Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Sahir Ludhianvi


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

There is one big loss that the society faces of the demise of the radio broadcasts, and the rise of television and other devices. In the decades of 60s and 70s, and maybe even 80s, when radio was the prime mover of entertainment, one could bank upon hearing it somehow, someplace, every place through the day. In the morning radios would be the wake up call at homes, with news, religious music, and film music playing till one left for school or work. Afternoons and evenings again, radio used to play news and music and one could hear the sounds emanating from many households. And yes, radio would play all day at small tea shops, paan shops, and general merchants, and if there was a cricket commentary being broadcast, it was not out of place to see large crowds at tea shops and paan shops.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Continuing the search for the qawwaali form of music in Hindi films, I come across two wonderful qawwaalis from the film Bahu Begum (1967). I present the first one in this write up.
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“Aankhen” (1968) is a “Saagar Arts International” movie which was directed by Ramanand Saagar. This movie had Dharmendra, Mala Sinha, Mehmood, Madan Puri,Amarnath, Zeb Rehman, Kumkum, Sujit Kumar, Nazir Hussain, Jeevan, Sajjan, Hiralal, Daisy Irani, Parduram, Dhumal, A. A. Khan, Master Rattan, Lalita Pawar etc.
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Barsaat Ki Raat (1960) – just take away everything else, all the story, the screenplay, the characters, the histrionics, all the songs and music, and on screen plays, just take it all away, and leave just the three qawwaalis, and the greatness of this film will not be dimmed one bit. The three qawwaalis are the epitome of what this music and art form is all about. The first in the sequence, Nigaah e naaz ke maaron ka haal kyaa hogaa was discussed yesterday. The third, and the best known iconic qawwali of the three, Na to kaarwaan ki talaash hai…ye ishq ishq hai(Barsaat ki raat) has been discussed almost a little over three years ago, and then recently updated to its complete form. We are now left with the second offering in sequence, which is the subject of this post.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Film Barsaat Ki Raat (1960) is a tale of romance and love, built around a poet’s dream, and a troupe of singers who specialize in qawwaali singing. The storyline progresses as two sub plots intertwined with each other. The first is about Bharat Bhushan and his romantic interest in Madhubala. And the second is about Shyama and her family, who are the troupe of qawwaali singers, and their progression in the qawwaali competitions. Besides the wonderful songs that have been created for this film by Sahir Ludhianvi and Roshan, there are three iconic, and very famous qawaalis in this film, that basically defined its popularity in the minds of film goers.
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“Ghazal” (1964) was a Natraj Productions movie and it was directed by Ved Mohan. This movie had Sunil Dutt, Meena Kumari,Pratima Devi,Nazima, Prithviraj, Rajendranath, Raj Mehra, Mohsin Abdulla, Rehman, Lotan etc in it.
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When I was growing up a a pre teen and later teenage kid in 1970s, I, alongwith the rest of India was a big fan of Kishore Kumar. Rafi, the erstwhile dominant male playback singer of he previous two decades found himself virtually jobless for nearly one year, before he began to get singing assignments again.
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