Aayi azal ae zindagi gham ka zamaana chal gaya
Posted on: September 15, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It was many years ago; as a child I saw the song “Dil Jalta Ha To Jalne De”(‘Pehli Nazar’, 1945) as one of the songs in a Chitrahaar program on Doordarshan. At that time, I had no idea about the actors present on the screen during this song. The image of Motilal that I would later remember and carry with me for a long time, would be the balding, and somewhat comical man from films like ‘Mr. Sampat’ (1952) and ‘Jaagte Raho’ (1956). And it was much later that I would become aware that the young man in this song, with a moustache and a head of full hair is none other than the same Motilal. However, on the first viewing of this song on TV, it was the charming face of the lady love, that enamored me, and the image of that open expression on her face, with expectation and waiting written on it, still remains with me as one the most endearing images of a lady actor on screen.
Munawwar Sultana, the desirable and sensuous face, and an accomplished actress, she took the Hindi film screen by storm in the 40s and early 50s. She is one of the lasting icons in the industry, despite the fact that she actually had a very short active career on screen.
Munawwar Sultana, away from public eye for almost five decades, passed away this day, five years ago, in Bombay (on 15 september 2007).
Daughter of a radio announcer, she was born on 8th November, 1924 in Lahore. A diligent and a bright student, her first aspirations were to become a doctor. But of course, fate had a difference design in store for her. Barely 18 years, and in preparation to proceed for higher studies, she got a chance to play a role in the 1942 film ‘Khandaan’. The film is produced and directed by Dalsukh Pancholi, and the leading roles are played by Pran and Noorjehaan. Her role attracted the attention of other producers, and she got invited to play the lead role in ‘Pehli Nazar’ opposite to Motilal, a super star of that era. Still not fully willing and convinced, she traveled to Bombay at the invitation of the producer, Mazhar Khan. This set rolling an illustrious career that would last just another twelve years. But the body of work that she accomplished in this time is peerless. She worked in 26 films as the leading lady, from 1945 to 1956 and was paired opposite to almost every major lead actor during those years.
Starting with the success of ‘Pehli Nazar’, her fame and place as one of the top leading ladies of her time, was cemented with the phenomenal success of ‘Dard’ (1947), immortalized by the iconic song “Afsaana Likh Rahi Hoon Dil e Beqaraar Ka. . .” in the voice of Uma Devi.
The career that followed would be an envy for aspiring actresses for times to come.‘Dard’ with Nusrat Kardar and ‘Andhon Ki Duniya’ with Mahipal in 1947, ‘Elaan’ with Surendra and ‘Nayyaa’ with Mazhar Khan, also in 1947. 1948 saw the release of ‘Majboor’ and ‘Dada’ with Shyam, ‘Meri Kahaani’ again with Surendra, ‘Paraayi Aag’ with Ulhaas. In 1949 came a crop of memorable films – ‘Kaneez’ and ‘Raat Ki Rani’ with Shyam, ‘Uddhaar’ with Dev Anand, ‘Nisbat’ with Yakoob. Then came 1950, and the films ‘Baabul’ with Dilip Kumar/Nargis, ‘Pyaar Ki Manzil’ with Rehman, ‘Sabak’ with Karan Dewan and ‘Sartaaj’ with Motilal. The next crop of films are ‘Apni Izzat’ (1952) with Motilal, ‘Tarang’ (1952) with Ajit, ‘Toofaan’ (1954) with Sajjan, ‘Ehsaan’ (1954) with Shammi Kapoor, ‘Watan’ (1954) with Trilok Kapoor, and ‘Jallaad’ (1956) with Nasir Khan.
The films ‘Meri Kahaani’ and ‘Pyaar Ki Manzil’ were produced by Sharaf Ali. And in 1954, Munawwar Sultana married him and bade a good bye to the silver screen. Over the year she got so involved with her family and family business that even friends and co-stars completely lost touch with her. With passing years, the query associated with her name was whether she was alive and where was she. Engrossed with her family and growing old herself, she was stricken with Alzheimer’s in 1997. After that she slowly lost touch even with her own world. Not many people still became aware of her and her condition. She passed away this day, in 2007 at the age of 83, oblivious of any pain or happiness. A face that took the industry by storm six decades ago, faded away, unsung, unnoticed.
The film ‘Elaan’ was a blockbuster film of 1947. Produced and directed by Mehboob Khan for his own banner, the lead pair in the film are Surendra and Munawwar Sultana. The star cast also includes Himalayawala, Reehaan, Leela Misra, Zebunnisa, Wazir Mohammed Khan, Rita, Shahida, Shabnam, Ghaazi, Agha Jaan, Abdul, Khurshid, Channi, Waskar, Abdul Rashid, Agha Shamsher Shiraazi, Master Ramesh, Master Wazir, Master Ghulam Mohammed, Shah Nawaaz etc.
The music of this film is by Naushad and the songs are penned by Zia Sarhadi. The film is a Muslim social family drama. The following description is adapted from Cineplot.
Story of two half-brothers, the good Javed (Surendra) and the evil Sajjaad (Himalaywala). Exploited since his childhood by the richer and crueler branch of the family, represented by Sajjaad and his mother (Zebunissa), Javed loses his beloved (Munawwar Sultana), bought by Sajjaad’s family wealth. Over time, the fortunes of the two brothers change; Sajjaad gambles away his wealth while Javed becomes a noted lawyer. In a fit of desperation, Sajjaad wants to kill his son but is himself killed by his mother. His widow turns down Javed’s offer of marriage and instead starts a school in her family palace, partly to make amends for the family’s vile behavior.
It is also noted in the write up that this film became very controversial, for the manner in which it tried to deal with the traditional social issues of the Muslim society, and went too far (maybe) to suggest the reform of Quranic traditions as the way out. For this reason, it had to face stiff opposition from the community, as well as disfavor at the official level, to the extent that it was banned for a brief period. One thing however all historians agree upon is that no other film on Muslim social theme has ever ventured to reach out and explore the social issues with such openness and frank opinions, since then.
The song is in the sweet mellifluous voice of Amirbai Karnataki. And oh, what a sorrowful song it is. The words are overflowing with despair. The emotions of gloom and anguish are writ deeply into the words as well as their rendering by Amirbai. The on screen performance by Munawwar is poignant and very moving. She is holding a sleeping child in her arms, and tears are streaming down her cheeks, and she performs this song. A song that is a study in sadness.
aayee azal ae zindagi, gham ka zamaana chal gayaa
ab kya girengi bijliyaan, jab aashiyaan hi jal gayaa
This life, it came into being
And the saga of sorrows commenced (with it)
O what the lightning will do more
My abode is already burned down
NOTES:
azal = birth, creation
gham = sorrow, sadness
zamaana = time, era
aashiyan = nest, abode
aa o shab e gham aaye jaa, saare jahaan pe chhaaye jaa
ab tu hi tu reh jaayegi, ab kal na hargiz aayegi
O night of sorrows
Come and stay
Descend upon the entire world
For now, no tomorrow is to be
Only you, will remain and rule
NOTES:
shab = night
wo din jo dushman thha tera, wo zindagi ka din mera
wo din hamesha ke liye, haan din wohi din dhal gayaa
gham ka zamaana chal gayaa
The day (of happiness) that was your foe
That day was the day of my life
That day, the very day
Has set now, forever
And the saga of sorrows has now commenced
is umra ka awwal fanaa, is umra ka aakhir fanaa
ik jhooth ka darbaar ha, baatin fanaa zaahir fanaa
This life, is but to be destroyed,
Its birth, is only for destruction
Its end, is only but destruction
It’s an untrue, fictitious scenario
Whose inside secret is destruction
And its visible aspect too is destruction
NOTES:
umra = life, age
awwal =First
fanaa = death, destruction
aakhir = last, end
baatin = internal, secret, heart
zaahir = visible, evident, apparent
ye zindagi kuchh bhi nahin, naatak ka jhootha khel hai
jab tak chala so chal gaya
gham ka zamaana chal gayaa
What, after all, is this life
Just a play of false diversions
It lasted, while it lasted
And then, it is no more
The saga of sorrows commences
(NOTE: The above write up is based on information contained in the online article on Munawwar Sultana by Shishir Krishna Sharma,and the Cineplot article on the film ‘Elaan’.
(NOTE: As one may start to explore the YouTube for more songs of Munawwar Sulatana, please be aware that there is another actress in Pakistan with the same name. She is also famous as a singer of Punjabi folk songs. Munawwar Sultana of this write up – her body of work is a small list of 26 Hindi films from 1945 to 1954).
Song-Aayee azal ae zindagi gham ka zamaana chal gaya (Elaan)(1947) Singer-Amirbai Karnataki, Lyrics-Zia Sarhadi, MD-Naushad
Lyrics
aaa aaa aaa
aayee azal ae zindagi
gham ka zamaana chal gayaa
ab kya girengi bijliyaan
jab aashiyaan hi jal gayaa
aa o shab e gham aaye jaa
saare jahaan par chhaaye jaa
ab tu hi tu reh jaayegi
ab kal na hargiz aayegi
wo dil jo dushman thha tera
wo zindagi ka din mera
wo din hamesha ke liye
haan din wohi din dhal gayaa
gham ka zamaana chal gayaa
is umra ka awwal fanaa
is umra ka aakhir fanaa
ik jhooth ka darbaar hai
baatin fanaa zaahir fanaa
ye zindagi kuchh bhi nahin
ye zindagi kuchh bhi nahin
naatak ka jhootha khel hai
jab tak chala so chal gaya
gham ka zamaana chal gayaa
haan aaaan
aayee azal ae zindagi
gham ka zamaana chal gayaa
ab kya girengi bijliyaan
jab aashiyaan hi jal gayaa
5 Responses to "Aayi azal ae zindagi gham ka zamaana chal gaya"
2 | Bharat Upadhyay
September 15, 2012 at 6:56 pm
I think ‘Azal ‘ means Death and not Birth or creation.
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September 15, 2012 at 7:30 pm
As per my knowledge AZAL means Eternal-without begining.
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September 15, 2012 at 6:58 pm
Lovely write-up, Sudhirji.
Elaan is the only film I’ve seen of Munawwar Sultana. I liked it – it is progressive. Nice songs too (there’s a lovely romantic song between Munawwar Sultana and Surendra).
Here are some of my thoughts based on my memory of the film. Though it is over 3 years ago that I saw the film (and I usually forget a film within a few days of seeing it), this particular one impressed me a lot, so it has stayed in my mind.
The cineplot summary talks about “rich and cruel” and “vile” behaviour but the most important lessons the movie highlights are not mentioned. And that is the importance of education and the importance of not spoiling a child.
Sajjaad is completely spoilt by Zebunnisa. He gets home tuition, he does not respect his teacher, he makes fun of the teacher. And his mother Zebunnisa ignores all this. In fact she says “he is a rich man’s son”. Meanwhile Javed, being brought up by Leela Mishra, gets the right values. He is humble and hard-working.
Later in life, it is their upbringing that makes all the difference. Sajjaad turns out to be a wastrel whereas Javed progresses in life, as a lawyer. When Sajjaad’s frustration leads him to almost take his child’s life, his mother steps in and kills him. This is as much her repentance at her own mistakes in bringing him up than anything else. She says as much.
The movie closes also with an exhortation to the community to study. Hence the school started by Munawwar Sultana.
All in all, a very relevant movie for any time – and especially for 1947. It is sad if people took offence at these messages.
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September 16, 2012 at 2:59 am
Very informative write-up as usual, SK. Learnt a lot about Munawwar Sultana.
A litte observation though. The second word is AJAL, not azal. You have given the correct meaning of azal, but AJAL is different.
AZAL = eternity without beginning; existence from eternity; beginning, source, origin
AJAL = hour of death; death; term or period of life; assigned, appointed or specified term or period (of a thing); term or appointed time; fate, destiny
FANA= mortal, fatal; perditiion
The word AWWAL is used here in the meaning of beginning.
ZAAHIR = evident, apparent BAATIN = unseen, hidden.
My understanding of this verse is something like this:
Both the beginning and the end of this life are but mortal.
So is the apparent and the unseen. Nothing but a castle of sand it is.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 15, 2012 at 5:34 pm
Sudhir ji,
Thanks for writing about M.Sultana,one of my fav stars of bygone era.
Lot has already been written about Elaan,elsewhere,as well as on this blog too,earlier.
When Mehboob Khan heard the story initially,he spent few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film.His team for this film included many muslims,almost in every department.Major contributors like Naushad,Zia Sarhadi,Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all muslims.Others atleast were connected indirectly,but Mu.Su was the Heroine.
Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film.
Mu Su played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face,whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
-AD
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