Suraiya: Two Prime Ministers congratulate the singing superstar of Hindi cinema who made people swoon | Hindi Film News
The only Hindi film actress to have been praised by two prime ministers for the same role, her contribution to Indian literature, making audiences swoon on and off screen, inviting Hollywood stars into her home without notice, and being enterprising. A fruit seller used her name to lure buyers.
SuraiyaOn this day (January 31st) in 2004, when she passed away in quiet, peaceful obscurity for 40 years, she was the third and last singing superstar in Indian cinema after KL Saigal and Noor Jehan. He also performed better than them.
In its heyday, police would have to be called outside homes as crowds crowded around them to catch a glimpse, forcing fans to leave work or class to watch the first screening of a new movie, or holding movie premieres. I had to cancel my attendance. Enthusiastic fan.
Dharmendra, one of the future Hindi film stars, confessed that he watched his films many times but was still not satisfied with them.
Born in Lahore in June 1929, Suraiya Jamal Sheikh was only six years old when she began singing at AIR in Bombay, where her parents moved in 1930.
At just 7 years old, she appeared in her first film, Madam Fashion (1936), produced by Nargis’ mother Jadambai, and was accompanying relatives on the set of the film Taj Mahal (1941). , caught the attention of Nargis. She became the director and she was cast as the young Mumtaz Mahal.
Meanwhile, her singing career in AIR caught the attention of Naushad, a novice music director who is trying to establish himself in the industry, and he got 13-year-old Suraiya to sing. microphone.
She also caught the eye of Devika Rani, who gave her a contract and even Saigal, who hand-picked her for what would be his last film. However, she refused to duet with him as she believed that she was no match for him as a singer.
Suraiya came to limelight with “Anmol Gadi” (1946), in which she starred opposite fellow singing superstar Noor Jehan.
With Noor Jehan’s departure for India in 1947, Suraiya became not only the top female star, but also the highest-paid star of the late 1940s and early 1950s. Her unpretentious, unassuming girl-next-door appearance and somewhat naive demeanor added to her charm. This is complemented by her mellifluous voice, which sounds as melodious as a tinkling bell, with an understated hesitation and hesitation.
This is why fruit sellers claimed that their products came from ‘Suraiya ke khet’ and hinted that they were just as sweet.
However, at the peak of her career, she had a close but ultimately star-crossed relationship with her co-star Dev Anandand having a visiting Gregory Peck inspect her house and follow her around to chat for hours, Suraiya gradually cut back on films and started to step into the limelight.
This has something to do with the fact that she had to abandon Dev Anand due to family pressure, citing religion as the reason, but also the fact that she is the sole breadwinner of the family. did. The emergence of her playback singing, changes in her rhythm of life, and her own poor health also had an impact.
However, she brought Ghalib’s ghazal to life for a modern generation with Mirza Ghalib (1954), for which she was even praised by Prime Minister Jawaharlal Nehru, who gave her a speech at the film’s premiere in New Delhi. said the following: “Ladki, tunne.” Ghalib Ki lo ko zinda kalu diya. ”
Approximately 45 years later, the person who became Prime Minister was Atal Bihari Vajpayee She was praised for playing the same role at a special function held in Delhi in 1998 to commemorate Ghalib’s 200th birth anniversary.
However, after Rustam Sohrab (1963), she was still in her mid-thirties and completely turned her back on the tinsel world, keeping in touch sporadically with old colleagues and appearing at odd events. He spent the rest of his life singing, but never sang. Also in public.
But her memory lives on in the 338 strange songs she performed in 67 films between 1936 and 1963. For example, “Man leta hai angdai” (“Anmol Ghadi”), “Tu mera chaand main”, etc. Terri Chandni’ (‘Dhiragi’) – Dharmendra watched this movie many times. “Man Mor Hua Matvara” (“Afsar”), a gently philosophical “Yeh Mausam Aur Yeh Tanhai” (“Dastaan”), and “Aah ko Chahiye umr asar hone tak” and duet “Dil-e-Nadan” (and Talat Mehmood) “Mirza Ghalib”.
But her swan song, and unintended epitaph, was “Yeh Kaisi Ajab Daastan” (“Rustam Sohrab”), especially when she wrote “Buja do buja do, bujaa do sitaaron. That’s what happened when I sang “Ki Shamme Buja Do…”.
SuraiyaOn this day (January 31st) in 2004, when she passed away in quiet, peaceful obscurity for 40 years, she was the third and last singing superstar in Indian cinema after KL Saigal and Noor Jehan. He also performed better than them.
In its heyday, police would have to be called outside homes as crowds crowded around them to catch a glimpse, forcing fans to leave work or class to watch the first screening of a new movie, or holding movie premieres. I had to cancel my attendance. Enthusiastic fan.
Dharmendra, one of the future Hindi film stars, confessed that he watched his films many times but was still not satisfied with them.
Born in Lahore in June 1929, Suraiya Jamal Sheikh was only six years old when she began singing at AIR in Bombay, where her parents moved in 1930.
At just 7 years old, she appeared in her first film, Madam Fashion (1936), produced by Nargis’ mother Jadambai, and was accompanying relatives on the set of the film Taj Mahal (1941). , caught the attention of Nargis. She became the director and she was cast as the young Mumtaz Mahal.
Meanwhile, her singing career in AIR caught the attention of Naushad, a novice music director who is trying to establish himself in the industry, and he got 13-year-old Suraiya to sing. microphone.
She also caught the eye of Devika Rani, who gave her a contract and even Saigal, who hand-picked her for what would be his last film. However, she refused to duet with him as she believed that she was no match for him as a singer.
Suraiya came to limelight with “Anmol Gadi” (1946), in which she starred opposite fellow singing superstar Noor Jehan.
With Noor Jehan’s departure for India in 1947, Suraiya became not only the top female star, but also the highest-paid star of the late 1940s and early 1950s. Her unpretentious, unassuming girl-next-door appearance and somewhat naive demeanor added to her charm. This is complemented by her mellifluous voice, which sounds as melodious as a tinkling bell, with an understated hesitation and hesitation.
This is why fruit sellers claimed that their products came from ‘Suraiya ke khet’ and hinted that they were just as sweet.
However, at the peak of her career, she had a close but ultimately star-crossed relationship with her co-star Dev Anandand having a visiting Gregory Peck inspect her house and follow her around to chat for hours, Suraiya gradually cut back on films and started to step into the limelight.
This has something to do with the fact that she had to abandon Dev Anand due to family pressure, citing religion as the reason, but also the fact that she is the sole breadwinner of the family. did. The emergence of her playback singing, changes in her rhythm of life, and her own poor health also had an impact.
However, she brought Ghalib’s ghazal to life for a modern generation with Mirza Ghalib (1954), for which she was even praised by Prime Minister Jawaharlal Nehru, who gave her a speech at the film’s premiere in New Delhi. said the following: “Ladki, tunne.” Ghalib Ki lo ko zinda kalu diya. ”
Approximately 45 years later, the person who became Prime Minister was Atal Bihari Vajpayee She was praised for playing the same role at a special function held in Delhi in 1998 to commemorate Ghalib’s 200th birth anniversary.
However, after Rustam Sohrab (1963), she was still in her mid-thirties and completely turned her back on the tinsel world, keeping in touch sporadically with old colleagues and appearing at odd events. He spent the rest of his life singing, but never sang. Also in public.
But her memory lives on in the 338 strange songs she performed in 67 films between 1936 and 1963. For example, “Man leta hai angdai” (“Anmol Ghadi”), “Tu mera chaand main”, etc. Terri Chandni’ (‘Dhiragi’) – Dharmendra watched this movie many times. “Man Mor Hua Matvara” (“Afsar”), a gently philosophical “Yeh Mausam Aur Yeh Tanhai” (“Dastaan”), and “Aah ko Chahiye umr asar hone tak” and duet “Dil-e-Nadan” (and Talat Mehmood) “Mirza Ghalib”.
But her swan song, and unintended epitaph, was “Yeh Kaisi Ajab Daastan” (“Rustam Sohrab”), especially when she wrote “Buja do buja do, bujaa do sitaaron. That’s what happened when I sang “Ki Shamme Buja Do…”.
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