Muslehuddin

Muslehuddin was a very conscious listener of western as well as the eastern music in his teens, in East Pakistan. Although an M. A. in economics, he was addicted to music and made a career out of it. He understood and recognized the beats and nuances from the very beginning.

When the love of music drove him, he came to Lahore. The first assignment he got in the films was Aaj Kal, starring Kamal and Sabiha, but he had some problems with the film maker, and left it, while the rest of the songs of the film were made by Master Inayat. Only one song he had made, Chalta Chala Ja by Salim Raza was popular, but the film came late. In 1958, brilliant film maker Luqman was making a film Aadmi, on a powerful story of the coalmine workers, written by Dilip Kumar’s brother, Sarwar Ayub. Muslehuddin was picked for the film, and Aadmi became Muslehuddin’s debut. When the film was released, the songs on the workers’ unity were quite inspiring, like Zameen Par Qadam Hain, with Habib, Yasmeen and Alauddin picturising the number, as well as the tragic number by Naheed Niazi, Jaag Taqdeer Ko Jaga Loongi. But, it was a swinging club song by Batish, titled Aaya Zamana Naya, which was a virtual pop song by Muslehuddin. Naheed Niazi’s cute hit, Mera Kaha Kabhi Maan lo had a catchy western beat. From amongst the nine songs in the film, Naheed Niazi sang eight of them! So, you could very well imagine the strumming of young tunesmith’s heartstrings. When Zia Sarhadi came to Pakistan, he also picked Muslehuddin as his music director in his film, Rahguzar. The film, which was the first released in 1960, was about a street urchin and a tramp. The film wasn’t so popular, as were its songs. The song in the voices of Saleem Raza and Zubeida Khanum, Tere Jahan Mein Hamein Mila Kya was a beautiful tragic number. Another popular number by Zubeida Khanum was Dil Hai Besahara, which is based on a typical dance club beat in the west, imported from African bongo-based numbers. But, Muslehuddin’s most famous song from Rahguzar was undoubtedly, Saleem Raza’s brilliant number, Magar ae Haseena-e-Nazneen. The whole song is based on the harmonium and the accordion, both delightful instruments, but rarely heard these days in films.

In Humsafar, the hit, Zindagi mein aik pal bhee chaen aaey na is still a favourite with many old music buffs, which got Muslehuddin a Nigar Award. It has picturised on Aslan Pervaiz and Yasmeen. Humsafar is the film, where the visiting singer, Hemant Kumar also sang a number, Raat suhani hai in Musleh’s composition. In Iqbal Yousuf’s big hit, Zamana Kya Kahe Ga, the song people couldn’t forget was Raat saloni aae by Rushdi and Naheed Niazi. Iqbal Yousuf liked him so much that he gave him a couple of his movies. In his Daal Mein Kala, Muslehuddin this time concentrated on pop-style duets of Rushdi and Naheed Niazi, namely Aa Habibi and Gori Barri Yoon. Naheed’s Samajih Na Aaey Dil Ko Kahan Le Jaoon, obviously picked up from the west, was famous, and Muslehuddin composed a very interesting qawwali, Lab Pe Naghma, Dil Mein Dharkan. In 1963, Dil Ne Tujhe Maan Liya was in a similar mood. An Arabic tune, with Arabic lines, Raetassabin An Ala Qasrin Mutafazzilan Badrun Wa Hilala, was sung brilliantly by Naheed Niazi. Yahudi Kee Larki, Nehle Pe Dehla, Shikari Doctor and Diwana followed, with Madam Noor Jahan’s hit in Diwana, titled Mujhe Apni Duniya Mein wapas Bula Le, a real soulful number. In 1966 came Kamal’s Joker, directed by Iqbal Yousuf. Fabulous hits like Ahmad Rushdi’s Shauq-e-Awargi and Pyar Mein Hum Ne Khai Hai Thokar were the highlight of the circus-based film. In Iqbal Yusuf’s Josh, songs like Tujh Ko Bhee Banaya Allah Ne by Rushdi and Sayyan Bedardi by Mala were eastern compositions, his best was Raat Chali Hai Jhoom Ke by Rushdi and Naheed Niazi, a rhapsodic serenade with Spanish accompaniments or Cantata. Mohsin shirazi’s Jan Pehchan, with Mohammad Ali and the lovely Iranian girl, Shehpara was released in 1967. Naheed Niazi sang thoroughly persianised number, Jan-e-ma, which remains the most brilliantly sung foreign language song in our films. Mujhe Jeeno Do and Awara in 1968 were not too noteworthy for songs, though Mujeeb Alam’s Thaki Thaki See Zindagi is a sensitive number from Awara. Muslehuddin gave lots of music for children on television, and he and his charming wife, Naheed Niazi, who is the daughter of former director of Radio Pakistan Karachi, Mr. Sarwar Niazi, remained linked with Pakistan, even after settling in England. Muslehuddin died late last month, and one just hopes that PTV has the simple decency of showing a program on this great music director of Pakistan.

Khan Ataur Rehman

A golden hearted individual, Ataur Rehman sahab delved in poetry and music. His musical acumen proved to be an asset for the Bengal industry. Lots of time it happened that when the filmmaker could not acquire the services of a music director, Ataur Rehman sahab gave his services and produced such fabulous songs that they are remembered till now. Like minded intellectuals, Suroor Barabankvi, Akhter Yusuf, Ataur Rehman, Nazrul Islam, Anwar Hussain and A.R. Kardar used to get together now and then, to enjoy and plan for the future. That’s why Khan Ataur Rehman produced 4 such artistic movies as Aakhri Station and Soey Nadia Jagey Pani.

Khan Sahab’s debut venture as the music director was Zaheer Rehan’s Sangam in 1964. The leading cast of the film was Rozi and Haroon, but more than its cinematic novelty, the film was liked for its musical score. The film was based on an English movie, which was about college students visiting remote village of Bengal for an excursion but they get caught in an island . The most popular song of Sangam was Satar Saal Jo Budha Milgia, based on a famous English number and very intelligently adopted by Ataur Rehman. It was sung by Bashir Ahmad and chorus voices. Surfing on the waves of the accordion, and the guitar strings, the song took the local industry by storm and the film got a good reception. Kitni Suhani Rangeen Khwab Dikha Kar, by Firdousi Begum was a sad melody with the taanpura and violin in attendance. Chali Re Chali had that jovial touch of the Bengali winds. Neela Gagan Hai was a Hemant Kumar type duet, a fabulous number with  the banjo and accordion, sung delightfully by Firdousi Begum and Abdul Jabbar. The Neeli Neeli Aankhon Mein was another lively duet.

Ataur Rehman, before coming into Urdu ventures, had worked for Bengali films as a music director of some renown. He had opened his account actually in 1959, with Ehtesham’s Ae Desh Tomar Amar, which was also Shabnam’s debut in local cinema, as Jharna. Ataur Rehman also acted in this film and composed good tunes for it. In 1961, he gave a stirring score for another Bengali film, this time by Salahuddin, titled Suraj Ashnan, with Nasima Khan and Anwer in the lead. In 1962, Ataur Rehman excelled himself in Zaheer Rehan’s Sunar Kajal, for which he got awards in 1963. In the same year, Bengali cinema was enlivened by a superb film, Kanchar Dayal by Zaheer Rehan, with splendid numbers sung by Firdausi and composed by Khan sahab. So, when East Pakistan’s first Urdu full color film, Sangam was released, nobody was surprised by Ataur Rehman’s compositional skills.

In 1964, Rahman’s Milan was also released, which boasted of such hits by Bashir Ahmed, as Tum salamat raho and Jo mujh se door sahi. Tum salamat raho is an all time hit and fills one with pure, honest delight, with its onus on the sitar, banjo and flute and a continuous changing of beats during the intervals. Bashir also sang Jo mujh se door sahi, which was splendidly arranged with piano, violin, flute and sitar. Though slow paced, the ghazal like effect of the song gripped people’s heartbeats. A third number that was very listenable was a duet in the voices of Bashir Ahmed and Noor Jahan, phrased Tum jo milay pyar mila. It begins with a flute intro and the accordion follows suit before the asthai. The Bengali flute is used frequently, while the violin also lends it class, and accordion and banjo add color in the intervals. It was all over a marvelous score in Milan.

The same year Ataur Rehman composed good tunes for the Bengali film, Doi Digangta and his own production, Anek Diner Chena. The talented tunesmith came up with film Sagar’s score in 1965, though barely a number was memorable. But Bahana the same year, was a massive hit as far as the songs were concerned. Shot partly in Karachi, the film also had a number based around the fast life in Karachi. Irene Parveen sang most of the songs in the film. Band keeje kitabein khuda ke liya by her was nice, and Ab to bujha do shama was just beautiful. A sad number, the song was picturized on the new heroine Kabori from Bengal. The song was enlivened by the aid of flute in the interludes, Irene sang it more softly than most of her other songs. In his tribute to Karachi, he brought together Rushdi, Waseem Farooqui and Irene Parveen. The song was titled Shehr ka naam hai Karachi. Brilliantly filled with the invigorating sound of the accordion and the violins, apart from engaging guitar, it’s a song that should now be sung anew, with the latest mixing, which will surely make the people mad with delight.

Two more of Ataur Rehmah’s films were released the same year, that is 1966, namely Aakhri Station and Mala. The first one was an art movie, with Shabnam in the role of a handicapped girl, who performed well. Two songs that come to mind from Aakhri Station are quite nice. A Lesser known , Bengali singer, Mohammad Hafeez sang Ae mere anokhey humrahi, which is a typical song from the ’60s; more melodic and enthralling than most of the noisy numbers of the 21st century. After a single sitar piece, it begins to unfold very serenely, with the singer sort of being Bengal’s answer to Rafi. The song depicts something of a musical nexus with the arrival of the night train, which is accomplished intelligently. But the intensely sad resonance of Irene’s Toota ik tar is much more touching, with the flute and violin depth charging it to the highest level of excellence. And from Mala, Rushdi’s Jhooti hat yeh sari nagri got a lot of public response.

In 1966, Ataur Rehman had no Urdu film, he just did his own Bengali production, named Raja Sanyasi. But Khan Ataur Rehman produced a most scintillating historic film, Nawab Sirajuddaula in 1967, which was full of memorable numbers. Khan Sahab was committed to producing top grade art movies and you can see how this masterpiece was created. It’s still available at the Rainbow Centre and shows you what progressive minds were housed by those greats of yesteryears. Firdausi Begum sang a beautiful ghazal by Suroor Barabankvi, title Hai Yeh Aalam Tujhe Bhulaney Mein, reverbrating with the sitar, tabla and flute. Firdausi’s voice had that educated touch and ghazal especially suited her. Then Shahnaz Begum’s Bedardi tere dil mein pyar naheen is a nice mujra number, and Ataur Rehman’s wife Mebooba Rehman and Shehnaz Begum sang a naat famously, titled Tumhee se hai meri dua Kamliwaley. The best song, of the, film was Do kinarey Aik Nadiya Ke kitney hain bemail. It was sung by a Bengali singer, Abdul Aleem and was a perfect song for the fishermen of East Pakistan which laments the deteriorating conditions in the region in a symbolic style. That song is riveting stuff, with the special Ik tara of the fisherman community continuously used throughout the song. It has a curious effect which, though; seemingly out of tune adds that sad touch which takes the song ahead of all the other compositions in the film. It was of greater consequence because of the historic reference of the film and enhanced the deep sensitive fiber of the making of the film. Watching such films give you sense of purpose in life.

After such classical cinematic ventures were crowned with success and Nawab Sirajdu Daula was a hit, Ataur Rehman once again, produced a top ranking art movie, Soey Nadya Jagey Pani in 1968 with the cast including Kabori, Hasan Imam, Rozi and Jalil Afghani. This was a more sobering vision and unlike the awe-inspiring martyr’s story Nawab Sirajud Daula, it did not have that kind of pace and climax. So, it did modestly at the box-office and Ataur Rehman lost a lot of investment. This dejected him and he went out of circulation for some time. In 1969, he produced a Bengali film, Joar Bhata, with Rahman and Shabnam, while he also did Zaheer Rehan’s Moner Motu Bou and Shesh Parjyanta. Ataur Rehman also produced Ornoboran Kiranmala in 1969, which was appreciated for its lilting music. In 1970, too, he worked for Zaheer Rehan’s Bengali venture, Jubon Thinkey Naya, but that was the last one heard of him in our cinema, since our eastern province was severed in 1971 and we were left with just intensely sad visions of what might have been…

Robin Ghosh with Shabnam

While waters rise up in the shape of a cyclone wall in Bengal, musical waves sigh softly when they touch its coastal sands. Compositions in Bengal sweep off your feet, even as the storms drown the region in depression and deprivation. Harmonic brilliance is a thing of wonder in Bengal, which has produced such masters of the trait as S.D Burman, R.D Burman, Robin Ghosh, Anil Biswas, Karim Shahbudin, Pankaj Malik, Subul Das, etc.

In the context of Pakistani films, there’s no bigger name in this field than Robin Ghosh. His typically wave-on-wave symphonic compositions are a unique source of pleasure for listeners. Fusing the magical Bengali tones with European symphonic influences, Robin produced tremendous music in the 60’s and 70’s. Bengali musicians, while fusing two separate tones, have an uncanny knack of filling up the eastern and western veins of the musical channels with enough juice of their own making to give the fusion a new identity card. This was what R.D Burman did in India. Similarly, Robin Ghosh and Muslehuddin worked tirelessly in uniting the two musical poles successfully. But, as against others of his ilk, Ghosh’s symphonic branches issue from a distinctive oriental stem. Most of his songs are original pieces of compositional invention. So much so, that famed Indian tunesmiths Laximikant- Pyarelal copied quite few of his top hits.

Belonging to a feudal family of Bangladesh, it seems strange that Robin Ghosh thought of musical compositions at all. His father, Mohan Ghosh, had afforded him every luxury of life, but creative impulses just transcend every other aspect of worldly life. And so, Robin made music. It’s an interesting little tale of how Robin was introduced to the musical notes. His father’s flourishing Red Cross career took him to Baghdad. They used to live opposite a cinema hall during the 40’s, and whenever there was a song played during a film, the speakers installed outside would amplify the Arabic numbers. This obviously made Robin a compulsive listener at an early age. Finally, they came back to Dacca, where Robin got his education from St. Gregory School and Dacca College. He was offered a career in Belfast, Ireland, where he would have a luxurious life, but he declined and his brother, Ashok, took the opportunity instead. By then, Robin played quite a few instruments and could sing well too. But compositional skills need to be acquired. For that he went to Calcutta, the hub of all cultural activity in Bengal.

In Calcutta, Robin had the fortune to assist some big names in music direction, including Hemant Kumar. He developed compositional skills quickly and was good enough to be considered for Bangla films. Ehtisham, later Nadeem’s father-in-law, was so impressed by him that he thought Robin was another R.D Burman in the making. “He knew I would not give hackneyed tunes for films,” Robin said in an interview during 90’s. “So he took the risk of signing me on for his Bengali film Laldani Bookay (heart of the city) and Rehman was selected as the hero. Talat Mehmood’s heart-wrenching voice was selected for the playback.”

Actually, Robin met Shabnam on the set of his debut film. She was named Jharna at the time and was very young and impressionable. But it wasn’t love at first sight. Love came later, after they had worked together for years. But the films were a lucky draw for Robin as Laldani Bookay was a hit and the songs were mega-hits on the Bengali charts. President Ayub Khan had announced Film Awards and Laldani Bookay received several. Later, he composed music for many more Bengali movies.

In 1962, again it was Ehtisham who provided Robin with a break in his Urdu film, Chanda, the title of which was played by Shabnum. Dossani films Chanda was, at first, not so enthusiastically accepted by distributors and exhibitors from West Pakistan, who thought the film had a largely unknown cast and would not attract cine-goers. But then, Ehtisham came up with an idea. He opened his own office on Mcleod Road. Lahore, and released the film himself. Chanda became the talk of the towns within days and Ehtisham earned millions. Robin’s score was highly applauded for its melodic innocence and freshness of note. Bengali folk, mixed with the softness of tone that came with it, conquered the hearts of the films enthusiasts of West Pakistan. Especially, Firdausi who sang a beautiful folk song, Pardesia O Pardesia, opened by sitar and tabla. It is actually the fishermen’s folk song in Bangladesh and touched the hearts with its lyrical quality. Firdausi was a rage in those days and had a beautifully resonant vocal quality that was as much liked in Lahore as in Dacca. Meanwhile, the intimacy between Shabnam and Robin increased with each film they did together and they finally got married in 1965 and moved to Karachi.

Talash had mega-hit music. Its songs are still well known, despite the fact after we lost East Pakistan, Urdu film albums of those days are not sold or bought much. Songs like Mein ne Kaha Salam alaikum, Rickshawala bechara, Kuch apni Kahiyye were on everybody’s lips. There was affection between people and they appreciated each other’s work in different departments is other provinces. In those days, there were no ethnic or national extremists in the country. Moreover, the music, as opposed to today’s sound, banked on the common man’s moods. You can cite many hit awami numbers in those days, and Rickshawala Bechara was an anthem of the common folk. It portrayed the sensitivity which spoke of the depravity and sadness of a poor Rickshaw driver. Today, the songs cater primarily to the upper classes and there is hardly any sensitivity or sincerity involved. More cheapness and virtual degradation, apart from meaningless poetry, is the order of the day. Kuch Apni Kahiyye was a ghazal and was liked by all sections of the people. It was written well by Suroor Barabonkvi, one of the top Urdu poets of those times. Janey Mujhe Kya Ho Gaya was also a big hit from Bhaiyya. Such music can only be termed dreamy. A typical horse cart beat for such a scene drives the song up the musical valley. For Begana, most people wouldn’t know that Nadeem had partnered with Firdausi to sing Main Tujh Se Mehabbat Karti Hoon. Robin Ghosh’s three best movies were Chakori, Chahat and Aaina. Chakori popularized Ahmed Rushdi in Bengal, with masterpiece numbers like Kabhi To Tum Ko Yaad Aaengi and Tujhe Chahein Meri Bahein. The first number was the highlight of the film and launched a brilliant actor, Nadeem.

Robin Ghosh made inspiring music throughout his career. I remember a film shown on PTV during the late 60’s, one of those ghostly movies, Tum Mere Ho, which was produced by Suroor Sahab who also wrote the song for it, titled Wohi Gham Hai, Wohi Tanhai. It was awesome poetry and an equally superlative tune.

However, Robin gave music to only 32 films. But whichever film came his way was brilliantly executed on the musical channels. The day Robin Ghosh shifted to this part of the country; he conquered people’s tastes here too. His last two movies were also blockbusters, namely Jo Darrr Gaya Woh Mar Gaya and Nikaah. Isn’t it sad that even after giving such tremendous hits like Zindagi Mein Mujh Ko Itna Pyar Mil Gaya in JDGWMG and Kel Chand Kee Chaudhween Raat from Nikah, Robin Ghosh was not able to net any more films in our industry? Doesn’t it say much for the state of our films? Just recently Robin and Shabnam shifted to Bangladesh and we have lost one of the best pairs of our last 30 years.

In Aaina, Robin Ghosh seemed to hit a high which he hardly ever achieved after that although he also gave good numbers in Bandish and Naheen Abhi Naheen. But Aaina was one of those films where everything comes together in a marvelous way. Nazarul Islam’s mega hit was full of fabulous love songs by Alamgir, Mehnaz, Mehdi Hasan and Nayyara Noor. Who can forget songs like Bichreinga Na Hum Kabhi, Mujhe Dil Se Na Bhulana and Roothe Ho Tum Tum Ko Kaise Manaoon Piya?

Like all the top men and the women in this field of art, Robin Ghosh also developed monotonous edges to his music over the years. Robin always tended to prolong songs, and it later became very boring, like in Fazil’s Aahat or in Askari’s Dooriyan. Robin also regularly used the symphonies of the European masters like Bach and Beethoven in films like Do Sathi, Ambar, and Bheege Badan. For some time these interludes between songs did interest people but later they became cumbersome because the song seemed to go on and on. But, of course, such corners develop in the best of the music directors. For example, Khursheed Anwar’s excessively mourning melodies do get you depressed at times. But all this is just a small section of the huge treasure that these masters have deposited for us to enjoy and delight in for centuries on end – Zulqarnain Shahid