MAN MOR HUA MATWALA KIS NE JADOO DALA - Page 6

Book on Suraiya A let-down
THE death of former singing star Suraiya recently was a big story. This, for a star who's been out of sight for more than four decades. But everyone knew of Suraiya thanks to her songs being played on All India Radio. Whether it is "Yeh kaise ajab dastan" ("Rustam Sohrab") or "Rahi matwale" ("Waris"), her songs are still hugely popular. In fact, it is the songs from the 1950s and 1960s that still rule All India Radio's programmes on Hindi film music. And they also fuel an entire recording industry. Mohammed Rafi, Kishore Kumar, Talat Mehmood, Suraiya, Shamshad Begum... almost everyday their voices reach out from the radio singing of love, heartbreak, jealousy, sorrow, faith. Composers and lyricists who helped create the magic are as well known and popular as the singers. Would Rafi's "Yeh Duniya agar Mil Bhi Jaaye... " ("Pyaasa") been as effectively disillusioned without Dada Burman's music and Sahir's inspired lyrics? So it is that a fan of Hindi film music is attracted to Manek Premchand's Yesterday's Melodies, Today's Memories. The book is, obviously a labour of love. It is a compilation of biographical sketches of the people who mattered in the music industry. The big names are there, of course, but what are interesting are the notes on the lesser-known artistes. Many are famous for may be a song or two but what a song. Think of Amirbai Karnataki's "Mari Katari Jana" ("Shehnai") or Jagjit Kaur's "Tum apna ranjh-o-gham" ("Shagoon") or Subir Sen's haunting "Manzil wohi hai" ("Kathputli"). But what could have been a treasure trove is almost a let down. Florid Hindi phrases do not translate too well into English so the narration is patchy and jerky. The author is in awe of most of his subjects and it shows. In some cases, interviews follow the biography but even these are bland and star struck. An exception is probably the piece on Lata Mangeshkar where he refers to her disagreements with other leading stars, and her alleged scuttling of other singers' careers. There are little things here and there to lift the spirits of a true-blue Hindi film fan but these are too far and few between. A foreword by the voice of Binaca Geetmala, Ameen Sayani, mentions that much research has gone into the book. The compilation of the songs after each personality is proof of that. It's a pity that the book has ended up more as a ready reckoner than a good read. Yesterday's Melodies, Today's Memories, Manek Premchand, Jharna Books, Rs. 495.

R. KRITHIKA

Suraiya: the reluctant goddess

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise. In 1941, she had accompanied her uncle Zahur (then a popular actor) to Mohan Studios to see the shooting of Taj Mahal. A child was needed for a particular shot and Suraiya stepped in. The shot was a success but it did not launch her career. She went back to her studies and occasionally took part in children's programmes for All India Radio. Here she met actress Shammi and Raj Kapoor -- a relative unknown in the filmworld. The young Raj used to teasingly call her 'Kallu'. From radio, Suraiya moved on to playback singing -- Sharda, Station Master, Sanjog and Kanoon -- and in a surprising volte face one day, Suraiya found herself facing the camera. She first caught the eye of filmgoers in Bombay Talkie's Hamari Baat. Then came DRD Productions Ishara and Suraiya had a chance to act opposite old friend Raj Kapoor's father -- Prithviraj.Soon, Suraiya became synonymous with musical pictures like Phool, Samarat Chandragupta, Anmol Ghadi, 1857, Aaj Ki Raat, Dard, Dillagi, Natak, Afsar, Kajal, Vidya, Jeet, Dastan, Sanam and Char Din. But Suraiya experienced the greatest thrill of her screen career when K L Saigal strayed onto the sets of Jayant Desai's Chandragupta, where she was rehearsing a song. He asked Desai to cast her against him in Tadbir and Suraiya finally realised one of her greatest dreams. A Saigal fan, she had longed to co-star with him -- a dream that came true again in Omar Khayam and Parwana. Luck continued to favour this singing sensation. Suraiya was completely besotted by Hollywood's heart throb Gregory Peck -- in 1954, she had a chance to meet him. When Peck broke journey at Mumbai, on his way to Ceylon for the shooting of Purple Plain, he stopped in to meet his most beautiful fan. But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. And when he saved her from drowning during the filming of the song 'Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. But her Nani thought otherwise. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: Dev Anand was a Hindu. A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. Today, she neither gives interviews nor makes public appearances. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman. The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

All archival material and photographs courtesy Subhash Chheda

Included below is an article by Raju B written on the occasion of Suraiya turning 70 (on June 15th).

From Midday.


9 Jun

If Suraiya means a cluster of seven brilliant stars, did even Naushad create, in a single film, seven gems to match this singing-stars Tera khayal dil se bhulaya na jaayega, Chaar din ki chandni phir andheri raat hai, Tu mera chaand main teri chaandi, Murli waale murli baaja, Nirala mohabbat ka dastoor dekha, Duniya kya jaane mera afsaana, and Zaalim zamana mujh ko tujh se chhuda raha hai?


It is 50 years since our dillagi with this cluster of seven began. And they abide on our mental screen, as forming part of an oeuvre whose flavour we eternally savour. Come Tuesday, therefore, and you say Suraiya as one symbolising the spirit of the age, Many happy returns! The age of chivalry is not past, so you do not pause to ask Suraiya how old she is, you only think of how her melodies are still memories, and memories melodies. Side-by-side, you also stop wondering what is the secret of the aura by which, if Gulzar collaborates with Jagit Singh on a fresh ghazal album, it comes to be tele-introduced to you, via Suraiyas voice, as Nukta chin hai gham-e-dil.


This very special vocal charisma of Suraiya is tellingly brought out by Anil Biswas in Waris, as his pet performer. Talat Mahmood holds you spellbound with his melisma in Rahi matwaale. In fact, Talat is almost through with his silken rendition of Raahi matwaale, when the genius of Anil Biswas has Suraiya making her velvety entry with Naina ho chaar zara naina ho chaar. Thus does Suraiya, ear-rivetingly, take up from Talat the Waris refrain of: Raahi maatwale, tu chheD ek baar man ka sitaar/ Jaane kab chori chori aayee hai bahaar, aayee hai bahaar/ Raahi matwaale.


Naushad put his hand on the public pulse when he noted that Suraiyas dulcet draw lies in the fact that she gives you while singing, the feeling of being the girl nextdoor. Nainon mein preet hai, hoton pe geet hai, evocatively sums up Naushads Suraiya Dastan; epitomised by Aaya mere dil mein tu, Yeh mausam aur yeh tanhai, Ae shama tu bata tera parwaana kaun hai and Mohabbat bada kar juda ho gaye. Not even Lata Mangeshkar, with all her schooling, could quite steal Suraiyas thunder. Even as Lata arrived, under Husnlal Bhagatram, with Chup chup khade ho, Chale jaana naheen nain mila ke and Jo dil mein khushi ban kar aaye, Suraiya was right there, as a singing-star with Woh paas rahen ya door rahen, O likhne waale ne, and Bigdi baanane waale bigdi bana de.


In fact this face-off with Lata is the point on which I chose to chivvy Suraiya as I drew close to her. Is it true, I sought to know, that you even tried to poison Lata, jealous of her meteoric rise?


Me and try to poison Lata! laughed Suraiya tinklingly. If anything I wanted Lata to take over, as my ghost voice and even tried to persuade C Ramachandra to employ her as my playback in Fazils Duniya. So smitten was I by Dev (Anand) those days, that I seriously considered giving up singing altogether to me, in my life, in that misty moment!


But surely Dev himself, I pointed out, would never have wanted you to risk your by then unique status as a singing-star.


When you are in love, you are in love, even your career doesnt matter! came back Suraiya. Imagine, every single day, no matter where I was at Andheri or Goregaon, I had, at the end of the shooting to make it to Kardar Studios, at Parel, on my way back for song rehearsals with Naushadsaab. Actually, it was this regimen of Naushad that made me think of quitting singing. Since Naushads hold on me was such that there was no question of saying no to him. I decided that I would get Lata to sing playback for me, in a film scored by a man C Ramachandra whose feelings for her were well-known. I cleverly ventured to play on the mans emotions by suggesting that Lata should be my ghost voice in Duniya.


Ramachandra was aghast, reveals Suraiya, he was still in a daze as he responded: What are you saying, Suraiya, did I hear you right? Dont you know that Duniya is a film sold to distributors on your reputation as a singing star first and my name as a music director after? Lata singing playback for Suraiya did you hear of anything more ridiculous! Lata is great, the best we have today, but why are you confusing, Suraiya, your singing star personality with Latas playback identity? So long as a guy called C Ramachandra is composing the music of Duniya only a girl called Suraiya will sing its songs!


Saying which, went on Suraiya, C Ramachandra came up with some fine songs for me to put over in Duniya, even offering to come to my make up room, with his harmonium, to rehearse me for ditties like Mera dil mein aao aur bus jaao, Haay yeh tu ne kya kiya, Woh aaye aur dil mein samaa kar chale gaye, Kismet ke likhe ko mita na sake, Armaan loote dil toot gaya, Jis tarah se hum barbaad huye' and Badi bedard hai duniya. And, as Duniya proved a spot hit, I knew I had to make time for Dev even while continuingto sing my songs myself!


Yes, much as C Ramachandra loved Lata, it is safe to presume that he did not remain untouched by the beauty of Suraiya. It was her looks, blending with her lilt, that made Suraiya the sweetheart of the nation. Happy birthday to you, Sur you remain a voice for all seasons.

Suraiya : A voice from the past
(An Article frm Femina on Suraiya)



Meeting Suraiya was like taking a walk back in time.


There was a time when traffic jams at Marine Drive (Mumbai) were caused not due to
a long line of cars, but because of a young charismatic actress whose melodious
voice had cast a spell on thousands of young Indians. Entering her home at Krishna
Mahal on Marine Drive today, instantly transports you into another age and time.


"I WAS 12 AND LOOKED LIKE MUMTAZ MAHAL!"
Suraiya's career as an actress began as a child artiste.


"One day, my 'mamoo' (maternal uncle) Zahoor, who was a popular villian in films,
took me along to watch the shooting of Prakash Pictures' 'Taj Mahal'. There, I met the
producer, Nanubhai Vakil, who felt that my face was ideally suited for the character of
young Mumtaz Mahal and asked my uncle if I could do the film. My mother and
grandmother agreed. So, I went off to Delhi to shoot at the Red Fort for 10 days.


"And that was followed by one offer after another.'' And a star was born.


SINGING WAS AN ACCIDENT
"I was never trained in singing. 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."


"NARGIS ENVIED ME"
"Frankly, I hadn't planned a career in films. I was just lucky to have got good roles.
Nargis would always tell me, 'Somehow you get the best roles'," says Suraiya,
modestly.


"Most of my roles were simple, but the audiences loved them. And I was lucky to
have got simple, melodious and easy to pick up songs to sing, and work with the
best composers of the day like Naushad, Husnlal-Bhagatram and Anil Biswas. We
didn't even dream of promo videos, ads and all the associated technical wizardry
then. But we still caught the audience's imagination."


THE CROWDS WENT SURAIYA-MAD
And how! When 'Pyar Ki Jeet' was released, it drew crowds outside Suraiya's house
that had to be controlled by posting an inspector and four constables outside her
house.


"When I went for the premiere of the movie 'Badi Bahen', there was such a big crowd
outside! As I walked into the theatre, they pulled at my clothes. There was a lathi
charge and people were injured. I stopped going for premieres thereafter."


"DEV SAVED MY LIFE"
No Suraiya interview can be complete without a reference to the Dev Anand-Suraiya
love story. While Dev Anand himself went on to marry Kalpana Kartik and, later, to
romance several other women, for Suraiya, it seems that love began and ended with
Dev Anand.


"We were picturising a song in a boat right in the middle of the river, when the boat
overturned and we found ourselves floundering in the water. I didn't know how to
swim. Dev brought me out of the water. I thanked him, saying, 'If you hadn't saved
me, my life would have ended.' He retorted, 'If your life had ended, so would mine.'
We were drawn to each other."


"MY GRANNY WAS DEAD AGAINST DEV"
"I worked with Dev in seven films. Inevitably, people started talking about our
romance and my grandmother learnt of it. She was extremely angry because Dev was
a Hindu and granny was very orthodox."


"WE DECIDED TO ELOPE"
The highlight of this romance was the plan the lovers made to elope. While shooting
for 'Jeet', the director decided to film on location instead of erecting a set. Also part of
the plan was the summoning of a real 'panditji' to get Dev and Suraiya married during
the shot. They would then get into the car and drive away - all as part of the scene,
but in reality escaping.


"I BACKED OUT"
Unfortunately, Suraiya's grandmother came to know of the plan.


"Eventually, my grandmother succeeded in separating us. Dev was deeply hurt and
offended by my lack of courage. But I was afraid for him. In retrospect, I don't think
anything would have happened if I'd been bold enough. But I was terrified of my
grandmother. And was heartbroken. But time is the greatest healer."


A practical woman, Suraiya prefers not to be a prisoner of the past. She agrees that
had she chosen one of the many marriage proposals that came her way, life would
have been different. But, she says, "Who can say what may have happened had I
married? I've seen so many friends' marriages crumbling. I've been single and happy,
living and doing the things I like, with a circle of close friends. But I'll admit that after
my mother expired some years ago, I felt some amount of loneliness creep in."


"PANDIT NEHRU COMMENDED ME"
"I'd been a fan of Mirza Ghalib since childhood. And so when Sohrab Modi sent for
my grandmother and discussed the role and other terms with her, I was thrilled.


"It was a very simple film, made in three months. Yet, what an effect the film had! It
was the first feature film to be awarded the President's Gold Medal. At a function in
Delhi, Pandit Nehru, after watching the movie, said to me, 'Ladki, tumne kya unke
(Mirza Ghalib) ghazalein gaayi. Tumne Mirza Ghalib ki rooh ko zinda kar diya.' For me,
that was an award better than an Oscar."


"MY TIME HAD COME"
'Rustom Aur Sohrab' made in 1962 was Suraiya's swan song. Why?


"I hadn't been keeping well and had collapsed with weakness during the shooting of
the movie. I was forced to take a break and recuperate. During that time, I really
enjoyed resting and realised how tired I was with work. I completed the films I had on
hand and decided to call it a day. And I've never looked back."


Incidentally, this legendary actress-singer still retains a lovely schoolgirlish lilt in her
voice. Time, it seems, hasnt laid its hands on it.

songs..

Movie: Rangmahal

Movie : Sharda

Movie : Amar Kahani (1949)

Movie : Afsar (1950)

Movie : Anmol Ghadi (1946)

1941 also saw a 12-year-old girl make her debut as a child star in the film Taj Mahal. The following year she did playback for a top film heroine of the day, Mehtab for the film Sharada. Because of her height she was given a stool to stand on since she couldn't reach the mike! Mehtab was convinced her career would be ruined if this child were to sing for her. However, not only did the songs of Sharada prove extremely popular but this girl went on to become a singing star in her own right and at the height of her peak generated the kind of hysteria that Rajesh Khanna did in his heyday from 1969 - 1972. Shops closed on the opening day of her starrers as even shopkeepers forgot their duties and swarmed the cinema theatres to see her films first day, first show! Crowds would throng outside her house just to get a glimpse of her. Actor Dharmendra remembers seeing her film Dillagi 40 times! The girl was… Suraiya!

Noorjehan and Suraiya were but two singing stars who rose to great heights of fame in the 1940s as now with established singers having entered the Hindi Music scenario, the days of singing stars was coming to an end. After the first lot of trained singers like Parul Ghosh, Amirbai Karnataki, Zohrabai Ambalewali, Rajkumari, Arun Kumar, G.M. Durani and Shamshad Begum, the 1940s also saw the introduction of several singers who would go on to become legends themselves – Mohd Rafi, Mukesh, Kishore Kumar, Manna Dey, Talat Mehmood, Geeta Dutt, Asha Bhosle and Lata Mangeshkar thus providing Indian cinema with its golden age in the 50s and 60s.