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The Mughal period drama, Taj Mahal, starring Pradeep Kumar and Bina Rai became a major hit for its songs by Roshan - Chandi Ka Badan sung by Asha Bhosle, Mohammed Rafi, Meena Kapoor and Manna Dey, besides of course the imperishable romantic paean Jo Waada Kiya Woh Nibhaana Padega, a duet by Lata Mangeshkar-Mohammed Rafi. The same year, the quintessential Muslim social, Chaudhvin Ka Chand, starring Guru Dutt and Waheeda Rehman, showcased the qawwali Sharma Ke Agar Yun Pardanasheen, tuned by Ravi and sung by Shamshad Begum and Asha Bhosle. It continues to be a touchstone of the genre. It was pictured on Madhubala and Nigar Sultana. One of its jewels is Teri Mehfil Mein Kismat Aazmakar Hum Bhi Dekhenge, playbacked by Shamshad Begum and Lata Mangeshkar, who launch into a poetic verbal war. Asif’s magnum opus Mughal-e-Azam (1960) is outstanding. Na Toh Caravan Ki Talaash Hai sung by Asha Bhosle, Sudha Malhotra, Mohammed Rafi and Manna Dey topped the charts. The one composed by Roshan for Barsat Ki Raat (1960) starring Bharat Bhooshan, Madhubala and Shyama.
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Chopra’s Sadhana (1958).īy the 1960s, qawwalis were in full form. Phir Aah Dil Se Nikli Tapka Lahu Jigar Se composed by Naushad and sung again by Zohrabai Ambalewalli in Mela (1949) also became a craze.ĭuring the ‘50s one of the most memorable qawwalis: Humen Toh Loot Liya, was recorded by composer Pransukh Nayak for Mehboob Khan’s Al Hilal (1958) and Datta Naik wielded the baton for Aaj Kyun Humse Parda Hai, rendered by Mohammed Rafi backed by a male chorus for B.R. The immensely popular Aahen Na Bhari Shiqwe Na Kiye rendered by Zohrabai Ambalewalli, Noor Jahan and Kalyani, composed by Hafeez Khan featured in Zeenat (1945). I have tried to cover most of the memorable qawwalis but pardon me if I may have missed out on a few. Here’s remembering, then, this lost component of film music. Largely, qawwalis in the movies have become as rare as a blue moon. The plotlines have become more urban and the advent of MTV and the disco-culture have given precedence and moved to hip-hop and rap. Muslim socials of the 1950s especially forwarded the genre, making it an integral part of the mainstream. Initially, the qawwali was performed only by men but progressed to include women. While classical music placed emphasis on ragas and taals, a qawwali placed greater emphasis on the poetic text and rhythm. The qawwals usually wore a short jacket under a kurta pajama along with a shimmering topi. The qawwali ideally featured the harmonium and the tabla as the main musical instruments, along with the signature cyclic clapping of hands in sync with the performance. The great prolific poet Amir Khusrau who passed away in the 14th century, was addressed as the founding father of the qawwali genre since he debuted in this style to mark the death of his spiritual guide Nizamuddin Aulia.Ī qawwali meant words worthy of remembrance praising the Almighty, but with changing times it switched to freeform lyrics in Bollywood cinema. Mehfils would begin towards the evening and last till the early hours of the morning. In its purest form it’s considered as a religious experience for both the listener and the performer. The qawwali is a presentation of the authentic Sufi spiritual song, which conveys the divinity of the Almighty. During the same year a qawwali was heard in Talaash-e-Haque sung by Jaddan Bai (Nargis Dutt’s mother). The first qawwali - Nazariya Taane Hai Teer Kamaan - was recorded for Barrister’s Wife in 1935. A mystic tradition known for more than 500 years, the form gained momentum in Hindi cinema in the 1930s ever since the advent of the talkies. Once, the qawwali maintained a sacrosanct place in yesteryear’s film music. By Dhruv Somani March 7 2021, 12:00 am Estimated Reading Time: 8 mins, 30 secsįilm historian Dhruv Somani asks why have the qawwalis, once a big draw in the Bollywood movies, have gone with the wind today?