RMIM Archive Article "16".


From the RMIM Article Archive maintained by Satish Subramanian

#
# RMIM Archives..
# Subject: Naushad Ali - A Sketch of the Master
#
# Posted by: "Rajan P. Parrikar" (parrikar@mimicad.Colorado.EDU)
# Source:    G.N. Joshi's "Down Melody Lane",
#

-----------------------BEGIN----------------------------------- Music Maestro Naushad Ali by G.N. Joshi pp. 74-80 Naushad, one of the most popular and outstanding music composers in the cine-world, ranks high amongst those who have displayed rare skill and imagination in the use of western musical instru- ments for the presentation of Indian tunes in films. ln his com- positions he has drawn liberally from the treasure of Indian folk music. Born at Lucknow on 25th December 1925, he was attracted to music even as a child. Like any normal parent, his father had great am- bitions for his son, and desired that he should achieve high academic qualifications, befitting the status of the family. But Naushad's infatuation for music always diverted him from the classroom to the music hall. Those were the days of silent movies. During the screening of the picture, back-ground music was provided by a live band of musicians. The leader, a harmonium player, with the complementary support of the others - usually a clarinet player and a percussionist, would play impromptu music, suitable to the situation on the screen. This helped to heighten the interest and effect of the scene on the viewers. The percus- sionist would play, besides a pair of tablas, a dholak, a drum, cymbals, castanets, or a tambourine. He would change the rhythmic pattern, to suit the tempo of the varied music, and the mood and the situation in the picture. There was a cinema theatre near Naushad's house. Laddan Khan, the leader of the band, was a proficient harmonium player. He was gifted with great imaginative and creative talents. The music he produced at the daily shows in the theatre was so arresting that young Naushad could not resist the temptation of going to the theatre frequently to listen to it. Laddan Khan could not but no- tice the keen and rapturous interest of the young lad, and he took Naushad under his wing. Thus were aroused, fashioned and chiselled the creative instincts of the future maestro. Naushad's father tried his best to wean him away from music, us- ing threats and even physical torture. One night Naushad returned from the theatre to find that his father had closed and bolted the door of the house. Those who are familiar with the severe wintry cold nights in North India, can well imagine the plight of the young boy, barred from entering the house. The next morning, he was found lying huddled up at the doorstep. Even this did not have the desired effect, and, Naushad's father gave him an ul- timatum - he should either give up music or leave the house. Naushad opted for the latter course and joined a dramatic company in a theatre at Golagunj in Lucknow. The period of training under Laddan Khan had been very-rewarding. Naushad not only found himself capable of working independently as a music composer, but he also developed the acute sense which enabled him to pick rare musical jewels from thc folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The dramatic company broke up while in Saurashtra and once again Naushad was literally thrown on the streets. But his persistence and immeasurable self-confidence guided him to the city of Bombay, where he decided to use his talents to seek his fortune. He did not know a soul in the large metropolis except one Abdul Alim Nami, who had been their neigh- bour in Lucknow, and who was a teacher in a school in Colaba. Mr. Nami offered Naushad a home but expressed his inability to help him find work. The film industry, which was then thriving, was his only hope. Most film studios were located in the Dadar area. In those days, one could travel one way by tram from Colaba to Dadar for just 2 annas, but after a few days, finding himself un- able to spare even such a paltry amount, Naushad actuallv had to walk the distance. He would approach the managers or producers of different studios and give them demonstrations of his proficiency in playing the harmonium. Day after day he would walk back sadly disappointed, hungry and thirsty, with blisters on his feet. His self-confidence and indomitable willpower, however, would not al- low him to accept Mr. Nami's offer of sending him back to his fa- ther. A kindly shop-keeper, doing business at Dadar T.T., took pity on the young, struggling Naushad and allowed him to stay at his shop during the nights. This saved him the bother of walking to and from Colaba. The whole day he would spend visiting the various film companies, and towards evening, tired and disap- pointed he would come to the shop to rest his tired body. For many days he lived on tea and bread alone, and slept on the pave- ment outside the shop. It was difficult to get sleep on an empty stomach. The noise and bustle of the passing traffic and the glittering lights of the Broadway cinema opposite, added to his discomfort. this crossed his mind. During the rainy season he had to shift his mat to the tiny space underneath the staircase of the shop. After days of tribulation and hard effort, he was ac- cepted as a harmonium player on the music staff of the Ranjit film company. Ranjit was then a factory of film production. Several films were produced simultaneously. Consequently a number of aspiring and talented persons thronged the studio. Beautiful girls, handsome boys, vied for the coveted roles of heroines, heroes, or villains and were even willing to work as extras, to start with. Budding music directors and musicians stood in queues with their instru- ments, waiting for a chance to be interviewed. Naushad, though on the staff, was a mere harmonium player. His creative urge egged him on to try his luck as a music maker. Mr. D. N. Madhok, the well known song writer of yesteryear, was busy with his picture Kanchan. Naushad requested him to listen to his tunes for the picture. Mr. Madhok was very pleasantly suiprised to find them not only strikingly fresh and new, but ideally suited to the si- tuations in his picture. He took Naushad for an audition to Sar- dar Chandulal and Goharbai - the joint owners of Ranjit Company. Naushad sat down in a corner amongst others who had come for the same purpose. Chandulal Shah was also a big stock broker. Sitting in his of- fice, he used to carry out his share transactions over the tele- phone. A newcomer was sitting ready with a harmonium, awaiting a signal from the seth to begin his audition. The seth was busy - with one phone to his ear and another by his side with his hand resting on it. Sethji signalled to the musician to begin. The young aspirant began to play his composition - suddenly there was a loud buzz on the other phone. This disturbed the player - he paused, looking at the phone and the seth. Chandulalji put down the phone in his left hand and picked up the other, shouting a loud 'Hello' into the mouthpiece, at the same time signalling to the poor composer to continue with his music. The poor man had to go on and on, while Sethji was striking loud and huge bargains over the phone. Naushad was aghast at this mockery of an audition, and he quietly walked out of the room, completely disappointed. He refused to be auditioned in this manner and requested Mr. Madhok to allow him to record his tunes for trial. Mr. Madhok with his considerable influence, obtained Chandulalji's consent for this. With great enthusiasm, Naushad started rehearsals of his tunes with fellow musicians. Naushad was not only a newcomer - a mere harmonium player - but he had also a very frail constitution and unimpressive personality. There were several very senior musi- cians who were expert instrumentalists. They resented having to practise under Naushad's baton and refused to cooperate. A disil- lusioned Naushad resigned from his new-found job in protest and walked out of Ranjit with a resolve never to enter its gates again (a vow he has kept even to this day). Mr. Madhok, though disappointed, did not lose his faith in Naushad's creative talent. On his recommendation, Naushad not only got a job in Prakash Studio, but was also assigned to provide music for a forthcoming picture. The music of Premnagar launched this young music maker on a career that was to be a long and dazzling one. Luminous gems from the rich treasure of Indian folk music were presented by Naushad in gorgeous modern styles. Lavishly decorated and played by a large orchestra of Indian and Western instruments, the simple folk tunes took millions of urban and rural music lovers by storm. Picture after picture succeeded at the box office. The lilting tunes from Dillagi, Baiju Bawra, Aan, Anmol Ghadi, Didar, Babul, Ratan, Mughal-e-Azam, Mother In- dia and many other films delighted millions. The sun of success began to shine with rare brilliancy upon Naushad and he was ack- nowledged as a genius in the world of film music. Fame and fortune now began to chase Naushad Ali. His name figured prominently in film circles. He was introduced to the famous producer-director Mehboob Khan, who asked Naushad to write the music score for his Aan. An interesting incident throws signifi- cant light on Naushad's nature. It was the day when Jawan hai mohabbat hasin hai zamana - the song that broke all previous records of popularity - was scheduled to be recorded. After a rehearsal Mehboob Khan expressed his disapproval and suggested a few changes. Naushad was extremely angry at this but he did not show it. He postponed the recording to the following week. In the meantime, during a take in the studio, when Mehboob Khan was peering through the camera, Naushad who was standing by, asked Mehboob's permission to have a look. After looking through the camera lens Naushad suggested a few changes in the arrangement of the sets, in the same authoritative way in which Mehboob Khan had suggested changes in the music. This was an outright insult to tbe genius of the great director. Resenting this meddling, Meh- boob Khan pushed Naushad aside and said, 'What do you understand of photography? This is not your province, you mind your own business.' Naushad Ali apologized with folded hands, and then said in a very submissive manncr, 'Just as photography is not my province, music is not yours. I ventured to speak as I did only in the hope that you would realize this.' Mehboob Khan was a very clever and able director. He was also one who always correctly evaluated the talents of pcrsons in his em- ployment. Although he showed outward annoyance at the tactics used by Naushad to register his protest against interference in his music, Mehboob Khan inwardly appreciated Naushad's bold spir- it and his standing up for his own rights. Thereafter Naushad was left to himself and Mehboob Khan did not interfere ever again in his music direction. Naushad Ali, who once slept like a beggar on a foothpath, now lives in his own imposing mansion on the sea face, at Bandra, the fashionable suburb of Bombay. It was sheer coincidence that the silver jubilee function of the musical film Baiju Bawra was at the Broadway theatre, opposite which Naushad had at one time been obliged to sleep on the pavement. The distributors had arranged a fitting jubilee reception for Naushad and the producer, Vijay Bhatt. Naushad arrived at the theatre in his own shining limousine, accompanied by Mr. Bhatt and others. During the inter- val he was showered with garlands and bouquets. Naushad came out onto the balcony, with thick rose garlands around his neck, and stood staring across the road at the pavement which had, at one time, been his resting place. Tears gathered in his eyes. When questioned by Mr. Vijay Bhatt, he rep]ied, 'There was a period in my life when, from that footpath, I used to gaze at this very balcony, and wonder if these glittering lights would ever shine for me. Today I am the centre of this brilliantly lit function, but it took 16 years, years of intense struggle to cross over from that footpath to this one. The tears in my eyes in those days, were tears of complete despondency and helplessness. The tears today are tears of fulfilment, and I am grateful to Allah for this.' (A paragraph or two devoted to Naushad's interest in hunting deleted) ------------------------END----------------------------------- Rajan Parrikar
From the RMIM Article Archive maintained by Satish Subramanian