She had two solos and one duet with Mohammad Rafi. Here is a solo from the film sung in serious vein. The lyrics are by Asrar Hussain Khan aka Majrooh Sultanpuri and the superb music by the legendary OP Nayyar.
18. Soyi hai kahan ja kar by Suraiya from Mr. Lambu (1956), lyrics Asrar Hussain Khan, music OP Nayyar
1957 was a blank year. In 1958 she acted in three films and in another film Taqdeer two songs of hers not included in her earlier films were added. In Maalik she paired with Talat Mahmood and sang two duets in addition to a solo. The duet Man dheere dheere gaaye re would be welcome even now. Here is a song from Taqdeer (1958) lifted from an earlier abandoned film for Shyama, heroine of the film.
19. Hawa udakar layee saawan ke sapne by Suraiya from Taqdeer (1958), lyrics Varma Malik, music Dhani Ram
Her next film – Shama – was released in 1961. Music director was Ghulam Mohammad and lyricist Kaifi Azmi. Her three solos, Aap se pyar hua jata hai, Dhadakate dil ki tamanna and Mast ankhon mein shararat were great compositions and have not dimmed with time.
Come 1963, she acted in the film Rustom Sohrab, as a princess in love with Rustom (Prithviraj Kapoor). Thereafter, she retired from acting and retreated into her shell never to come out again. A career which began as a heroine against Prithviraj Kapoor in Ishara (1943) ended in 1963 with the same actor. What a coincidence! The music director was the great master Sajjad Husain and he also practically went into retirement after this film. Thus, two great personalities vanished into thin air at the same time, she to live in isolation by her choice, and he, because of his disposition, was ignored by film fraternity. Here is her swan song in the film which could double as an autobiography in her voice.
20. Ye kaisi ajab aastaan ho gayi by Suraiya from Rustom Sohrab (1963), lyrics Qamar Jalalabadi, music Sajjad Husain
She retired to her rented accommodation at Krishna Mahal, Marine Drive, Mumbai with her mother as her company like an anchorite. After her mother’s passing away in 1987, she became lonelier and without catharsis. Tabassum who acted as her younger sister in Badi Bahen and Moti Mahal kept in regular touch with her. She recollected her last conversation before Suraiya’s demise in 2004, “Aapa kaisie hein” to which Suraiya replied in a poetic manner “Kaisi guzar rahi hai sabhi poochte hain mujhse, Kaise guzaarti hoon koi nahin poochta”. Around middle of 2003 she became sick and was looked after by her neighbour and family friend Dhimant Thakar. She was hospitalized for a fortnight at Harshandas hospital with complications and Sunil Dutt and Naushad visited her. She passed away at 9.25 a.m. on 31st January 2004 and was interred at Bada Kabristan, Marine Drive, Mumbai. As usual tributes from various persons including those who never bothered to look her up when alive poured forth acclaiming her.
There have been many articles on her. She had also given a few interviews and a few books on cinema make profuse mention of her. She was the recipient of awards as Screen Lifetime Achievement Award, Bimal Roy Memorial Trophy. On the 134th birth anniversary of Dadasaheb Phalke in 2003, she was honoured and a postage stamp was issued depicting her on 3rd May 2013, the occasion being ‘Hundred Years of Indian Cinema’. To crown it all, in the same year she was voted as the “Best Onscreen Beauty with the Most Ethnic Look”. A building at Worli in which she owned flats has been named ‘Suraiya Building’ and a road in Nagargaon, Lonavla is called ‘Suraiya Road’.
I offer this post in memory of a damsel with an ethereal beauty and am sure this will not be the end of the road as there is lot of material still left to come out with many more posts and I expect some from among the group of veterans of this blog will volunteer for the job and do better justice to it than I have.
Acknowledgement and Disclaimer: The thumbnail picture is taken from the Internet, and the song links are from the YouTube, only for the enjoyment of music lovers. The copyright vests with the respective owners.
{ 65 comments… read them below or add one }
2, few very well remembered to a few less heard, but each one an excellent song.
Thanks to D P Rangaji for this melodious treat.
Ranganji,
A wonderful tribute to the sensational and melodious actress, Suraiya on her 89th birth anniversary. Thanks for the post
I would come back after listening to the songs and reading your informative write-up.
I take this opportunity to pay my tributes to the incredible singer actress of the golden era.
Ranganji,
This tribute is from an ardent fan. You sure have a sweet ear can it get sweeter than Suraiya and Talat Mahmood.
Thanks.
My tributes too, to Suraiya the great female singing Star of Hindi cinema.
Most of the songs, as you have deliberately chosen, are not very popular, need fresh listening.
Will get back after going through them.
Ranganji,
An excellent post, very well written and with deepest ever research. I mean it Ranganji.
The songs few known, few unknown, were a feast and I enjoyed all.
I want to add a song that is from Moti Mahal, 1952
Kabhi Na bigade kisi ki motor
A song full of humour,and cheerfulness
Rare to find a song of Suraiya like that.
She had romantic songs, sad songs are too many, happy songs are few.
But a fun song is only one, as far as I know.
https://m.youtube.com/watch?v=oWGpwVepN1Q
I thank you for a great post and pay my tribute to this nightingale.
Ranganji,
Went through the write-up and listened to the songs presented by you. I whole heartedly agree with the comments of Anupji (MMM)@4.
You have constructed a chronological narrative of Suraiya’s career and interspersed it with good selection of songs, some known, a few lesser known and unknown. You have not only done a comprehensive study on the subject, but taken the efforts to go through the previous articles on her in SoY. I am really amazed at your thoroughness, your keen attention for details and meticulous selection of songs. Your selection of songs represents different moods. Yeh kaisi ajab dastaan ho gayi hai is one of my favourites. Betab hai dil too seems to be a long distance song, but not of separation.
Thanks once again Ranganji for the wonderful offering.
I would add one lesser known song of Suraiya
More Man Ki Baat Haye Kahi Na Jaat, film Trolley Driver(1958), lyrics Sarshar Sailani, music Husnlal Bhagatram
https://www.youtube.com/watch?time_continue=75&v=rX-wFC54gVo
Anupji @4
Kabhi Na Bigde Kisi Ki Motor, an unusual song from Suraiya. Hearing for the first time. Thanks for posting it.
Here is another beautiful number
Tadbeer Ka Ho Teer Aur Taqdeer Nishaana, film Inaam (1955), lyrics Raja Mehdi Ali Khan, music S N Tripathi
https://www.youtube.com/watch?time_continue=1&v=pgJGjY6TSp8
Once again Mr Rangan has delighted us all with his vast knowledge, musical sense, research and selection. This is another one of his gems that’s worthy of one’s permanent collection.
I have always liked the songs of Suraiya, but I knew very few of them. This post has nearly doubled the number for me. Thank you Mr Rangan.
Rangan Ji,
Great informative article on the Singing Star Suraiya, and you’ve brilliantly covered nearly all aspects of her life and great career, and also the tragedy of her life.
A small omission Sir
In film Shama, Suraiya gave a partial playback to Nimmi also in the song
Dhadakte Dil ki Tamanna
In the clip I’ve attached below, Nimmi lip-syncs the song from 1.30 onwards
https://youtu.be/LOe44SXQKew
Thanks Mr vekantaraman,
Happy that you enjoyed the song.
I would like to add one more song
Kali Ghatao Jao, Sajan Ko Samajhao
From shakti
Suraiya performs excellently and leaves a deep impact
https://m.youtube.com/watch?v=A8Zlc4DDMOQ
I hope all will enjoy this one too.
Anupji,
You are welcome. Enjoyed the song Kali Ghatao Jao, Sajan Ko Samajhao. I came across this song last year when I was listening to female solos of 1948. There was another song from this film, which too was to my liking.
Jhna Jhan Jhanan Baje Dil Ka Sitaar, film Shakti (1948), lyrics Asad Jafri, music Ram Prasad & Azim Beg
https://www.youtube.com/watch?v=DCxGmv1iEy0
Arvinderji,
Thanks for the nice addition.
Suraiya, born on 15th June, was Geminian, and had all the traits of her Zodiac sign. She was intensely loyal friend, true ally and a sensitive lover. She was affectionate, highly talented and artistic. She had distinctly expressive and beautiful eyes. And like a true Geminian, she happened to be a little indecisive as well!
Suraiya and Dev Anand acted together in 1951. Then they parted forever. Here another soul-rending song from Suraiya.
Meri Zindagi Men Tum Kyon Aaye, film Goonj (1952), lyrics D B Madhok, music Sardul Kwatra
https://www.youtube.com/watch?v=m7Da13zjo5g
Venkataramanji,
I’m familiar with the goonj song,its wonderful, I had it on my post on D N Madhok last year, on my blog.
The other song from from Shakti reminded me of a similar song from Vidya. Again by Suraiya and SD combo.
Jhum rahi jhum rahi khushiyon ki naav
I’m sharing it’s link as well
https://m.youtube.com/watch?v=V2DkagY0v8k
I find the rhythm similar in both
Ashokji My profound thanks for appreciation of the post
Mumbaikar8 – Positive comments are very much appreciated. Will wait for further comments from you.
Subhodji – This is possibly the best appreciation I have received for all my posts. Your view that this is worthy of permanent possession has gone to my heart. Thankj you very much.
Anupji @ 4, 9 and 12
You have restored lot of confidence in me by the way you appreciated the post. Thanks for the same. The link at 4 did not open at all. Here is the new link
https://youtu.be/ki2rav6ig6A
I agree with you this is a funny song from her, probably unique. Songs from Shakti and Vidya were great. I was aware of them, but limitation of space comes in the way of choosing many more popular songs.
@8
Thanks for the appreciation. By omission you probably imply that she sang for others more than what I have quoted in my post. The m.d. could have chosen another singer for Nimmi but probably felt it would not sound well. I can probably think of Shamshad Begum who could have sung for Nimmi. What I implied that she sang full songs as playback in 6 films. Hope I have made myself clear.
Venkataramanji @ 2 and 5
Thanks for appreciation of the post and I am grateful for the way you have qualified my efforts. It should really go to the original blogger on whose post I had based all my research. Still I feel very much ingratiated by these kind words.
AK
Brief but succinct introduction from you. I appreciate you last. You are aware God appreciates if someone thinks more of his bhaktas first. That is how I am now responding. You have fulfilled a great yearning of me for writing. I will ever be grateful to it.
DP Rangan,
Not at all. This was entirely your post. Thanks a lot anyway.
Dear Rangan ji;
I have just completed reading your article . Thank you for a very well researched and very well written article….a wall paper of songs for me . Whenever I think of screen beauties of those times Suraiya stands close to Madhubala . I think both of them , along with other heroins , appeared in Life times magazine that carried their charms without any make up . Those Black and White photos are amazing and are collectors possessions.
All the songs you have posted are popular and my favorite too. It will take some time to dig for the unknown beautiful songs . In a day I will be in your neighbouring state ….will take time to settle and will come back on the theme.
Rangan ji,
An excellent post.
As usual,you have done meticulous research. Great selection of songs.
I had enjoyed songs like ‘yeh kaisi ajab dastan’ or those from Mirza Ghalib for long (pre internet days) without knowing the names of the singer or the film. The more I come to learn about Suraiya ji, my respect for her rises higher.
Rangan ji:
Thanks for this wonderful post. I fell in love with Suraiya long back when I heard that my grandfather had been smitten by her! He used to say that people riding bicycles in villages and towns would get down if they heard the refrain of a Suraiya song nearby.
In a recent comment in ‘Open House’, Dinesh K Jain ji says that he likes the Lata version of ‘Joru Ka Bhai’ and ‘Nayi Umar ki Nayi Fasal’ songs. Among the female version of twin songs one of my favourites is Suraiya’s ‘Mera dildar na milaya’ from Shama Parwana (MD: Husnlal Bhagatram) and, I believe, AK ji also agrees (see his post ‘Suraiya: The last singing star’)
https://www.youtube.com/watch?v=rraxFBygwtw
Rafi’s version (Tune mera yaar na milaya) is marginally different, and I realize that it would probably be preferred by a hardcore Rafi fan.
By the way, Shahid Rafi and Sujata Dev, in their book ‘Mohammed Rafi: Voice of a nation’ (Om Publications, 2013) describe an incident when Suraiya helped Rafi, a struggling newcomer in the industry:
“Despite difficult times, Rafi would never miss his morning riyaaz (practice). He would sit by the seaside at Marine Drive and diligently practice for hours, so as not to disturb his neighbours in his chawl, who literally stayed across the wall.
“On one such morning, it is believed that well-known singer-actress Suraiya, while on her morning walk, noticed him, absorbed in his singing. Within minutes, she was captivated by his voice. She walked up to Rafi and inquired why he was practicing here be the sea rather than at home. The sincerity of his purpose made her offer her residence at Marine Lines for riyaaz, if he so wished.”
Canasya, Rangan ji[s];
Suraiya also helped S. Mohinder when she spotted him singing in Lahore station of AIR and later sang quite a number of songs for S. Mohinder including Neelii . [ Ak’s article of september 8, 2017 on S. Mohinder brought the incident in detail ] . S. Mohinder was fav. of Madhubala production movies too.
Rangan ji ;
Suraiya….let her eyes sing , the gracious eyes and expressions she holds with her moving eyes …..a bundle of joy and pathos too . Words gets wrinkled as I write …..
Listening to her songs is a journey of hope of finding humsafar but at every point of time condition gets applied . And journey starts with…
1. Declaration of Love……Duniya kya jjane mera afsana
https://www.youtube.com/watch?v=pNiVvYouPyQ
2.Love blooms and sing……Murli wale murli baja
https://www.youtube.com/watch?v=L9jLj8QCZas
3. Eye drop , like a silent stone , falling into stillest pond making endless circles……Nain deewane Ek Nahi mane
https://www.youtube.com/watch?v=FmXCRHNF0LI
4.Pathos takes over happiness…..Chale dil ki duniya jo barbad karke
https://www.youtube.com/watch?v=M9rqFW21b-U
5. Love picking up crumpled bits…..Tera khyal dil se mitaya na jaayega
https://www.youtube.com/watch?v=ADu7xbbUX7M
6.The pain of hope dying…..Socha tha kya kya ho gaya
https://www.youtube.com/watch?v=gSb3xmHOsYg
Suraiya , She adjusted her sails , as she stood in the storm …..
Bhatiaji @23
You are at your best. Indeed these are some of the gems from 1946 to 1950. You have woven an invisible thread around these six songs to narrate her life-story in a nutshell. Outstanding.
Hope you wille continue to score some more magnificent free kicks, a la Cristiano Ronaldo.
Here are some statistics on Suraiya, the singer.
Suraiya must have rendered almost 350 songs in 70+films for 30 music directors. 75% of her songs were solos.
Of the 30 music directors, Suraiya rendered almost 75% of her songs for 10 music directors.
Her top 5 music directors from statistical point of view were Husnlal-Bhagatram, Naushad, Hansraj Behl , Anil Biswas and Ghulam Muhammad, in that order. She rendered 55% of her songs for the above five music directors. In fact she rendered 33% of her songs for Husnlal-Bhagatram and Naushad. The rest of the 22% was almost equally shared between the other three music directors.
Suraiya rendered another 20% for the following music directors. S D Burman, Ghulam Haider, Khurshid Anwar,Shyam Sundar and C Ramchandra-in the order mentioned.
Presenting another song, seems to be custom-made for her.
Ab teri yaad hai aur pyar ki tanhai hai, film Miss 58 (1958), lyrics Kaifi Irfani, music N Dutta
https://www.youtube.com/watch?time_continue=206&v=_0XF7LW50B4
Venkatraman ji; thanks for your appreciation. I knew you will post your reactions immediately. Your postings of songs and supporting statistics proves your wealth of knowledge you possess. A great feelings for me to have a nice friend like you. The song from the movie….miss 58 is amazing. Lesser heard but a great one. N.dutta is really a cool fellow in melody making. His orchestra is simple and humbable too……but at the same time he has composed ….lal lal gaal….a fast number for johny walker. Yes i intentionally arranged suraiya songs as a synopsis of her life story which could further be nut shelled in ……yeh kaisi ajab dastaan ho gayi hai , chhupate chhupate bayan ho gayi hai .
Bhatiaji,
Thank youfor your nice words. We are fortunate to have this platform created by Akji, without which we would not have come to know each other. It is my pleasure too, to have you and other like-minded friends as company.
BTW, Ab teri yaad hai aur pyar ki tanhai hai was the only song rendered by Suraiya for N Dutta.
I have said earlier that Yeh kaisi ajab dastaan ho gayi hai , chhupate chhupate bayan ho gayi hai is one of my favourites and Ranganji has appropriately selected this song as the end piece to his post.
Ranganji has posted the song Hawa udakar layee saawan ke sapne(#19) by Suraiya from Taqdeer, music Dhaniram, a lively and cheerful song. I am posting another song from the same film, exuding an opposite mood, well rendered by Suraiya.
https://www.youtube.com/watch?v=5LFJ1H66m7o
Venkatraman ji;
Nice song again. It seem every song tells suraiya’s story.
Suraiya sang one beautiful duet waltz number and her steps too looked good while she danced with raj kapoor in dastan. A beautiful song…..tara ri tara ri tarari….with naushad’s perfect orchestration. Do you have any fast song in memory sung by suraiya?
True, Tara ri tara ri tarari is a great number with beautiful Orchestration. Off hand, I can recollect this song also composed by Naushad. Very unlike Suraiya, both in singing and picturisation.
Mora Nazuk Badan Chhuve Chanchal Pawan, film Deewana (1952), lyrics Shaqeel Badyuni, music Naushad
https://www.youtube.com/watch?time_continue=113&v=sWhriunAtII
Venkatraman ji;
A very sensuase dance and song with nice wordings…one of a kind of a kind of those times . The only other song of naushad i can recollect is of lata’s…..qamar lachke meri bhari gagariya kaise le jaaon…..from amar. A very meaningful song representing what is happening in our present society.
This might have been mentioned before but it is one of my favourite songs. Suraiya seems to be in love. From Jeet 1949, ‘gum meet mere yum pran mere…’ https://youtu.be/6ve1qcLfTc0
Gaddeswarupji,
A wonderful song and ought to be the favourite of many. It was not posted in this article, however Akji had presented this song in his post ‘Door Papiha Bola: Suraiya by Anil Biswas’. But that was almost four and a half years earlier. Thanks for posting it here.
Bhatiaji,
A solo from Mr.Lambu was presented by Ranganji. Here is lilting duet from the same film. The song starts at 03:15.
Tu Zara Si Bat Par Khafa Na Ho with Md Rafi, film Mr.Lambu (1956), lyrics Harsh(?), music O P Nayyar
https://www.youtube.com/watch?time_continue=175&v=Z8xYM8h2hKE
The post has Mr Rangan’s stamp all over on it. The next year would have been more apposite for this post as 90th birth anniversary celebration of Suraiya. Perhaps AK has something apropos in his planning.
Suraiya’s flat at Worli, Bombay was her “Art Showroom”. After her retirement she took interest in “Interior Decorations”. The various “Middle Eastern cultures” themes contributed to her art. She was also a very good cook and occasional poet and knew how to run a “Maifil”. She slept through the day time and came alive only in the evenings. That is a syndrome with many film actors as they had to do shooting all through the nights.
I have some doubts about some references in the Rangan post. The article in Wikipedia entitled “Suraiya” seems to be very comprehensive and the main feeding spring for the present work. Yet it says Suraiya was RK’s childhood friend along with Madan Mohan. Madan Mohan did not return to India from WWII until mid forties.
My understanding is that when Prithviraj moved from Calcutta to Bombay and made his home near Khalasa College, on the college street, Matunga, some fifteen miles away from the Fort, in North East of Bombay where later on RK’s brothers Shammi and Shashi were born. RK attended some classes in an English medium school nearby but gave them up as he started getting roles in the films.
There was a programme not necessarily called children’s on the “AIR” Bombay station on Hindi Songs and RK and Suraiya sang regularly on this programme in early forties when both were teenagers and not children.
Suraiya at the beginning lived in the Muslim area called Mazgaon-Dongri, south of Crawford Market. Then she moved in Krishna Mahal, Marine Drive , when she was a good earning actress, with her Grand Mother. Her mother and father never came back to Bombay. Suraiya started putting her father’s name Jamal after her own, after retirement. She hardly used her last name Sheikh. She talked in perfect good English. She was very close friend of Nargis when she was alive.
On the funeral procession of Nargis she wore some jewellery which was highlighted by the reporters in a critical manner which she deeply despised.
According to the Wikipedia article her first film was “Madam Fashion, 1936” produced, directed and acted in as heroin by Jaddan Bai. Her companion child star along with her was Baby Rani later called Nargis. The film had a good number of 12 songs all written and composed by Jaddan Bai.
The Wikipedia article has some very incendiary mentions about Dilip Kumar and Karim Asif making sexual assaults on Suraiya on a set of a film that SoY readers themselves should read if they care for Suraiya in the present light of commotion caused by the behaviour of powerful Hollywood Film Producer Director Harvey Weinstein.
The reading of it shocked me at my roots and disturbed me inside out.
Shalan Lal
Bhatiaji Thanks for your way of appreciating the post. As expected the song showers continued. Listened to them and enjoyed.
Giriji – Very much obliged to you for considering this post as good.
Canasyaji – Thanks for the appreciation.
Venkataramanji – Thanks for adding a few songs and making this complete with your statistical analysis of her career, in which you have no equal.
Shalanlalji
Thanks for bringing out many facts of Suraiya’s life. I do not place much trust in wikipedia as I have seen many errors in many articles. I have based it on another source which contained rich data. I have no answers for such controversies. I am leaving at it. You always do a research of your own and with an intimate knowledge of Hollywood, your comments would be welcome for one and all. I value your opinion high.
Shalan @34,
Thanks for all the information you have given. However, your doubt on Madan Mohan and Suraiya being childhood friends because “Madan Mohan did not return to India from WW II until mid-forties” is unfounded. Rai Bahadur Chunnilal was given an option to continue in his employment in Iraq or resign and go back. He came back to his home town Chakwal in Jhelum district, now in Pakistan, when MM was about five years old, i.e. 1929, well before World War II was anywhere on the horizon. A few years later, he came to Bombay to co-found Bombay Talkies with Himanshu Rai, leaving MM behind at Chakwal. But sometime later, he brought the family to Bombay where MM did part of his schooling, completing Senior Cambridge from St. Mary’s High School there. Madan Mohan met the children Raj Kapoor and Suraiya at AIR Bombay. I am taking all this from his official website maintained by his son, Sanjeev Kohli.
”During his school days, Madan took active part in children’s programmes on A.I.R., Bombay. One day, at the studio, he found another fat and handsome boy who was the center of attraction. The newcomer was very talkative and Madan, being inquisitive, wanted to know more about him. So he enquired from the station director and came to know that the newcomer was none other than Raj – son of the legendary Prithviraj Kapoor. They soon became good friends and jointly participated in many programmes.
One day, he brought to the studio a little, nine year old girl to audition for a radio programme. He told the programme executive that the girl could sing well. But when all the children and others present requested her to sing, she broke down and began sobbing. Madan wiped her tears and took her away. Next week, he again brought the girl with him and this time, he succeeded in making her sing. She sang well and everybody cheered her enthusiastically. She was later to thrill millions of her countrymen with her soporific voice. Yes, Suraiya was that girl.”
http://www.madanmohan.in/html/the_legend/his_journey/his_journey.html
PS: I have no plans for her 90th birth anniversary in 2019, with already an exhaustive coverage on her on SoY. Mr Rangan had been ready with his article and there was no reason to delay it for over a year.
Rangan @ 36 & AK @37
Thanks for your comments. I was one of the foreign friends of Suraiya from 1980-1992 whenever I visited India I met her either at her place or at her friend’s places. We talked on many things. Suraiya had views on many issues past and present. She did not mention RK as her childhood friend nor even Madan Mohan.
My argument was based on the idea that they all lived near meeting distance. Suraiya had car after she became successful actress in the forties. RK too had car after the film Barasaat. I do not know about Madan Mohan but learned that after his attraction towards Lata Mangeshkar he moved to a flat next to Lata’s home on the Peddar Road.
When people grow up in stature either their fans or their families start writing all sorts of things that become the part of the myths about the persons.
When one has to make some conclusions one needs some foundations. You will find that I have not used any myth created by family or fans of RK, Madan Mohan, or Suraiya.
But your conclusion may be true but looks less logical. The fat boy started appearing in various filmy journalists in late fifties and a lot of myths have been created.
To me Madan Mohan was not sure what he wanted to do in his life. When he returned toIndia he got a small role in Shantaram’s “Parbat Pe Apana Dera”. Then he had a blank period. Many soldiers had blank periods when they returned from the WWI, WWII.
Question still is intriguing about the mention that she was the part of the triad of RK, Suraiya and Madan Mohan myth as if they were a regular company.
Also is this reference important in the story of “Suraiya”?
Suraiya’s singing and acting career started on her own and she learned the things on the job rather than helped by Madan Mohan or RK or any one else.
After her last film the filmy world in Bombay was changed and so was her body.
Her decision to retire was right one. But she found plenty of things to do in her remaining life. She was not a lonely person or depressed person.
Shalan Lal
Shalanji @ 38 & 34
Thanks for providing additional information on Suraiya, especially from your personal interactions with her.
Shalanji, AKji, & Ranganji,
Sorry to butt in. With your kind permission I would like to add a few lines.
Madan Mohan returned in the year 1945, when he was 21 years of age, after his stint in the army during WWII. But he really got into music when he joined All India Radio, Lucknow in the year 1946 as a Programme Assistant. In the year 1947, he was transferred to All India Radio, Delhi. He did not like the atmosphere there and resigned the job and came to Bombay.
But the period in question is before he joined the army. Madan Mohan had his schooling in Bombay and during his school days, he started participating in children’s programme on A.I.R., Bombay, when he was around 10-11years. When he was 17, he joined Colonel Brown’s Military High School at Dehradun. After completion of his military training in the year 1943, he joined the Army as a Second Lieutenant and served there for two years. Madan Mohan was very much there in Bombay between 1934-35 to 1941-42.
Raju Bharatan in his book Naushadnama wrote at length on Suraiya. He even says that they were in the same school, but nowhere has he said that they were neighbours. However, Raju Bharatan in his article “Those Madannutties” in the “Screen Channel” on 14th July 1995 wrote “Suraiya was Madan Mohan’s next door neighbour. The two played in the same courtyard.”
However I did not find any material to substantiate that Raj Kapoor and Suraiya lived in the same neighborhood. Since Madan Mohan had met Raj Kapoor in the studios of AIR, they could have as well become friends.
Suraiya in an interview with Sheila Vesuna of Femina India said
“Madan Mohan, who lived close by and Raj Kapoor once dragged me to participate in the children’s programme on the All India Radio. Naushad sa’ab, who heard my voice on the radio, got in touch with me to sing for Kardar sa’ab’s film, ‘Sharda’. And I sang ‘Panchi ja peeche raha hain bachpan mera’, which was picturised on Mehtab. I was 11 years old then.”
We can infer that Suraiya continued to sing for some more years in AIR programme. The song ‘Panchi ja peeche raha hain bachpan mera’ mightt have recorded in the year 1940-41 when she was 11 years old. Sharda was released in 1942.
The song ‘Panchi ja peeche raha hain bachpan mera’ was posted by Ranganji. There was another solo song by Suraiya in this film.
Mere Dil Ko Sajan Samjha Do, film Sharda (1942)
https://www.youtube.com/watch?v=XRQTqJ8DGz4
There was also duet version of this song rendered by Suraiya with Nirmala Devi. This was Suraiya’s first duet. I could not find the link to this song.
AKji had mentioned about Nirmala Devi (mother of film actor Govinda) in one of his earlier posts. Nirmala Devi, also known as Nirmala Arun was actress-singer of the 1940s and later became a full-fledged Hindustani classical vocalist of the Patiala Gharana..Nirmala Devi, two year elder to Suraiya, was on born on 7th June and shares her birthday with SoY’s launch date. Incidentally Nirmala Devi passed away on 15th June 1996, which was Suraiya’s DoB.
Shalan, Venkataramanji,
My intention was to show that Madan Mohan did come to Bombay in his childhood much earlier than WW II. After his Army stint he came back again.
It is also clear the children Raj Kapoor, Suraiya and Madan Mohan frequented AIR Bombay. They might have bumped into each other. Whether that makes them ‘childhood friends’ is debatable. I agree with Shalan that it is really immaterial for the purpose of Suraiya story.
AKji,
I thought let me too add a few more information on the subject. I agree with you and Shalanji that it is not that important to the main post. I would let the matter rest here.
Bhatiaji,
Here is another fast song sung by Suraiya.
Thumak Thumak, Jab Chalu Main Baalam Sang, film Khubsoorat (1952), lyrics Shams Azimabadi, music Madan Mohan
https://www.youtube.com/watch?time_continue=154&v=10J6s9v6kbs
Venkatraman ji;
A very lilting Goan style Jazzy song from Khoobsoorat . I must say Suraiya is very different in fast numbers…..not in the league of Asha or Geeta .
I have been following the observation made above and getting update of the happenings in the lives of rich and famous in 40s and 50s . What is interesting is that each artist spending their scouting and struggling times becomes history and scandals later on . Suraiya and Greegory Peck meet is well known and for that I think reference to filmfare past issues are the best . ….And I agree with Rangan ji on his comments about Wikipedia ; not being totally reliable . Since the matter is now being closed I too will not proceed further but only say that Gregory- Suraiya-Devanand makes a a very fine combo for film makers to base story and screenplay on their lives and times .
Venkatraman @ 39
Brilliant information and logic!
I did not comment to create a controversy but mere doubts about how stories are passed around like the “Chinese Whisper Game”.
But thanks for your piece.
Shalan Lal
Shalan Lal ji and AK ji,
Now that it is decisively concluded that MM,RK and Suraiya were together for AIR, I would like to bring another point which Shalan ji has raised. She says that Wiki mentions that the first film of Suraiya was ‘ Madam Fashion’-36, in which she is credited as Miss Suraiya ( not as Baby Suraiya,please note). This is the problem with Wiki. It is mostly good but not trustworthy unless the information is corroborated from elsewhere.
Miss Suraiya who acted in Madam Fashion-36 was a different Suraiya.
Her filmi name was Suraiya(Zulfi). The real name was Jamila Begum. She was born on 11-4-1919 at Lahore. Her father was a writer in District Court. She was married to A K Qureshi, a stenographer in Punjab Govt. She was divorced soon. She came to Bombay as her sister Raziya was already in films.
After doing smaller roles for some time she did roles in many other films like Kiski biwi, Mata, Khiladi,Yateem etc.
The point is same name confusion occured here. Wiki goes blindly in such cases.
The info about this Suraiya is from All India Film Directory and Who’s who in Indian Film Industry, published in 1946. I have this book with me.
-AD
Thank you Shalanji. My intention too was to add some more information.
Arunji, Thanks a lot for the information on Miss Suraiya of Madam Fashion.
Arunji, Shalan Lal,
Just to add, incidentally today Vividh Bharati presented a special programme on Suraiya in the morning. They would repeat it tonight at 9.30pm. They too mentioned that her first film was Usne Kya Socha (1937) as a child artiste. This matches with Mr Rangan’s write-up. Therefore, this confirms that Wikipedia’s mention of Madam Fashion is erroneous.
Rangan sir , thnx for a nice post about Suraiya who is one of my favourite singer. Especially I liked the way U wrote her ” filmy jeevan ” between 1942 – 1964 in a string of songs.
But I must say I didn’t like the discussion in comments about her personal life. Let SoY b a blog only for songs , songs nd nothing but songs.
I also went thru all the previous posts written by Ak G. I liked all of them. What an excellent piece of work Ak G !!!
I hereby want to add some more songs of Suraiya .
” Hum the tumhare , tum the hamare ” Dard
” Mere mundere na bol ” Parwana.
” wo din kidhar gaye ” Singaar
” Mohabbat badhakar juda ho gaye ” Dastaan
” Hum ishq ke maronko ” Bilwa mangal
” Yaad karoon tori batiyan ” Mr. Lambu
What a ” Kashish ” Suraiya had in her ” Aawaaz aur Andaz ” !!!
Tumko Bhula Na Paayenge , Suraiya Ji.
AK @ 48
Thanks for your comment. We are all made of earthly material and mistakes can happen.
According to Mr Rangan @ 36 he does not believe much in the Wikipedia.
However I checked with HFGK Vol. I, my following information is correct.
“Madam Fashion, 1936” produced, directed and acted in as heroin by Jaddan Bai. Suraiya’scompanion child star along with her was Baby Rani later called Nargis. The film had a good number of 12 songs all written and composed by Jaddan Bai.”
But then again “HFGK” too can make mistakes.
“Kaahe Ka Zagada Balam, Yeh Hai Purani Duniya
Hindi Fillum Ki, Yahan, Such Kyaa Aur Jhoot Kyaa
Khud Khudaa Ko Bhi Akal Kho Baithana Padegaa”
Chalo Koi Nayi Baat Karo.
Shalan Lal
HFGK is not wrong. It is Miss Suraiya,all right, in Madam Fashion-36.
The point is, it is not THIS Suraiya, about whom Rangan ji has written.
Shalan,
I also saw the mention in HFGK. But, Arunji has already explained about ‘Miss Suraiya’ of Madam Fashion. No one was trying to prove anyone wrong. We have to thank you because that reference helped in getting a clarification.
Arunji, AKji, and Rangaji
I surrender.
But if that Miss Suraiya comes out as a child actor then what?
Jaddan Bai’s publicity department might have made a mistake?
Was Miss Suraiya that famous that she got some billing when the film was financed by Jaddan Bai ?
More questions than answers for an Indian Sherlock Holms!
There is no information about “Madam Fashion” presently. Unless the old “Film India” issues might have something as the name of the film is sensational and Baburao Patel would not have let it go without having some remarks on it.
One needs to visit “Films Archive” in Poona.
But I let it go. It is not important at all except that Little Suraiya and Babay Rani had some connections from 1936 onwards.
Shalan Lal
Hello SOY friends. I am coming after a long time.
This article of Ranganji is a proof of his adoration of Suraiyya. A lot of information has been given here. I have commented extensively when AK wrote on her. Now I would like to comment on a couple of points. First about Sharmaji’s comment at 8 and reply at 15. Nimmi had a few songs playback for which was given by Suman Kalyanpur. So it was not that she had no playback. Picturisation of this song on Nimmi was either a mistake or the director wanted to avoid a duet situation. But it is sure Suraiyya sang it only for herself.
The other thing is why we bring in Noorjehan in every situation. Suraiyya reached the place due to her talent. Noorjehan left India because she knew Suraiyya has passed her. Noorjehan had 15 films from 1942 to 47. But Suraiyya had 13 in 3 years of 1945 to 47. She paired opposite Sehgal in 3 films while Noorjehan had none. All the big banners were getting Suraiyya and Noorjehan was getting films from small time prodocers. She wanted to reach the top which was not possible in India so she left for Pakistan. Noorjehan narrative was the handiwork of those who hated either Suraiyya or Lata.
Hans,
Welcome back to SoY. You are in full form as usual. My view is also that had Noorjehan stayed on she would have been thrown aside in competition. I have explained my reasons in my post Lata Mangeshkar versus Noorjehan. However, I would grant that her supporters might have genuinely believed that no one could stand before her.
Hans @ 54
Thanks for bringing in the point of Nimmi’s playback singers.
Instead of Suraiya giving her playback Nimmi should have been allowed to sing for herself.
Nimmi when approached Mehboob Khan at the time of Andaz she came in to do the playback singing. But Mehboob already heard Lata and Naushad agreed to try Lata’s voice for Nargis.
Nimmi was the daughter of the famous Vahidan Bai who sang to become famous at that period along with Jaddan Bai. Nargis did not sing well.
Nimmi’s interest in singing was lost at the rapturous success of Barasaat in which Lata sang for both the heroines.
This also made Suraiya feel inferior and disclaimer that “she is not a singer” later on. That is Lata’s glory and imperialness. Was Lata’s power good or bad needs a long research by some well versed musicologist.
But loved her singing and told her so. But she stuck to her guns.
But the production was financed by Suraiya and produced by her.
She was not anymore younger at that time so her shots have been long or crane shots and her hero was younger than her.
Shalan Lal
Hans
Welcome back.
You should visit more often. You bring so much प्राणा along with you.
AK
Noorjehan was never on top here and besides that the sudden rise of Surayya made her move from the sea of bollywood to the pond of Pakistan where she soon reigned supreme. I would not say that she would have no place here because a lot of films were produced here and the female songs being plentiful every good singer could have her share. Besides that she had a real singing talent though not much of acting talent. She was awkward in dances and also less beautiful than Suraiyya.
If she had remained here she would have to go to playback singing much earlier than what she did in Pakistan.
Due to her soccess in Khandan she became proud and she was much pampered by some people which made her neglect diction in her earlier songs. Naushad made her aware of that in Anmol Ghadi. In Mirza Sahiban she even changed her singing style which was closer to Suraiyya. In Pakistan she continued with the same style with minor changes due to which her Pakistani songs are much sweeter.
I agree that there may be genuine fans but they are certainly influenced by the narratives or propaganda whatever you may call it. In India there has always been a section of people who love everything Pakistani and hate everything Indian.
Your article on Noorjehan – Lata came in your mind perhaps because of this narrative and you would find that there were some exclusive commenters there who neither earlier nor later commented on any article.
Shalanji
I know Nimmi just as an actress and would not like to believe otherwise unless there is evidence. Little known actresses like Ramola also managed to record their voices for a few songs. Comedians like Asrani and Deven Verma have a couple of tolerably good songs in their names. If Nimmi had recorded some song she could have been judged on that account.
You claim to be Suraiyyas friend but say she felt inferior to Lata. It is strange because Suraiyya never showed any fear of her. She allowed Lata to sing in her films and never tried to manage her lines in duets with her. The same leevage she allowed other singers also. I know you adore Lata but there is hardly any need to diminish Suraiyya for her modesty which quality was totally absent in Lata. Suraiyya never changed her style of singing from the first to the last which cannot be said of Lata who tried to sing like Suman or Asha in a few songs.
She was really bold and fearless. She refused to sing duets with Sehgal in Parwana based on her experiance in Tadbeer when he came for duets drunk. She was nobody then as compared to Sehgal.
Regarding Shama I have already said Nimmi had a playback in Suman who sang two of her best solos ‘dil gham se jal raha hai’ and ‘ik jurm karke humne’ and also a couple of fine duets.
As per what I know she never produced any film though she might have financed some but I am not sure about Shama. Also as per my knowledge Shama and Rustam Sohrab were leftovers from mid fifties because she had stopped signing fresh films around that time because of behavior of bollywood towards her. Ghulam Mohammad’s filmography would also confirn this. So in mid fifties she was just 25 or 26 and the hero was also not in his cradle. So there is no likelihood of there being too much age difference.
Mumbaikar8
Thanks for the complements. I am lucky so many of my friends remember me. I was awfully busy and would now try to be regular.
Hans,
On Lata Mangeshkar-Noorjehan, I entirely agree with you. I have been very clear in my post on Lata Mangeshkar versus Noorjehan. But there is a whole school of Pakistan-romantics, which my be partly due to the nostalgia for ones’ roots.
Hi Ranganji,
A wonderful article on Suraiyaji and thanks from bottom of my heart to you.
I was wondering from where i can get two movies of her with Devji. These are Afsar and DO sitare.
Hope i get some help / guidence on this.
Santosh,
Welcome to Songs of Yore. The best source for Hindi movies is YouTube. You can check up there. You may check from stores (including online) whether their commercial DVD is available.
What can be said about Suraiya ji, God created her for us, a pole among stars. Eyes become watery even at her mention. Will continue to shine for thousands of years.
But most unfortunate part being in the long list of films, only few about 15 or 20 only are available for viewing. People talk about her songs but where are her movies available no one talks. Can someone please enlighten?
Ravi Kumar,
Welcome to SOY. We all are fans of Suraiya.