Ye thhandi hawaayen ye thhandi hawaayen
Posted on: March 20, 2014
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Badalte Huye Saathi- Episode 2 (Khursheed Bano and Vasanti)
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We have seen, in the First episode of this series, how the initial Hindi film music was influenced by the local conditions. Same was the position for films made in Calcutta during that period. These film songs were totally influenced-nay depended on the Robindra Sangeet and the Nazrul geeti etc.
It was tolerable and accepted for a period of time…but then..
As time passed people got a little bored with the same type of film songs based on Raagdari or natya Sangeet styles. They wanted a change. In the East a New Star was born and was shining with full bloom-K.L.SAIGAL.
People of India got something novel in music and they went ga-ga over Saigal. At the same time the East had become a Gold Mine for melodious Non Film Songs of Pankaj Mullick,Jagmohan,Hemant Kumar, Juthika Roy, Talat Mehmood, Kamala Jhariya etc. One thing was evident and that was that people in India-other than the East(Read Bengal) did not find a difference in songs of Calcutta made films and the NFS of the above singers. They sounded almost the same.
Thus people started looking for something new in music and the far off LAHORE responded to this demand and with Gusto too. Ghulam Hyder gave music to Khazanchi-41 and brought a new Punjabi singer-Shamshad Begum.
Now for the rest of India especially the Bombay Music lovers, this was something Novel, foot-Tapping and charged with Robust energy. The Punjabi ” Theka” in film songs, brought in by Ghulam Hyder,soon overtook the ‘Natya sangeet’ influenced Bombay-made films and ‘Robindra Sangeet’ influenced Calcutta-made films.
This was also the time when many Punjabi singers(Mohd. Rafi,S D Batish,Noorjahan,Suraiya,Shamshad Begum, Zeenat, Khursheed, Hamida, Naseem-various Banus and Begums) entered the industry and changed the face of Hindi Film Music.
One of these singers was KHURSHEED BANO (14-4-1914 to 18-4-2001),who was so good that in films Tansen and Bhakta Surdas, at times,she outshone even Saigal in singing and popularity !
Hindi Film Music was like a 4 x 100 meters relay race, where one singer passed on the mantle/baton to the fresh singer after 100 meters. In our “BADALTE HUE SAATHIS” series, Vasanti now joins the new singer Khursheed, from the Punjabi stable. At this juncture,Vasanti’s stars were on the decline and Khursheed’s stars were on the rise.
Here is an edited interview of Khursheed, taken in 1992,by Pakistani journalist, Navid Rasheed (Thanks to Cineplot)..
” Khursheed Bano was born as Irshad Begum in Lahore,on 14th April 1914. As a child she resided in the Bhatti Gate area next to Allama Iqbal’s house. The two families were pretty close. Khursheed was a child then. There was no ambition of joining the showbiz bandwagon then and it was by chance that ledher to this arena.
Khursheed was very still young when she became an actress in the early 30’s. The era of the silent movies had already ended with the release of Alam Ara in 1931 and the Indian film industry was going through a revolution. What set her apart from other heroines were her attractive face and certain flamboyance owing to which she made her presence felt. And then she was very good actress who could be melodramatic and happy-go-lucky with equal ease.
Each star then was required to playback for themselves and Khursheed was lucky to have a good voice. Hence started the brilliant era of some timeless classical and exemplary numbers like “panchi baawara chaand sey preet lagaaye”.
The graceful and decent actress was luckier to secure some of the best films including Sitara, Shaadi, Musafir, Pardesi, Bhagat Surdas, Dekha Jaye Ga, Shehanshah-E-Babar and Tansen.Pardesi had a very famous soundtrack comprising of memorable numbers by the late actress. In Tansen she played the protagonist Tani with Kundan Lal Saigal as Tansen. Together they made indelible performances and the role took her to great heights. She even transcended Saigal with her strong performances and pretty looks and her fans started calling her Tani after that.
Her leading men in those days apart from Saigal were Motilal, Ishwar Lal, Nazeer and Sadiq Ali. She made a successful pair with Motilal the most. Her female contemporaries included actresses of caliber like Kanan Bala, Devika Rani, Leela Chitnis, Suraiya, Swaranlata and Noor Jehan. The last three were her juniors.
Khursheed said that there was no such thing as rivalry in those days and actresses worked in close coordination. Abusing, backbiting or gossiping was not amongst their traits. Even the male stars with whom she worked treated her with great respect and there were no scandals.
Though she was an accomplished singer, acting remained her forte and first love. “Singing was a requirement to be a heroine in those days”, she said, “and even heroines with not too good voices were forced to sing if they were to act. But the composers were so good that they managed to get the best out of them then. Each song was recorded after several rehearsals. But I was an actress first and singing was just to complement that.”
Khursheed was not too happy with the way films shaped up in the years to come. So much so that she never wanted to see films anymore. In the interview she expressed her displeasure, “In spite of the resources and much higher budget, there is not a single film maker in the entire sub continent who could make a film even half as good as the films made in my era. Ours were simple films but treated well and had strong content. Plus the hard work and honesty of each unit member reflected in the entire film. This thing is missing now. A film is not only about technique, rather the issue, sensitivity and sincere dedication too.”
Following partition in 1947, Khursheed opted to move to Pakistan. She worked in two Pakistani films too – Mandi and Fankar. But then she decided to quit and tied the knot with a Karachi – based businessman Yousaf Bhai Mian. They had one daughter who lived in the US when the interview was conducted. She then concentrated on her marriage alone and emerged equally successful on the home front as much as she was in films. She was happy that she quit films before their standards declined . ”
Khursheed bano sang about 170 songs in about 40 films in India. her life and career would have been like any other actor/singer, but for the controversy of her initiation into films as ” SHEHLA ” ( HFGK writes this name as SHAILA ) at Calcutta between 1931 and 1935. First let us see what is said about her in this connection..
” Khursheed Bano started her film career as Shehla in the silent film “Eye For An Eye” (1931) the year when the first talkie film (Alamara) of the sub-continent was released.Some of her films that were released during these phase were Laila Majnu, and Shakuntla ,Muflis Ashiq,Hathili dulhan,Chjatra Bakavli,Aankh ka Nasha,Nakli Doctor and Dil Jaani. ”
for a long time,it was believed to be true and most of her Bios mention this. However,recent research by the famous Film and Songs Historian,Shri Kamalakar ji Pasupuleti ji has proved,with irrefutable proof,that this is not true and that both Khursheed and Shehla were 2 different persons. Kamalakar ji has published an article on his Blog giving this information. With his kind permission,I reproduce herewith,an edited version of this article,for our readers’ benefit.
” Miss Shehla was one of the earliest actresses of the Hindustani stage and screen . She is often mistaken for veteran actress and singer Khursheed . Needless to say they both are entirely different persons born in different cities hundreds of miles apart .
The only theater company Shehla worked for was Madan Theaters of Calcutta. Her career commenced in 1928 as a stage actress and ended after seven years in 1935 .
Her real name was Shamsunnisa . She belonged to a good Muslim family of Kanpur . She was educated in Lucknow . Like her mother she wished to be a good house wife . She was an average looking girl and had no knowledge of dancing and singing . After her father’s death her mother got her married to a youth who was working on stage for Madan theatrical Co , After marriage her husband started pressurizing her to work on the stage .Shahla was unwilling as she always thought singing and dancing on stage is not meant for a domestic wife . She was unable to convince her husband , so she joined the Madan theaters unwillingly . After joining the theater her husband deserted her . Poor and helpless Shehla was left with no option but to earn her living through acting . She kept on roaming where ever she was made to act . She acted in many stage dramas . Her first role in talkie was Laila Majnu – 1931 in which she performed a good dance , later in the same year she acted inShakuntala . She was given major roles in Hatheli Dulhan & Chatra Bakavali . She played the lead role of a heroine in Muflis Aashiq -1932 and Naqli Doctor – 1933 and established herself as a heroine . Her later film was Diljaani – 1935 . She did not get much recognition as a singer . She spoke chaste Urdu and lead a simple life .
Filmi Duniya a monthly magazine in Urdu of 1930’s published from Hyderabad Deccan updates in a note that Shehla fell gravely ill in 1934 . Her neighbor a petty businessman took care of her. On her recovery they got married . Shehla proved lucky for him as his business flourished . After completing her assignment at Madan theaters the couple moved over to Lucknow . Shehla was a devotee Hazrat Waris Ali Shah of Deva Sherief , Barabanki .
Movies of Shehla
1931 Laila Majnu – Mst Nissar , Kajjan
1931 Shakuntala – Mst Nissar , Kajjan
1932 Muflis Ashaq – Vittaldas , Mukhtar Begum
1932 Hathili Dulhan- Abbas , Patience Cooper , Mukhtar Begum
1932 Chatra Bakavali – Mst Nissar , Kajjan , Mukhtar Begum
1933 Aankh Ka Nasha – Cawasji , Kajjan & Laxmi
1933 Nakli Doctor – Surajram , Patience C , Miss Badami
1935 Diljaani – Mst Fida Hussain , Leelavati ”
There are some points which emphasize that these are two different artistes.
1. While as per the HFGK also the last film of Shehla (or Shaila) was Diljani in Calcutta. It was produced by Bharat laxmi pictures of Calcutta. Khursheed is also credited with acting in the FIRST Punjabi Talkie-ISHQ-E-PUNJAB OR MIRZA SAHIBAN, made by Hindmata Cinetone in 1935 and also ‘ Swarg ki seedhi ‘ in 1935 itself. This film was made at Lahore by National Movietone.
Now can one artiste do one film at Calcutta and 2 films at Lahore at the same time ?
2. Secondly,In the above interview of Khursheed, she never mentioned about working as Shehla in Calcutta
3. Thirdly,there are No songs by Shehla in any of her films at Calcutta. It is NOT possible if she was Khursheed.
Thus it is proved beyond doubt that Khursheed was NOT Shehla. Thank you Shri Kamalakar ji, for this correction of History.(Please visit http://kamalp.blogspot.in/ for more interesting articles)
Now let us enjoy this duet of Khursheed and Vasanti from film Beti-1941. In our next episode, Khursheed will change her partner and sing with SURENDRA…..
Song-Ye thhandi hawaayen ye thhandi hawaayen (Beti)(1941) Singers-Khursheed Bano, Vasanti, Lyrics-D N Madhok, MD-Gyan Dutt
Lyrics
ye thhandi hawaayen
ye thhandi hawaayen
sandesh sunaayen
sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
tere liye tere liye
bheji hain saawan ki ghataayen
ye thhandi hawaayen
ye thhandi hawaayen
sandesh sunaayen sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
us baag mein dekhen phoolon ki adaayen,
us baag mein dekhen phoolon ki adaayen
chhup jaayegi dil mein bulbul ki sadaayen,
chhup jaayegi dil mein bulbul ki sadaayen
sandesh sunaayen sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
tere liye tere liye
bheji hain saawan ki ghataayen
ye thhandi hawaayen ye thhandi hawaayen
sandesh sunaayen sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
chidiyon ka chahakna
aa aa aa aa aa
chidiyon ka chahakna
phoolon ka mahakna
tere hi liye hai
us baag mein jaayen
tere hi liye hai
us baag mein jaayen
sandesh sunaayen sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
ye thhandi hawaayen
ye thhandi hawaayen
sandesh sunaayen
sandesh sunaayen
tere liye tere liye
bheji hain saawan ki ghataayen
ye thhandi hawaayen
5 Responses to "Ye thhandi hawaayen ye thhandi hawaayen"
March 20, 2014 at 12:26 pm
Vasanti’s voice is a revelation. Clear like crystal Nischal. Khursheed’s voice to kya kehn!!!
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3 | Bharat Upadhyay
March 21, 2014 at 1:30 pm
Vasanti had married Indubhai Patell. a Film distributor magnet. Indubhai was uncle of my very good friend and was settled in Hyderabad after retirement. I used to visit them often, as I had to visit Hyderabad every year on my office work. Knowing my madness about music, she used to oblige me by singing songs and her voice even at that age was so sweet and enjoyable. i had lost contacts of them after nineties,as I had migrated to USA..
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 20, 2014 at 10:02 am
This is the second story of the series and is very very captivating.
Thanks for bringing out lesser known facts for the benefit of the readers of this blog.
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March 20, 2014 at 11:09 am
Thanks.
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