‘Shamshad Begum’s unsuccessful career in Boojh Mera Kya Naam Re’ (Photo Credits-IANS)
She performed “Ek do teen…” at the pinnacle of her career in Raj Kapoor’s “Awara,” over four decades before Madhuri Dixit did in “Tezaab” (1988) (thanks to Alka Yagnik) (1951) The nation has already begun counting When he did, both established and up-and-coming composers clamoured for his services. Shamshad Begum’s powerful and distinct voice, however, had entirely vanished from the cinema industry by the turn of the 1960s.
Shamshad Begum, the first female playback singer in Hindi movies, not only competed with veteran singers like Ameerbai Karnataki and Zohrabai Ambalewali and new singer-actresses like Noor Jehan and Suraiya, but also improved the prospects of upcoming musicians like Naushad, SD Burman, C. Ramachandra, and O.P. Nayyar. He also predicted that Madan Mohan and Kishore Kumar, who made their debuts as chorus singers for his songs, would have successful careers.
Songs such as “Naina Bhar Ae Neer” (“Humayun,” 1945), “Jab Hume Gesu Bikhraye” (“Shah Jahan,” 1946), and “Na Bol Pi Pi Mor Angana” (“Naina Bhar Ae Neer,” “Humayun,” 1945), were sung with fervor and a sense of sacrifice. Dulari “, 1949), “Mere Piya Gaye Rangoon” (“Patanga”, 1949), “Chod Babul Ka Ghar” and “Milte Hi Aankhen Dil Hua” (“Babul”, 1950), “Saiyan Dil Mein Aana Re” (“Bahar”, 1951), “Door Koi Gaye” (“Baiju Bawra, 1952”), “Kabhi Aar Kabhi Paar” (”
Shamshad Begum, who was born on this date in 1919 in Lahore to a traditional household of limited resources, demonstrated her musical talent at a young age when she led the class prayer at the age of five. She sang at church services and family gatherings, though her family wasn’t very fond of her “passion”.
Usha Ratra, Shamshad Begum’s sole child, stated in an interview with IANS shortly after her mother’s passing in 2013 that “Back then, it wasn’t really a good thing for a girl to sing.”
She was nonetheless covertly taken to an audition with Lahore-based composer Ghulam Haider in 1931 by her musically inclined uncle. Ghulam Haider was so taken with her that he offered her a contract for a dozen songs with comparable terms. for outstanding performers. The father eventually agreed after being persuaded by the uncle to allow her sing, but only under the two conditions that she record in a burqa and not be photographed.
But, this agreement, which was with a phonograph firm, only briefly elevated his notoriety.
Whatever she used to sing, it was only well-known to the wealthy. At the time, a record cost about Rs. 2, and a gramophone cost Rs. 250, which was a lot of money. He was once only heard from wealthy folks. She was well-known among the wealthy, according to her daughter.
While still pursuing her music career, Shamshad Begum, then a teenager, made another important choice: she fell in love with law student Ganpat Lal Batto and wed him in 1934, against the wishes of her family. Took.
When he was chosen to sing on All India Radio (AIR) in Peshawar and Lahore in 1937, his career took a turn. She was prepared to act when a producer requested her, but her father discouraged her. She vowed to never be photographed again, and she adhered to her word so closely that many of her supporters didn’t see a single image of her for the next three decades.
Her family agreed to let her come to Bombay so she could sing in movies thanks to the legendary filmmaker Mehboob Khan.
“The statement “I will take him to Mumbai and give him an apartment, car, and vehicle and even if four to six others travel with him, it is okay” was made by Mehboob Sahib to my father. Kindly allow him to visit Bombay. Despite his resistance, my maternal grandfather had to concede because my mother insisted on going “Usha Ratra thought back.
Shamshad Begum had a great smash with her very first movie, the murder mystery “Khazanchi” (1941), which was the biggest hit of the year and featured eight songs. She subsequently had another big hit with “Taqdeer” (1943), which was Nargis’s first movie.
Since then, she has become highly sought after, and musicians have noted how her willingness to sing for them has aided in their success. Naushad and Nayyar, in particular, have compared her voice to “the sound of a temple bell” for clarity.
Shamshad Begum maintained her position despite the advent of young singers like Lata Mangeshkar, Asha Bhosle, Geeta Dutt, etc. in the 1950s. Shamshad Begum was briefly forced to stop working after her husband was killed in an accident in 1955, though. It was a liar.
Later, Naushad and Nayyar sang in a number of well-known movies, including “Teri,” “Reshmi Salwar Kurta Jaali Da,” and “Mother India” (1956). Mehfil Mein Qismat,” from the 1960 film Mughal-e-Azam, but after that year, she mostly withdrew, save for a duet with Asha called “Kajra Mohabbatwala,” from the 1968 film Kismet. Bhonsle only briefly returned and demonstrated that he lacked excitement in his voice.
Shamshad Begum lived out the remainder of her days with her daughter and her family before making headlines once more in 2004 due to erroneous claims that she had passed away. After receiving the Padma Bhushan in 2009, he passed away in 2013, a few days before turning 94.
Shamshad Begum, according to her daughter, had no qualms.
“Because to his diligence and hard work, he gained the respect and love of the public. He was kind to everyone, but later on, he was manipulated by others.
“… She used to say, ‘I am not taking anything with me; whatever I have, I have received from my God. Because according to the law of life, everyone who rises to popularity and notoriety must eventually fall. So now that I’ve experienced success, I’m content with it, and I’m prepared for anything.