Main to odhoon gulaabi chundariya aaj
Posted on: April 14, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
When the system of playback singing started in Hindi films in early 30s it paved the way for playback singers like Rajkumari, Amirbai Karnataki, Zohrabai Ambalewaali and Shamshad Begum in becoming the top playback singers by 40s. With the emergence of new playback singers in the late 40s like Geeta Dutt and Lata Mangeshkar, demand for playback singers with heavy and high throated voices were on the decline, relegating them to the background. The only exception to this trend was Shamshad Begum who weathered the ‘onslaught’ of Mangeshkars in the 50s and remained fairly active up to early 60s.
Shamshad Begum was born in Lahore on April 14, 1919 in a conservative family. She did not get any formal training in music or singing as her parents were not favourably inclined towards such activities. However seeing the young Shamshad’s interest in singing, her uncle persuaded her parents to let him take her to Jien-o-phone Recording Co in Lahore. She passed the audition test taken by none other than Master Ghulam Haider who was working as a music composer for the company. She passed the audition and thus starting a long innings of over 3 decades in singing. In 1935, one of her records, the aarti NFS ‘jai jagdish hare’ in the pseudo name of Radharani achieved one of the highest sales of Jien-o-phone records.
At the age of 16, she got married to Ganpat Lal Batto, a lawyer by profession in 1935. She married him with a condition that she would continue her singing career. She first sang on Radio Peshawar in 1937 followed by All India Radio, Lahore two years later and then to All India Radio, Delhi. By this time, whe had already become a public figure on the strength of her non-filmy songs alone. Her first song as a playback singer was for a Punjabi film ‘Yamla Jatt’ (1940) under the music direction of Ghulam Haider. The film was a hit completing a silver jubilee. Dalsukh Pancholi’s ‘Khazanchi’ (1941) was her first Hindi film with Ghulam Haider in which sang nine songs – a marvelous achievement for a newcomer. The film was a super hit and all the songs from the film became very popular. One of the film’s songs saawan ke nazaare hain was very popular all over India. This was followed by ‘Khandaan’ (1942), and ‘Zamindaar’ (1942) under the baton of Ghulam Haider. By this time, she had become almost like a permanent ‘fixture’ in Ghulam Haider’s team of musicians and singers. Ghulam Haider had also become her mentor by that time.
In 1943, Ghulam Haider shifted to Bombay along with his musicians. Shamshad Begum also followed suit much against the wishes of her parents. The popularity of her songs had already brought her to the attention of Mehboob Khan who was planning his film ‘Taqdeer’ (1943) in Bombay. She sang as many as eight songs for this film under the baton of Rafique Ghaznvi. Under Ghulam Haider, she sang for him in ‘Humaayun’ (1945), ‘Bairam Khan’ (1946) and ‘Shama’ (1946), among other films,. In 1948, Ghulam Haider migrated to Pakistan. At this point of time, she had already become one of the top female playback singers. It was the turn of Naushad who gave a fresh boost to her career by engaging her to sing in his films like ‘Anokhi Ada’ (1948), ‘Mela’ (1948), ‘Chandani Raat’ (1949), ‘Baabul’(1950), ‘Dulaari’ (1950) etc.
In 1950s, she continued to be active despite the emergence of Lata Mangeshkar as a preferred female playback singer of all music directors. She worked with almost all the top music directors of 50s. During this period, some of her popular songs were sainyaa dil mein aana re (Bahaar, 1951), badi mushqil se dil ki beqaraari ko qaraar aaya hai (Naghma, 1953), kabhi aar kabhi paar laaga teer-e-nazar (Aar Paar, 1954), boojh mera kyaa naam re (CID, 1956), meri neendon mein tum (Naya Andaaz, 1956). These are only the teasers. There are many popular songs of her during that period. However, towards the end of 50s, her playback singing assignments started dwindling as the new generation of heroines of the films preferred to lip sync in the voices of other playback singers like Lata Mangeshkar and Asha Bhonsle. She did not get chances to sing more solo songs in the later years of her career. Seeing the trends in film music and the preferences for other playback singers, she almost retired from playback singing by the end of 1970. She had said in an interview that in 1955, her husband died and she started living with her son-in-law who being in the army was on a transferable job. During 1971 to 1978, she was away from Bombay living with her daughter and son-in-law in Jullunder and Mhow. So she lost touch with the film industry. ‘Ganga Maang Rahi Hai Balidaan’ (1981) was her last film in which she sang 3 songs with Mubarak Begum. Thereafter she has been living in Mumbai shunning publicity which she has been doing throughout her career. She has also maintained a dignified silence on the Hindi film industry. She was conferred ‘Padma Bhushan’ in 2007 by Government of India.
On the occasion of the 94th birth day of Shamshad Begum, I have chosen for discussion one of her songs from HUMAAYUN (1945) ‘main to odhoon gulaabi chundariya aaj aaj re’. The film was produced and directed by Mehboob Khan under the banner of Mehboob Productions. The star cast included Ashok Kumar (Humaayun), Veena (Rajput Rajkumari), Nargis (Hamida Bano), Shah Nawaz (Baabar), Chandramohan (Rajkumar Randhir), K N Singh (Jai Singh), Abdul Rashid, Himalaywala etc. There were nine songs in the films written by six lyricists – Anjum Pilibhiti, Arzoo Lucknawi, Kavi Shant, Pandit Madhur, Shams Lucknawi and Vikar Ambalvi. The songs were composed by Master Ghulam Haider. The song under discussion was written by Shams Lucknawi.
The film starts with a scene in which Baabar and his army is stopped by princess Rajkumari challenging him to a fight with her before entering the kingdom of her father who was killed in the war. Baabar is impressed by her bravery and makes peace with her. He not only make her the successor to her father’s kingdom, he adopts her as his own daughter. This is not liked by her fiancé prince of Chanderi, Rajkumar Randhir whose father was also killed by Baabar. He had taken an oath to kill Baabar’s son Humaayun to take revenge of his father’s death. Rajkumari is caught in a bind between her fiance and her brother Humaayun. On two occasions, she prevails over Prince Randhir from carrying out his oath for the time being. After the death of Baabar, his son Humaayun ascends to the Delhi takht (throne). Humaayun meets Hamida Banu, a commoner and soon they fall in love. In this process, he neglects his duties as a king. Hamida Bano is not ready for a marriage with Humaayun as she feels that as a wife of a king, she would merely become a toy for him
Taking advantage of the fact that Humaayun has lost interest in running his kingdom, Rajputs under the command of Jai Singh attacks Delhi where Humaayun’s brother Kamran and one of his commanders Khan Bahadur joins the Rajputs. In this melee, Hamida Bano is forced to flee from Delhi to take shelter in Iran. Humaayun successfully repulses the attack but his Rajput sister Rajkumari is kidnapped and taken as a hostage. In trying to rescue Rajkumari he diverts his soldiers from Delhi thus making it easier for Sher Shah Suri to conquer Delhi. Humaayun is forced to flee to Iran where he meets Hamida Bano. Since Humaayun is no longer a king, they get married. Rest of the story is about how Humaayun regroups his soldiers to regain the Delhi takht and becomes the Mughal king again.
I found the film interesting to watch. The lavish sets, picturisation of war, good dialogues, good songs and background music, crisp direction and good acting by all the main actors are plus points of the film. Mehboob Khan, through his film has tried to stress the importance of communal harmony. On the one side, Baabar restores his conquered Rajput kingdom to Rajkumari making her the successor to the throne of her father and adopts her as his own daughter. On the other side, Humaayun loses his kingdom while trying to rescue Rajkumari who had earlier successfully thwarted the attempt on his life by her fiancé Prince Randhir.
The song under discussion is picturised on Veena (Rajkumari) on the occasion of Humaayun’s succession to the throne. The song highlights the proud moment for a sister on her brother being elevated as the king. There is one line in the song ‘qaayam rahen sadaa qaayam ho Bharat ka raaj’ reflecting the contemporary mood of the public in general during the independence movement. The line is a subtle hint to British rulers that their days in India are going to be over soon.
In my view, this is one of the best songs rendered by Shamshad Begum in the early period of her career with freshness in her voice.
We are fortunate that Shamshad Begum is among us. We wish her many many happy returns of the day and also wish her a healthy and peaceful life.
Song-Main to odhoon gulaabi chundariya aaj (Humaayun)(1945) Singer-Shamshad Begam, Lyrics-Shams Lucknowi, MD-Ghulam Haider
Lyrics
main to odhoon gulaabi chundariya aaj
aaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
main to odhoon gulaabi chundariya aaj
aaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
saare jagat ko tum jagmagaao
saare jagat ko tum jagmagaao
sone chaandi ke deep jalaao
sone chaandi ke deep jalaao
kam hai jitni khushi manaaoun
kesar gulaab kaa tilak lagaaoun
main tilak lagaaoun
mere bhaiyaa baney mahaaraaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
main to odhoon gulaabi chundariyaa aaj
aaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
poori huyi ye meri tamannaa
mil kar bahengi aaj Gangaa-o-Jamunaa
poori huyi ye meri tamannaa
mil kar bahengi aaj Ganga-o-Jamunaa
jai Jamunaa maataa
jai Gangaa maiyaa
jiye meraa bhaiyaa
jiye meraa bhaiyaa aa
qaayam rahe
sadaa qaayam ho Bhaarat kaa laaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
main to odhoon gulaabi chundariyaa aaj
aaj re e e
aaj re
mere bhaiyaa ne pehnaa hai taaj re
——————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————-
मैं तो ओढ़ूँ गुलाबी चुनरिया आज
आज रे
आज रे
मेरे भैया ने पहना है ताज रे
मैं तो ओढ़ूँ गुलाबी चुनरिया आज
आज रे
आज रे
मेरे भैया ने पहना है ताज रे
सारे जगत को तुम जगमगाओ
सारे जगत को तुम जगमगाओ
सोने चांदी के दीप जलाओ
सोने चांदी के दीप जलाओ
कम है जितनी खुशी मनाऊँ
केसर गुलाब का तिलक लगाऊँ
मैं तिलक लगाऊँ
मेरे भैया बने महाराज रे
आज रे
मेरे भैया ने पहना है ताज रे
मैं तो ओढ़ूँ गुलाबी चुनरिया आज
आज रे
आज रे
मेरे भैया ने पहना है ताज रे
पूरी हुई ये मेरी तमन्ना
मिल कर बहेंगी गंगा ओ जमुना
पूरी हुई ये मेरी तमन्ना
मिल कर बहेंगी गंगा ओ जमुना
जय जमुना माता
जय गंगा मैया
जीए मेरा भैया
जीए मेरा भैया
कायम रहे
सदा कायम हो भारत का लाज रे
आज रे
मेरे भैया ने पहना है ताज रे
मैं तो ओढ़ूँ गुलाबी चुनरिया आज
आज रे
आज रे
मेरे भैया ने पहना है ताज रे
3 Responses to "Main to odhoon gulaabi chundariya aaj"
April 14, 2013 at 4:24 pm
Sir,
Yesterday, i saw one other songs from the film, among the three already posted. The elaborate sets and cinematography is impressive and must be much ahead of its time, technically. I was curious about the film.
Thanks for the details about this film. I like Veena a lot too, but have not seen films of her, except ‘Pakeeza’.
Regards.
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October 15, 2014 at 10:25 pm
@ Kamath Sir – Thanks for this detailed informative write up on Shamshad Begum ji. I like to listen her songs as they all have her special touch to them.
Thanks !!
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 14, 2013 at 2:43 pm
What a beautiful write-up, Kamathji! Enjoyed reading every word of it. I love listening to Shamshad Begum’s songs – there is so much richness in her voice.
The write-up about the movie is also very good. Now I need to see this movie. 🙂 And what a lovely song!
Thank you very much.
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