نور جہاں (1926-2000) پاکستان کے دل کی دھڑکن اردو زبان و گائیکی کی آبرو پنجابی کا مان۔ برصغیر کی مشہور گلوکارہ اور اداکارہ تھیں۔ ملکہ ترنم کا خطاب انھیں پاکستانیوں کی طرف سے ملا۔ انھوں نے 10000 کے قریب گیت ہندوستان و پاکستان میں اردو، سندھی بنگالی پشتو عربی اور پنجابی زبانوں میں گاۓ۔
نور جہاں21 ستمبر 1928کو برطانوی راج کے ھند میں قصور میں پیدا ھوئیں۔گھریلو نام اللہ وسائ تھا۔استاد بابا غلام محمد سے موسیقی کی تربیت حاصل کی اور سٹیج پر اداکاری اور گلوکاری کا مظاہرہ کیا۔ بعد ازاں اپنی بہنوں کے ساتھ کلکتہ چلی گئیں اور فلم پنجاب میل میں اداکاری اور گلوکاری کی۔گیت کے بول تھے ۔ سوہنا دیساں وچوں دیس پنجاب۔ یہ فلم 1935 میں بنی۔ماسٹر غلام حیدر کی موسیقی میں فلم گل بکاو‘لی میں شالا جوانیاں مانے 1939میں گایا 1942میں اردو فلم خاندان میں پہلی بار ھیروئن کا کردار ادا کیا اور گیت گائے۔
تو کون سے بدلی میں میرے چاند ھے آ جا
ان کے گائے سدا بہار ہیں مثلا فلم “غرناطہ“ کا یہ گیت:
کس نام سے پکاروں کیا نام ہے تمہارا
کیوں تم کو دیکھتے ہی دل کھو گیا ہمارا
یہ وادیاں یہ پربتوں کی شاہزادیاں
Noorjehan or Noorjehan (Punjabi, Urdu: نور جہاں) was the adopted stage name for Allah Wasai (September 21, 1926 – December 23, 2000) who was a singer and actress in British India and Pakistan. Her career spanned seven decades. She was renowned as one of the greatest and most influential singers of her time in South Asia and was given the honorific title of Malika-e-Tarannum (Urdu: ملکہ ترنم, English: the queen of melody).
Born in a Punjabi family of musicians, Wasai was pushed by her parents to follow in their musical footsteps and become a singer but she was more interested in acting in films and graced the earliest Pakistani films with her performances. She holds a remarkable record of 10,000 songs to her singing credits in various languages of India and Pakistan including Urdu, Hindi, Punjabi and Sindhi languages, Along with Ahmed Rushdi, she holds the highest record of film songs in the history of Pakistani cinema. She is also considered to be the first female Pakistani film director.
In 1957, Jehan was awarded the President’s Award for her acting and singing capabilities.
Born in Kasur, Punjab, British India and was one of the eleven children of professional musicians Madad Ali and Fateh Bibi.
The family would often perform in the alley where the drug sales took place , although only Wasai’s eldest sisters would go on to pursue their passions in acting. Two of her sisters, Eidan Bai and Haider Bandi, were successful actors at the rural Taka Theatre in Lahore.
Wasai began to sing at the age of five or six years old and showed a keen interest in a range of styles, including traditional folk and popular theatre. Realising her potential for singing, her mother sent her to receive early training in classical singing under Ustad Bade Ghulam Ali Khan who was also a native of Kasur. He instructed her in the traditions of the Patiala Gharana of Hindustani classical music and the classical forms of thumri, dhrupad, and khyal. At the age of nine, Wasai drew the attention of Punjabi musician Ghulam Ahmed Chishti, who would later introduce her to stage in Lahore. He composed some ghazals, naats and folk songs for her to perform, although she was more keen in breaking into acting or playback singing. Once her vocational training finished, Wasai pursued a career in singing alongside her sisters in Lahore and would usually take part in the live song and dance performances prior to screenings of films in film theatres.
The family moved to Calcutta (now Kolkata) in hope of developing the movie careers of Wasai and her sisters. During their stay in Calcutta, the renowned singer Mukhtar Begum, encouraged Wasai and her two older sisters to join film companies and recommended them to various producers. She also recommended them to her husband, Agha Hashar Kashmiri, who owned a maidan theatre (a tented theatre to accommodate large audiences). It was here that Wasai received the stage name Baby Noor Jehan. Her older sisters were offered jobs with one of the Seth Sukh Karnani companies, Indira Movietone and they went on to be known as the Punjab Mail. Wasai would later adopt Mukhtar Begum’s way of performance and sari attire.
In 1935, K.D. Mehra directed Pind di Kurhi in which Jehan acted along with her sisters.She next acted in a film called Missar Ka Sitara (1936) by the same company and sang in it for music composer, Damodar Sharma. Baby Noor Jehan also played the child role of Heer in the film Heer-Sayyal (1937). After a few years in Calcutta, Noor Jehan returned to Lahore in 1938. In 1939, Ghulam Haider composed songs for Jehan which led to her early popularity. She then recorded her first song Shala Jawaniyan Mane for Dalsukh M. Pancholi’s movie Gul Bakavli.
Prior to Khandaan Jehan was cast as a child artist. It was in 1942 that she played the main lead opposite Pran. Khandaan’s success saw her shifting to Bombay (now Mumbai), where she shared melodies with Shanta Apte in Duhai (1943). It was in this film that Noor Jehan lent her voice for the second time, to another actress named Husn Bano. In 1945 Jehan played the lead role, alongside Lata Mangeshkar and Asha Bhosle, in the movie Bari Maa.
In 1945, she achieved a milestone, when she sung a Qawwali with Zohrabai Ambalewali and Amirbai Karnataki which was "Aahen Na Bhareen Shikave Na Kiye”. This was the first ever Qawwali recorded in female voices in South Asian films.
Noor Jehan’s (Deepa govindarajan) last film in India was Mirza Sahibaan (1947) which starred Prithviraj Kapoor‘s brother Trilok Kapoor. Noor Jehan sang 127 songs in Indian films and the number of talking films she made from 1932 to 1947 was 69. The number of silents was 12. Fifty-five of her films were made in Bombay, eight in Calcutta, five in Lahore and one in Rangoon (now Yangon), Burma.
Acting career in Pakistan
After the creation of Pakistan in 1947, Jehan decided to move to Pakistan along with her husband Shaukat Hussain Rizvi. She left Bombay and settled in Karachi with her family.
Three years after settling in Pakistan, Noor Jehan starred in her first film in Pakistan, Chanwey (1951), opposite Santosh Kumar, which was also her first Punjabi film as a heroine. Shaukat and Noor Jehan directed this film together making Noor Jehan Pakistan’s first female director. Noor Jehan’s second film in Pakistan was Dopatta (1952) which turned out to be an even bigger success than Chanwey (1951).
Her penultimate film as an actress/singer was Mirza Ghalib (1961).This contributed to the strengthening of her iconic stature. She gained another audience for herself. Her rendition of Faiz Ahmed Faiz‘s Mujshe pehli si mohabbat mere mehboob na maang is a unique example of tarranum, reciting poetry as a song. Noor Jehan last starred in Baaji in 1963, though not in a leading role. Noor Jehan bade farewell to acting in 1963 after a career of 33 years (1930 to 1963). The pressure of being a mother of six children and the demanding wife of a hero (Ejaz Durrani) forced her to give up her career. Noor Jehan made 14 films in Pakistan, ten in Urdu, four in Punjabi.
Noor Jehan as a playback singer
After quitting acting she took up playback singing. She made her debut as a playback singer in 1960 with the film Salma. Her first initial playback for a Pakistani film was for Jan-e-Bahar (1958), in which she sang the song Kaisa Naseeb Layi Thi, picturised on Musarrat Nazir. She received many awards, including with the highest Pakistani honour
in entertainment, Tamgha-e-Imtiaz (The Pride of Performance) in 1966, Pakistan’s top civil award. She sang a large number of duets with Ahmed Rushdi, Mehdi Hassan, Masood Rana and Mujeeb Aalam.
She had a great understanding and friendship with many great singers of Asia, for example with the late great Alam Lohar and many more singers also.
In the 1990s Jehan also sang for then débutante actresses Neeli and Reema. For this very reason, Sabiha Khanum affectionately called her Sadabahar (evergreen). Her popularity was further boosted with her patriotic songs during the 1965 war between Pakistan and India.
Jehan visited India in 1982 to celebrate the Golden Jubilee of the Indian talkie where she met Indian Prime Minister Indira Gandhi in New Delhi and was received by Dilip Kumar and Lata Mangeshkar in Mumbai.
Last years and death
In 1986, on a tour of North America, Jehan suffered from chest pains and was diagnosed with angina pectoris after which she underwent a surgery to install a pacemaker. In 2000, Jehan was hospitalised in Karachi and suffered a heart attack. On Saturday afternoon, December 23, 2000, Noor Jehan died from heart failure. Her funeral took place at Jamia Masjid Sultan, Karachi and she was buried at the Gizri Graveyard near the Saudi Consulate in Karachi.
|Gaon ki Gori|
- ^ Firoze Rangoonwalla, Indian Filmography, publisher: J. Udeshi, Bombay, August 1970, passim.
- ^ a b Ashish Rajadhyaksha and Paul Willemen, Encyclopaedia of Indian Cinema, British Film Institute, Oxford University Press, New Delhi, 2002, pp. 166.
- ^ The film poster, Wikipedia article on 1947 Hindi film Jugnu.
- ^ a b c "Noor Jehan”. Archived from the original on 2008-06-04. http://web.archive.org/web/20080604034301/http://freespace.virgin.net/jamal.akbar/noorbiog1.htm. Retrieved 2008-05-29.
- ^ Noor Jehan Biography – AOL Music
- ^ http://www.hamaraforums.com/index.php?showtopic=33048
- ^ Taka refers to the unit of currency in the pre-independence Pakistan and would imply that the theater hosted premier events for a single unit of currency.
- ^ "Noor Jehan Biography”. http://music.aol.com/artist/noor-jehan/biography/1154238. Retrieved 2008-05-29.
- ^ "G.A. Chishti”. http://mazhar.dk/film/musicians/chishti.htm. Retrieved 2008-05-30.