“Jahan
paida hui wahan hello jaoongi.” I’ll solely go the place I used to be born. That declaration
in 1947 by Allah Rakhi Wasai despatched shockwaves by means of the Hindi movie trade.
At Partition, her native village of Kasur in Punjab discovered itself within the newly
fashioned nation of Pakistan and Wasai – higher identified by her stage identify, Noor
Jehan – packed up her life in Bombay to maneuver to Lahore.

Within the 1940s, Noor Jehan, whose 89th beginning anniversary will
be celebrated on September 21, was India’s most well-known singer and actor.
She had develop into a family identify with such motion pictures as Khandaan (1942), Naukar (1943), Dost (1944), Zeenat (1945), Village Woman (1945), Badi Ma (1945), Anmol Ghadi (1946) and Jugnu (1947).

After her departure, although, most Indians had little entry to her work
in Pakistan. Till just lately, that’s. Now, YouTube has allowed followers on this
facet of the border to rediscover the magic of “Madam”, as she was respectfully
referred to as in Pakistan. With this, it’s develop into abundantly clear that her post-1947
profession was marked by some actually sensational singing, arguably even higher than
her work in India.

Lollywood
debut

It took Noor Jehan till 1951 to look in a film in
Pakistan. Lahore had been a outstanding filmmaking centre earlier than 1947, however
its main studios had been burnt down in the course of the Partition riots, and native
filmmakers lacked even the essential tools to make motion pictures. Noor Jehan’s
husband, filmmaker, Syed Shaukat Hussain Rizvi, who had directed her in lots of
her hits, managed to get the previous Shorey Studios allotted to him and Noor Jehan
with a declare towards the property he had left behind in Uttar Pradesh. The
studio was rechristened Shahnoor, and its first manufacturing was to have been the
Urdu-language film Nagina, starring Noor
Jehan.

Nonetheless, heeding recommendation from fellow filmmaker Nazir and his
actress spouse Swarnalata {that a} Punjabi movie had higher business prospects,
Rizvi shelved Nagina and launched Chan
Wey
. Since his grasp over Punjabi was poor, Rizvi depended
closely on Noor Jehan’s information of the language, which earned her a credit score as
director. 

Chan Wey was a field workplace hit and reunited Noor Jehan along with her music
director from Jugnu, Feroz Nizami. The
collaboration resulted in a number of memorable songs, together with Tere
Mukhde Da Kaala Kaala Til Wey
, which proved extraordinarily common this facet of the border as
effectively.

Tere Mukhde Da Kaala Kaala Til Wey.

Noor Jehan’s fortunate run continued along with her subsequent film, the Urdu-language Dupetta (1952), which was additionally scored by Feroz Nizami. Directed by Syed Sibtain Fazli, Dupetta is likely one of the higher made Pakistani movies from the interval, and was additionally launched in India to beneficial opinions.

The observe Sanwariya, Tohe Koi Pukare impressed the Tamil tune Poomaalai within the iconic Tamil movie Parasakti (1952). One other tune Chandni Raatein, arguably the movie’s greatest, turned a giant hit once more within the 1990s, when a remixed model sung by Shamsa Kanwal performed on music tv channels in India.

Chandni Raatein.

A few of Noor Jehan’s greatest singing has at all times been in her native language, Punjabi. Her potential to enunciate with crystalline readability and her talent in evoking the appropriate emotion, particularly in her unhappy songs, is what made her singing so common. This was evident within the Punjabi providing, Patey Khan (1955). It’s stated that each time Hindi movie composer OP Nayyar heard Kalli Kalli Jaan Dukh from the movie, he would copiously weep.

Kalli Kalli Jaan Dukh.

In 1956, Noor Jehan teamed up for the primary time with two of the most important legends of Pakistani movie music – GA Chishti for Lakht-e-Jigar, and Khwaja Khursheed Anwar for Intezar. Lakht-e-Jigar, primarily based on the Geeta Bali-Balraj starrer Vachan (1955), had some fantastic songs comparable to Woh Khwab Suhana Toot Gaya, Aa Haal Dekhle Mera and the favored lullaby Chanda Ki Nagari Se. Nonetheless, the movie flopped on the field workplace dropping out to a different Vachan copy, Hameeda.

It was Intezar, directed by Masood Parvez, starring Noor Jehan as a blind singer, which proved to be certainly one of her most huge hits. Amongst its excellent tunes had been Chand Hanse Duniya Base. Different nice tune embody Aa Bhi Ja, O Janewale Re and Jis Din Se Piya Dil Le Gaye. The movie bought her the President’s Award for Finest Singer. Lata Mangeshkar went on document to say that Intezar had certainly one of her favorite Pakistani music scores.

Jis Din Se Piya Dil Le Gaye.

Koel (1959), which teamed Noor Jehan with director Masood Parvez as soon as once more, was about sweethearts separated in childhood who’re reunited as adults. The movie was Noor Jehan’s final large success as an actress. It sees her in a glamorous function because the daughter of a famend classical artist and a singer. The film integrates music superbly into an otherwise-ordinary story.

Noor Jehan joined fingers once more with Khursheed Anwar three years after Intezar, and the duo goes effectively past the sooner movie with one nice tune after one other: Rhim Jhim Rhim Jhim Pade Puhar, Sagar Roye, Mehki Hawaen, Tere Bina Sooni Sooni Laage Re. Nonetheless, there’s little to beat this semi-classical observe, which challenges Noor Jehan’s voice and singing vary to the restrict.

Dil Ka Diya Jalaya.

In 1959, Noor Jehan married for the second time. Her second husband, upcoming actor Ejaz Durrani, was 9 years youthful than she was. Since Durrani didn’t need Noor Jehan to proceed appearing, she made her final film look in Ghalib (1961).

Although she departed the display screen, she by no means stopped singing. Starting with Zindagi Hai Ya Kisika Intezar from the movie Salma (1960), Noor Jehan started a brand new profession as a playback singer. Most of her rivals on the time had been being paid about Rs 350 per tune, whereas Noor Jehan commanded an astronomical price of Rs 2,000.

Salma was not Noor Jehan’s first movie as a playback singer in Pakistan. She had beforehand recorded O Jaan-e-Bahar and Do Rahi Rasta Bhool Gaye for the movie Patey Khan (1955). She additionally recorded Kaisa Naseeb Layi Thi and Na Ansoo Bahe The for music composer Rashid Attre in her ex-husband Shaukat Rizvi’s Jan-e-Bahar (1958). Noor Jehan was purported to play the lead within the movie when her marriage with Rizvi fell aside. She left the manufacturing however allowed Rizvi to make use of her songs.

Na Ansoo Bahe The.

Rashid Attre composed a few of Noor Jehan’s greatest tracks in her early days as a playback singer in movies like Mehboob (1962), Mosseqar (1962) and Qaidi (1962).

Qaidi, with Darpan and Shamim Ara, was maybe the most important successes of the Attre-Noor Jehan mixture. One among Faiz Ahmed Faiz’s best-known poems, Mujhse Pehlisi Mohabbat Mere Mehboob Na Maang, was used within the movie. The fundamental tune was stated to be have been composed by Noor Jehan, and Faiz was reportedly so taken by Noor Jehan’s rendering of his phrases that he symbolically gifted her the poem.

Asif Siddiqi, a chartered accountant whose household migrated to Sindh from Varanasi, recollects in his e book Mani & I: Memoirs of a Banarasi Karachiite that when he requested Faiz to recite the verse at an Annual All India-Pakistan Mushaira, the poet replied, “Bhai, ab woh geet mera kahan raha? Noor Jehanka ho gaya.” That tune is not mine. It belongs to Noor Jehan.

Mujhse Pehlisi Mohabbat.

In 1982, when Noor Jehan got here to India for the primary time since she’d left to take part in an occasion titled Mortal Males Immortal Melodies to have a good time 50 years of the Indian talkies, Mujhse Pehlisi Mohabbat was among the many three songs she selected to carry out.

A few of Noor Jehan’s greatest songs within the 1960s for characters performed on display screen by Shamim Ara. Apart from Qaidi, Noor Jehan’s voice and Ara’s appearing expertise resulted in memorable tracks from Aag Ka Darya (1966), Lakhon Mein Aik (1967) and Salgirah (1969).

Lakhon Mein Aik, a love story between an Indian and a Pakistani with a screenplay by Marxist author and filmmaker Zia Sarhadi, impressed Raj Kapoor’s Henna a number of years later. Nisar Bazmi’s music is among the many film’s highlights.

A composer who was relegated to B-grade productions in India, Bazmi blossomed throughout the border. Noor Jehan helped him tremendously by placing her life and soul into the soundtrack for Lakhon Mein Aik, and every tune is a masterpiece. Noor Jehan even sang a bhajan, Man Mandir Ke Devta, which was banned by Radio Pakistan.

By the 1970s, Punjabi movies outnumbered Urdu productions in Pakistan, and Noor Jehan’s vibrant voice featured within the best-known ones, together with Heer Ranjha (1970), starring her husband Ejaz Durrani and Firdous. Based on Aijaz Gul’s e book Mallika-e-Tarannum Noorjehan: The Melody Queen, she initially turned down a proposal from composer Khursheed Anwar to sing within the movie since her husband was having an affair with Firdous. However when Anwar signed on rival singer Mala, Noor Jehan arrived on the studio on the primary day of the recording and despatched Mala packing.

Solar Wanjli Di Mithri Taan.

By the late 1970s and 1980s, Pakistani cinema was dominated by cheesy, simply forgotten Punjabi motion movies. Many of those movies starred Sultan Rahi, Anjuman and Mustafa Qureshi, with music by Rashid Attre’s son Wajahat. These motion pictures contained comparatively crass songs sung by Noor Jehan, and so they represent a disappointing part of her profession. Nonetheless, she did sing all of them her attribute verve, and a few of the higher tunes from this era are admittedly catchy and stay common, comparable to this one from Sher Khan (1981).

Tu Wey Mahi Chhaila.

Noor Jehan ended her wonderful profession after singing the Punjabi tune Ki Dam Da Bharosa Yaar in Sakhi Badshah (1996). She scaled unparalleled musical heights in Pakistan, however the debate rages on amongst lovers of Hindi movie music about whether or not she misplaced out by migrating to Pakistan. Some imagine that she gave up the possibility to take part within the sheer number of music in Indian movies, which displays the roots and regional influences of composers from throughout the nation, limiting herself to the Urdu ghazal and the Punjabi-flavoured tune.

But, there isn’t a denying the truth that Noor Jehan formed Pakistani movie music the way in which Lata Mangeshkar did Hindi movie music. The sunshine of the universe undoubtedly proved that melody is certainly queen on either side of the border.



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