Anil Biswas’s songs for Bombay Saigal: Surendra
I have mentioned a few times that because of contractual difficulties inherent in the Studio Era, Anil Biswas could not compose for KL Saigal, even though their careers overlapped for over a decade, half of which was in Bombay itself where Saigal shifted from Calcutta in the early 40s. But, when Saigal was becoming a national sensation with the New Theatres in Calcutta, especially after Devdas (1935), Bombay was looking for its own Saigal, and its prayers were soon answered in Surendra – a tall, handsome young man, with a melodious voice, from Lahore.
Born on November 11, 1910 in Batala (Punjab), Surendra, BA, LLB (it was quite common those days to write such degrees with one’s name) was preparing for a career as a lawyer, but he had become quite popular as a singer in private gatherings. He soon came to the notice of the talent hunters from Bombay, and it didn’t take much persuasion from his friends to make him shift from Lahore to Bombay to try his luck in the film world.
In Bombay, he was lucky to get a break with one of the most respected production houses, Sagar Movietone, in Deccan Queen (1936). As a sign of seriousness of Bombay’s Saigal Project, one of the songs Surendra got to sing in the movie, composed by Pransukh Naik, was Biraha ki aag lagi more man mein, which was an exact replica of Baalam aye baso more man mein. In the same year, Surendra got to play a Devdas-type role of a failed and doomed lover in Manmohan, opposite Bibbo, who was one of the most popular actor-singers of the era. Their duet Tumhi ne mujhako prem sikhaya became a national sensation. The film’s music director was Ashok Ghosh, but this song is widely acknowledged as composed by Anil Biswas, who was assisting him.
With this started Surendra’s long association with Anil Biswas. He soon developed his own identity and singing style, distinct from Saigal, and Anil Biswas had a big role in his growth. The legendary filmmaker Mehboob Khan was then a part of the Sagar Movietone (and its successor National Studios) team. Mehboob Khan-Anil Biswas-Surendra created some of the greatest movies and music of our history. When Mehboob Khan moved out to set up his own company, Surendra got to play memorable roles as actor-singer in his Anmol Ghadi (1946), Elaan (1947) and Anokhi Ada (1948), but now under Naushad.
That was the time when the era of actor-singers was coming to an end. With playback singers taking over, Surendra’s singing dwindled drastically in the 1950s, with his last song being in Gawaiya (1954). But his acting career continued as character-actor in some very prominent movies. A unique highlight of this phase of his career was his roles as Tansen in two iconic movies – Baiju Baawra (1952) and Mughal-e-Azam (1960) – in which two of the greatest doyens of classical music, Pt. DV Paluskar and Ustad Bade Ghulam Ali Khan respectively, sang playback for him. He passed away on 11/12 September 1987.
Surendra acted in 68 movies, his last movie being Khuda Kasam (1981). He sang over 230 songs, of which about 46 were for Anil Biswas – I believe, his most for a composer. For Anil Biswas too, this represents the most songs by a male singer, barring probably himself, who sang a couple of songs more than Surendra. This composer-singer duo were the most important for each other at the peak of their career. As part of the Centenary Year celebrations of the Bhishm Pitamah of music, I present his best songs for Surendra as a tribute to the great actor-singer on his 104th birth anniversary.
About half of his songs were duets, and some of the duets brought him stupendous popularity. One such duet, a waltz-style composition, said to be the first in Hindi films – Hum aur tum aur ye khushi (with Waheedan Bai) from Alibaba (1940) – has been used in the Inaugural post by Shikha Biswas Vohra. This tribute would also include some duets.
1. Tumhi ne mujhko prem sikhaya (with Bibbo) from Manmohan(1936), lyrics Zia Sarhadi, music Anil Biswas (?)
The music of Manmohan was credited to Ashok Ghosh. But the book “Sagar Movietone”, written and compiled by Biren Kothari mentions (p. 232), “It was Anil Biswas who put his magic in the tune, and the rest is history”. Therefore, I am accepting it as Anil Biswas creation. This must be the first song of this combo, and what magic they create! The book mentions that when Bibbo asks at one point in the song, Kya mai andar aa sakati hun, the audience went crazy.
As Arunji mentioned in his comment on the Inaugural post, Mahageet has an important place in Hindi film history – this was the first time playback was used in Bombay (it has been first used by New Theatres, Calcutta in 1935 in Dhoop Chhaon and its Bengali version Bhagya Chakra). The mukhada has a distinct Jaunpuri flavor (experts to confirm) – one of the sweetest Ragas.
3. Agar deni thi humko hoor-o-jannat to yahan dete from Jagirdar(1937), lyrics Zia Sarhadi
1937 was a big year for Anil Biswas when he was associated with seven films.Jagirdar became a superhit of its time, backed by some superlative music in which he used a number of singers, besides a song by himself. Nadi kinare baith ke aao by Motilal and Maya Banerjee is the most well known, which I have used in my songs on river earlier. Surendra had two solos and a duet (with Bibbo). I find the duet Pujari more mandir mein aao the most melodious, but it is dominated by Bibbo; therefore, let me put it in her account, hoping I may use it on some other occasion. Here is one of the solos, in ghazal style. I don’t know if I am seeing too much into it, but I find a very interesting thing happening here. Surendra, who had started just a year ago, consciously as a Saigal clone, now sounds as if he is struggling to come out of that influence and trying to sing in a different style. Shall we call it a transition point in Surendra breaking free from Saigal, under Anil Biswas’s guidance?
4. Kaahe akela dolat badal from Gramophone Singer (1938), lyrics Zia Sarhadi
The next landmark of Surendra’s career is Gramophone Singer, which had at least his five solos and two duets (with Bibbo). Kaahe akela dolat baadal is an amazing composition by Anil Biswas. We have earlier discussed two-in-one songs, where one song is followed seamlessly by another. Here the first part is in slow tempo, which is followed by another, Ek chhota sa mandir banayenge, in a different tune and faster tempo. Was this the first two-in-one song in films?
5. Madhur milan ka chitra banayein by Surendra (with Maya Banerjee) from Comrades (1939), lyrics (?)
Sagar Movietone-Surendra-Anil Biswas combination continues to roll with some of the sweetest songs. The film has a Surendra solo too, but I find this duet the best that is available from the film.
6. Duet with Waheedan Bai from Alibaba (Punjabi, 1940)
This traditional Panjabi folk tune in Pahadi we have heard in many films. We have discussed at least three earlier, all in Rafi’s voice, one of which is composed by Anil Biswas himself – Kah ke bhi na aaye tum (Safar, 1946, C Ramchandra),Le ja uski duaayein ho (Heer, 1956, Anil Biswas) and Dil le ke daga denge wo(Naya Daur, 1957, OP Nayyar). We have the same tune, now in Punjabi, by the great singer from the vintage era, from Alibaba (Punjabi version). I don’t know if it was a remake, adaptation or dubbed from the Hindi version, but the two versions seem to have songs in different tunes, though the actor-singers were the same. We have heard the first waltz style song in films from the Hindi version –Hum aur tum aur ye khushi. In this Heer song (the first in films?), the maestro creates an absolutely magical effect. I seek help from our Punjabi friends to help us with the words, meaning and socio-cultural history of this tune.
7. Uth sajni khol kiwaade tere saajan aye duaare (with Jyoti) fromAurat (1940), lyrics Dr Safdar ‘Aah’
Aurat is the film which was remade by Mehboob Khan as Mother Indiaseventeen year later. The iconic status of the latter film is well known. The original film is spoken of equally highly, in which Surendra played the role of the nice elder son (played by Rajendra Kumar in the remake). Most of its songs are now available with good quality video – two songs sung by Anil Biswas I have used earlier in the post on him as singer – Jamuna tat Shyam khele holi andMore angana mein laga ambua ka ped. Aurat is a musical landmark too, and many people seriously say that the original was superior as a film and as a musical score. There is no way to compare two geniuses, Anil Biswas and Naushad, from different eras. As music lovers, let us enjoy this delightful duet sung by Surendra and Jyoti.
8. Mujhko jeene ka bahana mil gaya from Gareeb (1942), lyrics Dr Safdar Aah’
In this ghazal, Surendra has fully evolved his own distinct style.
9. Nazaare huye hain ishaare huye hain from Jawani (1942), lyrics Wajahat Mirza
This is now a delightful song, with fast harmonium interludes. I can imagine Anil Biswas fans of SoY going into delirious joy with this song.
10. Mera chand aa gaya mere dware from Manjhdhaar (1947), lyrics Shams Lakhanavi
This seems to be the last song of Surendra-Anil Biswas combination. Many changes were taking place in the film music scene at the same time. By now, Anil Biswas had a new favourite in Mukesh. Naushad was the new star on the scene, with whom Surendra already had the superhit, Anmol Ghadi, a year earlier, and he would continue his association with him for the next two years, with equally great music in Elaan (1947) and Anokhi Ada (1948). And most importantly, the era of actors-singers was coming to an end, with independent playback singers coming to the fore. However, Surendra-Anil Biswas combination gave many memorable songs in over a decade of their association. I end this tribute with their swan song, which has a bonus duet version with Khursheed. As the readers are aware, 2014 happens to be the Birth Centenary of Khursheed too. This unique duet, involving two great Centenarians of our music history, has earlier been included in my last post on Khursheed.
Acknowledgement:1. Swaron Ki Yatra: by Anil Bhargava.
2. Sagar Movietone: written and compiled by Biren Kothari; translated by Parth Pandya.
3. Shri Arunkumar Deshmukh for clarification of inconsistencies in the above two sources.
2. Sagar Movietone: written and compiled by Biren Kothari; translated by Parth Pandya.
3. Shri Arunkumar Deshmukh for clarification of inconsistencies in the above two sources.