Dalip Chandra Vedi was another great teacher in Lahore. However, Chaman could not be taken up due to communal tension in Lahore. The audience for ghazals, a craze in the 1980s, has shrunk. The subsequent transfer of his father to Lahore meant a separation from his mentor but the urge to wield a pen took strong roots when he received praise from many admirers and gained considerable popularity as an Urdu poet. Deepak Mahaan Decades ago one night, I caught my father crying over a Punjabi song floating across the airwaves.
It's a simple love story, and he has composed the tunes. He told me so when I had gone to record a private album in his music to Bombay in 1992. His father, Nabi Baksh, was an accomplished Tabla player. Aptly titled Jashn-e-Begum Akhtar, it was meant for contestants aged between 18 and 40, with an ability to sing ghazals by her. While in Bombay, Ghulam Haider also composed music for Bombay Talkies' Majboor, featuring Lata's 'Dil Mera Toda. Noor Jehan and Ajay Kumar played the lead roles, while Sudhir was smartly dubbed as a loving, devoted doctor.
The Urdu poets have given some beautiful songs to the Indian cinema between 1940 to 1990. Feroze Nizami combined his unique style while composing songs. By 1946, he had started composing music for a number of films, including three Hindi films and a Punjabi film Chaman. Summoning such djinns is the function of all great musicians. And they perhaps outshone their father as their contribution to film music shows.
Madhubala's role as a playful girl in love with her younger brother's tutor Rehman was very much appreciated. Varma has worked in 149 films, with some of the biggest names in the business, like Gol Maal, Angoor, Khatta Meetha, Naastik, Rang Birangi, Dil and Judaai. His life story is extremely fascinating. According to Sardul Kwatra, Vinod had no Godfather like Shanker and Jaikishan had in producer-actor Raj Kapoor and producer Amiya Chakravarty and Naushad had in producer Mehboob Khan. But it is also heightened by our condition, which is one of rootlessness and over-mediation, and by our corresponding thirst for what is true, rare, original and sublime. Anu Malik was asked to compose for two songs for this film which became instant chartbusters.
One of its Urdu ghazalsAye dil mujhe jaane de, jis raah pe jaata hoon sung by Talat Mahmood simply stands out. The Bengali music was considered highly melodious. During his pre-talkie years in Lahore, he came in contact with some of the theatre companies of the city. Years later, I learnt that my father and Naqsh were not only born in Lyallpur now Faisalabad and went to the same school but also lost their mothers while they were toddlers. The taste of the listeners and the priorities of film makers have also changed over the period of time. In recent times, she was probably the only artist to receive such honor posthumously. Partition drove Naqsh to Lucknow, and then to Mumbai, to earn his bread and butter but it also converted him into a sensitive writer.
The movie was directed by Sohrab Modi and its stars were Bharat Bhushan portraying as Ghalib and Suraiya as his courtesan lover. So in Mere Mehboob 1963 , if Rafi began with a flourish in Tumse izhaare haal kar baithe, Naushad also had a Lata at her resonant best in a beautifully composed Tere pyaar mein dildaar jo hai mera haal-e-zaar. Film producers were dazed when he demanded Rs. Even Lata and Asha in their recent interviews said that the standard of Hindi music had declined very much today. Today's composers are making a mockery of music. I can never forget Mir Taqi Mir's 'Dikhai Diye Yun Ke Bekhud Kiya' by Lata pictured on Supriya Pathak.
This movie was both a musical and commercial success by Sohrab Modi. Initially, she had some basic training in vocal music from local teachers. Some of his films are Khanzanchi 1941 , Poonji 1943 , Bhai 1944 , Chal chal rey noujawan and Humayun 1945 , Bairam khan, Jag beeti and Shama 1946 , Manjhdar and Mahdi 1947 In Pakistan, from late 40's to mid 50's his films were Shahida, Bheegi Palkain , Akaili, Baiqarar,Ghulam and Gulnar. He also sang for movies. Then D M Pancholi asked him to write the musical score for his Punjabi venture Gul-E-Bakawali 1939 which was an instant hit.
She was always supporting young artists and was used to mix with young children learning music. Her voice appeared very shrill and sweet. Khanum was particularly influenced by the anarchic charms of the ghazal singer Begum Akhtar, who was a friend of her sister's and a regular visitor to their house. She was quite energetic in her advancing age and had recently visited Mahalaxmi Temple at Kolhapur. She has sung three more solos, but the best one is her romantic duet 'Naazuk Dil Hain Tore Na Daina' with G. By this time Ghulam Haider had established himself as the master of prelude and interlude in music.
The special thing about this event is the presence of a mammoth pipe organ, gifted to the Centre in 1988 by a group of German businessmen. Every member of the orchestra was stunned. All this happened while Ghulam Haider was in Lahore. The truce is short lived as Maqsood asks Manya Surve to finish Zubair. Ghulam Haider had heard both sisters, while they were still in Lahore. But Ghulam Haider's glorious hour was still to come. With the release of 'Kabhie Kabhie' it seemed that the days of struggle of Khayyam were over.
Pre-partition he cmposed music of film Kamlee 46 and then moved to Pakistan. Ghulam Haider was so much excited about his new find Lata Mangeshkar that he boasted about it to the other contemporary biggies like Anil Biswas and Khem Chand Prakash. Directed by Phani Majumdar from his own screenplay, it had cinematography by Roque M Layton, and editing by Raghu Tipnis with choreography by Lacchu Maharaj. It had two Lata semi-classical solos that have couplets at the outset. It was then in 1956 again that director Ramesh Saigol approached Khayyam to compose for the hit movie 'Phir Subha Ho Gi'. In terms of quality of music Ghulam Haider never made any shortcuts or compromises.