In these dreary times of war, genocide and other grotesque manifestations of human iniquity, it is natural to seek refuge in the positive and uplifting aspects of human nature. Nothing provides greater solace than the creative urge expressed in song, music and drama, which capture the redeeming features of humanity. I was therefore greatly pleased to read Satish Chopra's Forgotten Masters of Hindi Cinema.
At the beginning of the 20th century, film and cinema emerged as popular forms of storytelling about love, happiness and tragedy, transforming the world with entertainment for all classes. The Indian subcontinent embraced this technology wholeheartedly. Here, people had expressed their feelings in song, music and dance for ages, often telling epic love stories. Now, a revolutionary technology arrived to continue that tradition on a grander scale.
It started with silent movies, where live orchestras provided song, dance and background music, but in 1931, talkies replaced the silent era. Lahore-born Satish Chopra (1942), now living in Delhi, authored a book that won several prestigious awards. It presents pioneers who created magic during the formative and most melodious period of Hindi (or Hindustani) films from 1930 to 1960. The focus is on music directors, but Chopra also includes actors, lyricists, filmmakers and directors.
The Golden Calf Still Stands
His greatest fascination is for K. L. Saigal (1904–1947), and that is undoubtedly where such a book must begin. Besides listing some of the greatest songs sung by Saigal, we get to know him vividly as a human being. As a singer, Saigal created a new genre of film singing that expressed love, tragedy and pathos with equal ease. Later, many singers emulated his style before establishing their own identities: Mukesh, Talat, Manna Dey, Mohammed Rafi and Kishore Kumar. Saigal was kind and generous but given to heavy drinking, leading to his early death. One thinks of Saadat Hasan Manto as another creative genius whose alcoholism caused his untimely death. Another genius who died very young was Master Madan, almost a child, due to over-exploitation of his talent by his family until he could not bear the strain.
Among Chopra's selection of music directors are all-time greats like Anil Biswas, Khemchand Prakash, Husnlal-Bhagatram, Naushad, Sajjad Hussain, Shyam Sunder and Roshan. These maestros gave the subcontinent songs that continue to move audiences. O. P. Nayyar and Madan Mohan are mentioned in the context of certain events. If I were to share my choice of music directors, it would be similar to Chopra's. He has taken great pains to capture not only their creative contributions but also their personalities.
The author also praises Kidar Sharma, a multitalented personality who wrote songs, film stories and scripts, produced and directed films, and gave opportunities to many artistes. Among songwriters, Chopra chooses Shailendra, perhaps the best film lyricist, though I wish Rajinder Krishan had been included. The omission of Sahir Ludhianvi, Majrooh Sultanpuri and others is understandable because the focus is on film lyrics rather than formal poetry.
Nutan and Devdas
A chapter is devoted to actress Nutan's sterling performance in Bimal Roy's Bandini, based on a famous story by Bengali writer Jarasandh. Nutan was a very accomplished artiste, and Bandini profoundly impressed me. Another interesting feature is the comparison of three versions of the classic story of Devdas: Saigal (1935), Dilip Kumar (1955), and Shah Rukh Khan (2002). The first two were close to the austere surroundings of Devdas's unhappy life. The third version by Sanjay Leela Bhansali contextualizes the tragedy in ornamental melodrama. I agree with Chopra; the third interpretation is unconvincing, just as Bhansali's serial on Heera Mandi was far removed from the real Heera Mandi of Lahore with its narrow lanes, dark rooms and sordid lives.
Forgotten Masters of Hindi Cinema is a fascinating account of a man who retired after working in the Central Bank of India, while his real passion was films, songs and the artists who catered to his sensitive soul through outstanding performances on the silver screen. This outstanding book would attract great interest in Pakistan, especially because someone born in Purani Anarkali, Lahore, is telling the story. An Urdu edition would be very welcome.
