When music director Naushad put an iconic Hindi film director in his place
New Delhi (The Uttam Hindu): Naushad, born on December 25, 1919, in Lucknow, remains one of the most iconic composers in the history of Hindi cinema. His remarkable ability to blend Indian classical, folk music, and Western classical harmonies set him apart and enchanted listeners for decades. His musical career spanned a range of superstars from K. L. Saigal to Shah Rukh Khan. However, Naushad's journey in the Bombay film industry wasn’t just defined by his compositions but also by his assertive and clever approach to challenges.
One such instance occurred early in his career when he was still establishing himself. Naushad was recording the timeless song "Jawaan Hai Mohabbat" from Anmol Ghadi (1946) when the legendary director Mehboob Khan intervened, trying to instruct the musicians and even asked singer Noorjehan to change a note. Naushad, calmly acquiescing, assured him that everything would be done as he wanted. But the next day, Naushad turned the tables when Khan sought his help while filming the song. Naushad began directing the crew, asking them to adjust props and blocking. Annoyed, Mehboob Khan caught him by the ear, reprimanding him for overstepping his role. Naushad, ever the tactician, quietly responded, "This is the admission I was waiting for," and from that point on, Khan respected Naushad’s domain as a music director in their future collaborations.
Naushad’s influence extended far beyond his compositions. He introduced classical maestros such as Ustad Amir Khan, D. V. Paluskar, and Ustad Bade Ghulam Ali Khan to Hindi cinema. The story of how he convinced Ustad Bade Ghulam Ali Khan to sing for Mughal-e-Azam is legendary, and Naushad himself narrated it to former Chief Election Commissioner S.Y. Quarishi in 2002. Despite his early struggles, Naushad soon became one of the leading music directors, with his big break coming in 1944 with the success of *Rattan. Yet, he could not enjoy the fruits of this success publicly, as his family disapproved of his career choice, even claiming he worked as a tailor in Bombay. Over his career, Naushad composed music for fewer than 100 films, but each was a masterpiece, including Baiju Bawra, Mother India, Mughal-e-Azam, Gunga Jamuna, and *Taj Mahal: An Eternal Love Story* (2005). Known for his commitment to quality over quantity, he often turned down projects where the filmmakers demanded rapid compositions, insisting that it took him time to perfect a single tune. His partnership with lyricist Shakeel Badayuni, especially when Mohammad Rafi sang their songs, became legendary, and Naushad’s own poetry reflected his deep connection to the musical world. His collection Athvan Sur includes poignant ghazals and nazms, like “Modern Music,” which reflects his thoughts on the soul of music, and others that convey his poetic wisdom and wit. Naushad’s legacy is not just in his melodies but also in his poetic vision, his ability to blend tradition with innovation, and his remarkable contributions to both Indian cinema and music.
