Stellar Soundtracks: Jugnu

As far as years go, 1947 was a big one.  At least on the Indian Sub-continent.  After nearly two hundred years, the British Raj came to an end. In the words of Al Stewart in his song Post World War II Blues, “And Churchill said to Louis Mountbatten/ I just can’t stand to see you today/ How could you have gone and given India away?/ Mountbatten just frowned, said What can I say/Some of these things slip through your hands”

As Louis Lord and Lady Mountbatten packed up and headed home, millions of Indians hit the road too. The largest movement of people the world had seen and probably one of the most desperate. Muslims moved away from the towns, villages and cities of northern India to a new country in the west called Pakistan.  Hindus and Sikhs whose families had lived for centuries in Punjab, Sindh and the Frontier ran the bloody gauntlet towards a truncated India.  Horrible things happen in history. The Partition of India was one of them.

Nur Jehan

Five years earlier, a young Punjabi girl with a name, Nur Jehan (Light of the World) as beautiful as her voice (‘pure crystal’, according to one critic) had come to Bombay from Calcutta to try her hand in the movie business. By 1947 she had not merely succeeded. She’d triumphed. She’d conquered. Nur Jehan had acted in sixty nine movies and recorded 127 songs. She was the greatest singer/actress Indian cinema had ever produced and world knelt before her.

Dilip Kumar and Nur Jehan in Jugnu

In that year of upheaval, blood and bitterness Nur Jehan acted (and sang) across from a young rising male tragic-hero Dilip Kumar in a film titled Jugnu (Firefly). Filmfare Magazine the arbiter of all things cinematic in India panned it as ‘dirty, disgusting and vulgar’. In October 1948 Jugnu was officially banned for a few months, thanks to the moralizing of Filmfare, but has gone on to be considered a landmark film.  Though Filmfare also turned its nose up at Dilip Kumar’s performance (they swooned at Nur Jehan’s) it went on to make him a superstar and the soundtrack, which we share tonight, is a genuine classic.

Jugnu was to be Nur Jehan’s last film in India. She and her husband moved to Lahore where, unlike most other transplanted Indian Muslim musicians, she thrived and dominated the Pakistani music and film scene until her death in late 2000. 

The soundtrack of Jugnu is special for several other reasons too.  With Nur Jehan’s departure from the scene, the curtain that had been descending slowly on the actor-singer fell quickly and ushered in the golden era of the ‘playback’ singer.  One of the greatest of playback singers, who dominated the scene in the 1960s and 1970s, Mohammad Rafi, got his start in Jugnu. And the grand dame of classical singers, Roshan Ara Begum, also contributed a folky song to the film.  Quite a feat when one considers the scorn in which most classical musicians held filmi singers. Begum sahiba moved to Pakistan as well, soon after the film was made but unlike Nur Jehan found the transition to be a challenge.

A young Mohammad Rafi in Jugnu

Nur Jehan has been called the great ‘what if’ of Bollywood.  What if she hadn’t moved to Pakistan? Would Lata Mangeshkar and Asha Bhosle the two titans of Indian film music have emerged so strongly and figured so prominently?   Both of them still consider Nur Jehan to be the greatest of all time.

We’ll never know but enjoy this wonderful soundtrack from 1947, the year it all ended. Or began, depending on your perspective.  Nur Jehan, Roshanara Begum, Shamshad Begum and Mohammad Rafi…all together! 

            Track Listing:

            01 Umangain Dil Ki

02 Aaj Ki Raat

03 Lot Jawani Phir

04 Des Ki Pur Kaif

05 Tum bhi Bhula Do

06 Hamein to Sham-e-Gham

07 Woh Apni Yaad

08 Yehan Badla

here.

Music Pakistan: Malika-e-Tarunnam the Great Nur Jehan (FRESH LINK)

Among life’s more pleasant recent twists has been the globalization of the music that my subconscious absorbed from the moment of my birth. I speak of the singing of Mohammad Rafi, Kishore Kumar, Lata Mangeshkar and especially, Asha Bhosle.  With the explosion of ‘Bollywood’ culture into the mainstream of modern life, Western music lovers are now aware of who these talented, versatile and prolific singers are. Asha has recorded with everyone from REM to the Kronos Quartet and had a major international hit (Brimful of Asha) named after her.  Every few months enterprising music producers issue another souped up compilation of Indian film playback music, many of which (like the Bombay Connection series) are targeted at listeners in Belgium or Denmark rather than Belgaum or Dehra Dun but exceedingly fun.

Nur Jehan

Much less familiar to international listeners are the household names of the Pakistan film industry. To date the Washerman’s Dog is aware of only one slick re-packaging of funky film music from that country, Finder’s Keeper’s stunning 2009 release, The Sound of Wonder! Rare electronic pop from the Lollywood vaults 1973-1980.  That collection focuses on the very groovy mid-late 1970s ‘pop’ music coming of the studios of Lahore, and especially the music of Mohammad Ashraf and the singing of Nahid Akhar and Ahmed Rushdi.  But as good as they were The Sound of Wonder! virtually passes over the greatest playback singer Pakistan, and some would say, India as well, ever produced: Nur Jehan.

Madam, as she was referred to with love (and not a little trembling), held a truly Himalayan position in the cultural life of Pakistan. When she died in 2000 the country mourned in the same way Egypt grieved with the passing of Oum Kulsum and France with the death of Edith Piaf.  It is easy to draw parallels with Lata Mangeshkar in that they both stood several heads and shoulders above their competition while redefining and almost single handedly controlling their chosen profession.  But listen to what Lata had to say about her Pakistani counterpart: Everyone has role models. And I have no qualms in admitting that Noor Jehan was mine. We listened to Noor Jehan in childhood and grew with her notes in mind. Noor Jehan had a mastery over Sur and her voice had no vibration in any sort of crescendos. She was nice and blessed by Allah. Noor Jehan's death has created a vacuum in the music of the Subcontinent. She treated me as her younger sister and whenever we met she always hugged me… Her death has created a vacuum in the world of music, which cannot be filled.

Nur Jehan and her biggest fan, Lata Mangeshkar

Born into a family of professional musicians in the Punjabi city of Kasur (home to so many great singers) in 1926, Nur Jehan (birth name Allah Wasai) spent time under the tutelage of such greats as Ustad Bade Ghulam Ali Khan and Ustad Ghulam Hussain. Her first experience of public singing was as a young girl, singing songs with her two sisters before and in the intermissions of movies in Lahore. 

In order to give their children greater opportunities the family moved to Calcutta in the1930s where they met the great female singer Mukthar Begum who provided the sisters with  introductions to film producers and directors.  Soon the girls were given stage names and Allah Wasai debuted as Baby Nur Jehan, At this stage the young girl was more interested in being an actress and landed several roles, in which she often sang as well.  In 1938 she returned to the Lahore film world for a few years before finally making the critical move to Bombay.

In 1942 Baby was dropped from her name as she moved from juvenile to her first leading lady role in the hit Khandaan. Around this time she sang the songs for another actress and got her first taste of playback singing. In 1945, Nur Jehan acted in a film with two young fresh actresses who would quickly grow to idolize her: Lata Mangeshkar and Asha Bhosle. Throughout the 1940s she continued to make hit films while gaining an equally strong reputation for her classically –influenced singing style.  She was beautiful, young and one of the biggest stars in India.

Then came Independence and the creation of Pakistan.  Her last movie made in Bombay was Mirza Sahiban in 1947 after which she returned to Lahore.  The decision to move to the new country was less difficult for her, than it was for others like Ustad Bundu Khan, as Kasur, her hometown was included in Pakistani territory.

Back in Lahore Nur Jehan got married and divorced and married again, all the time still acting as a lead and singing.  At last in 1963 she could no longer keep all the balls in the air and retired from acting and focused on playback singing.  Her clear tone and expressive coloring quickly earned her awards, including the Pride of Performance (1966). Perhaps more precious was the title Malika-e-Tarannum (Queen of Melody) given her by the people and by which she is referred to even in death.

Lahore film studio

Tonight’s post includes a fantastic introduction to Nur Jehan’s Pakistan film songs. As you listen it will be hard not to get up and do the bhangra. In addition to singing with great control and expression, the Queen of Melody knew how to have fun and impart it to her listeners. This is especially true of those sung in Punjabi which virtually snap and bop out of the speakers.

Volume 1

01 Tun Kaunsi Badli Mein Hain

02 Kis Tarah Bhoolega Dil

03 Tere nal nal Way Main

04 Aj Khushiyan Day Naal

05 Pyar Jo Hoya Nal Teray

06 Kali Kali Mandlaye

07 Dang Piyar Da Seenay

08 Jadon Holi Jayee

09 Kya Jane Kya Arman Lekar

10 Arey o'be murawwat

11 Teri Khatir Jal Rahay Hain

12 Ja Apni Hasraton Pe

13 Haye-o-Rabba Shakki

14 Dil Diyan Lagiyan Janay

15 Way Too Qarar Mera

16 Beete Dinon Ki

17 Mahi Way Sanu Bhul

18 Phikki Pey Gaee

19 Wadi Karkay Mukray

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Volume 2

01 Sun Way Bilori Aakh

02 Sun Wanjli Di Mithri

03 Jawan hai Mohabbat

04 Baithi Hoon Teri Yaad

05 Chandni Rataein

06 Sanjay Dil Walay Boay

07 Chand Hunsay

08 Main ne Tujhse

09 Meri Chichi da Challa

10 Akh Larri Bado Badi

11 Tery Sadqay Way

12 Ja Ja Way Choothiya

13 Laut ao Mere Pardesi

14 Humse Badal Gaya

15 Kya Khabar Thi Teri

16 Sanu Naher Walay

17 Lay Aai Phir Kahan Pe

18 Chalo Achha Huwa

19 Kahan Hai Tera Pyar

20 Lat Uljhi Suljha Ja

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