Khurshid Anwar Anniversary: October 30 (1984)
Surjit Singh
Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
I have added 6 new photos of him with many film personalities of the
sub-continent. Try to guess who they are! Answers will be provided later.
I have added 17 more songs from his films with full information.
I have also included Irfan's RMIM posting about Khurshid Anwar's
assistants in India. To enjoy all this wonderful and rare material,
please go to
http://hindi-songs-movies.com/k-anwar-2.html
--
Surjit Singh, a diehard movie fan(atic), period.
http://hindi-movies-songs.com/index.html
Abhay Phadnis
news:bnqina$13jcn4$1...@ID-159547.news.uni-berlin.de...
> Hi RMIMers:
>
> Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
>
> I have added 6 new photos of him with many film personalities of the
> sub-continent. Try to guess who they are! Answers will be provided later.
>
> I have added 17 more songs from his films with full information.
When the credits for a song include names as magical as Faiz, Noor Jehan,
and Khurshid Anwar, it creates great expectations: it is a delightful
experience to discover that the song surpasses those expectations! Ever
since Urzung-saab posted the lyrics of "mere piyaa ko Dhuu.NDh ke laa_o
sakhii", I had been hunting for the song. Heartfelt thanks to you - and to
Irfan-saab - for making this wonderful song available!
Warm regards,
Abhay
Surjit Singh
Definitely thank Irfan Bhai! I wish there were more STAR relatives like
him! I just put my time (made free by fire!) to good use.
When he sent me the songs and I listened to them, apart from the amazing
music, what struck me was the "Hindi"ness of the lyrics from the land of
presumed Hindi non-lovers! They are talking about thaarii, piyaa, jii,
binatii, kalii, maNDaraaye!
>
> Warm regards,
> Abhay
Pulkit
> Abhay Phadnis wrote:
> > When the credits for a song include names as magical as Faiz, Noor Jehan,
> > and Khurshid Anwar, it creates great expectations: it is a delightful
> > experience to discover that the song surpasses those expectations! Ever
> > since Urzung-saab posted the lyrics of "mere piyaa ko Dhuu.NDh ke laa_o
> > sakhii", I had been hunting for the song. Heartfelt thanks to you - and to
> > Irfan-saab - for making this wonderful song available!
Yeps, a million to Irfan-saab, though I had heard many Khurshid
Anwar-Noor Jehan songs, I never found "mere piyaa ko dhuundh ke lao
sakhi", it is simply an ecstatic number. It is interesting to note
when Noor Jehan turned a playback singer the expression in her songs
reached an epitome. The songs that she sang in 1960s are her best
enriched with vast melody, expression and classical mastery.
UVR
>
> Definitely thank Irfan Bhai! I wish there were more STAR relatives like
> him!
Indeed. Thank you very much Irfan saahib!
One thing I find remarkable about Irfan sb's work -- clearly,
he is motivated not only by his immense respect for his
illustrious father, but also by his own thirst for truly
great music.
> When he sent me the songs and I listened to them, apart from the amazing
> music, what struck me was the "Hindi"ness of the lyrics from the land of
> presumed Hindi non-lovers! They are talking about thaarii, piyaa, jii,
> binatii, kalii, maNDaraaye!
Umm, ahem ... (btw, that's 'maNDlaaye') are you the same
Surjit Singh who could find no Hindi in Hindi songs? Now
you're finding no Urdu in Urdu songs :D hmmmmmmm ... ...
koi ##agendaa## lagtaa hai. :P
BTW, this also reminds me of a song from a 1980s Pakistani
film called Qurbani which was telecast on Sony TV a few
months back. The song, written by Masroor Anwar and sung
by one Mehnaaz, went: meraa tujh se aisaa *bandhan* hai ...
and bandhan was rhymed with jeevan and IIRC even darpan.
*Urdu* film song. "Hindi" words.
Like British and American English.
-UVR.
PS: I sent a well known and highly reliable acquaintance
on a hunt for this particular song, but to no avail. If
someone else knows where I can lay my hands on a copy, I
will be grateful.
Pulkit
>> Yeps, a million thanks to Irfan-saab, though I had heard many
Khurshid
> Anwar-Noor Jehan songs, I never found "mere piyaa ko dhuundh ke lao
> sakhi", it is simply an ecstatic number. It is interesting to note
> when Noor Jehan turned a playback singer the expression in her songs
> reached an epitome. The songs that she sang in 1960s are her best
> enriched with vast melody, expression and classical mastery.
Somehow "Merey Piyaa Ko Dhoondh Ke Lao Sakhi" made me go through a
journey across all the Khurshid Anwar- Noor Jehan songs I have
heard.Due to extreme fondness for both the legends, I have always
maintained that both the legends palyed crucial part in each other's
career, a fact which both of them maintained. An only Noor Jehan fan
may argue that even if Khwaja Saab was not there she would have
Talented composers like- Rashid Attre, Master Inayat Husein, Nisar
Bazmi, Salim-Iqbal, G.A. Chishti, etc. Similarly, an only Khurshid
Anwar fan may argue that Noor Jehan was not "the only voice" in
Pakistan. There were voies like Naseem Begum, Zubeida Khanum, Kausar
Parveen, Mala, among others. There can also be no denial to the fact
that before they met each other, Noor Jehan and Khurshid Anwar were
reputed artists in their own right.But frankly speaking when I hear
the collective and cooperative output both these legends produced all
these arguments seem to be a bit hollow.
Khurshid Anwar was the first composer to put Noor Jehan's classical
mastery to effective use, else she might have been wasted in
sterotypical film songs. I believe that because of existence of Khwaja
saab, Noor Jehan's music did not suffer the loss of her mentor Master
Ghulam Haider.Also, the fact that expressiveness in Noor Jehan's voice
rose to unparalleled heights from mid-fifties onwards can also be seen
to some extent as result of this association. In song "Jis Din Sey
Piya Dil Le Gaye" from Intezar, the way Madam renders the phrase
"pyaar ki thandi aag" is an example of rising affect. The soaring
elation is conveyed in "Chhun Chhun Nachoongi" and deep anguish finds
a place in "Ghazab Kiya Tere Waadey Pey Aitbaar Kiya."The song "Sawan
Ki Ghanghor Ghataon" brings out an atmospheric effect with an
innovative use of chorus.
In the year 1959, Koel was released . Noor Jehan looked her glamorous
best in Koel. I'm really hooked to three numbers of Koel. The first
one is a tilak-shyam composition: Sagar roye lehrein shor machayen,
yaad piya ki aaye naina bhar aayen. The rendition of word "machayen"
captures the essence of untamed , wild and desparate waves hitting the
rocks. The other gem from this film is raag jaijaiwanti
composition:Dil Ka Diya Jalaya. At the end of this song, Noor Jehan
indulges in a classic play with the word "paaya", that makes this
piece so unique. Another song that captures my attention is "O Bewafa
Mainey Tujhsey Pyar Kyun Kiya." The classic escalation of the word
"bewafa" makes this song an immortal musical gem.
In the year 1962, Malika-e-Taranum Noor Jehan left acting and indulged
in robust playback singing. She sang for Khurshid Anwar's Ghoonghat.
"Merey Piyaa Ko Dhoondh Ke Lao Sakhi" and "Koi Na Jaaney Kab Aaye"
create an aura that cannot be replicated in words. Another song from
the same film that radiated the glory of a romantic past is "Kabhi Tum
Bhi Humsey They Aashana Tuhe Yaad Ho Ke Na Yaad Ho."
Chingaari(1964) and Haveli (1965) had some great songs. "Kali Kali
Mandlaye Bhanwara" is an intoxicating and yet sad account of
insatiable nature of a vagabond. "Dil Ki Baat Batayen Kisko", "Shikwa
Nahin Kisi Sey", "Main Tou Kar Kar Vinati Haar Gayee" are other
examples of melody and music at its best. A song from the film Sarhad
(1966) that conveys the pain of separation is "O chanda ja unsey yeh
kehna. A cry of a lonely heart is heard in "Sahelion Kahan Ho Tum"
From Humraaz(1967).
All the songs from Punjabi Film Guddoo(1970), are excellent. The
closest to my heart being the lori: "Tun Jamm Jamm Jiven Dhiye Raniye"
which never fails to bring tears in my grandmother's eyes and yet she
insists upon hearing it again. Khurshid Anwar's best Punjabi musical
is Heer Ranjha(1971). The songs-"Main Chham Chham Paylaan Pawaan",
"Sun Vanjli Di Mithari Taan Vey", "Kadi Aa Mil Ranjhan Vey Main Luk
Luk Neer Bahawan", Chan Mahi Aa Teri Rah Takniyaan, refresh the
clollective unconscious of youthful Punjabi romance.
The last two films in which these two legends worked were-
Salam-e-Mohabbat (1971) and Parai Aag(1972). "Salam-e-Mohabbat Bara
Khoobsurat Bara Dilrubaan Hai" is a unique experience because of
Madam's exclamation in the song. Parai Aag was probably the last film
in which Khurshid Anwar composed for Jehan, the song- "Mohabbat Ki
Kasam Tumko Kiye Waade Wafa Karna, Hamesha Ke Liye Ek Saath Rehne Ki
Dua Karna" was probably what Noor Jehan's melody always said to
Khurshid Anwar's music.........
Surjit Singh
>
> Umm, ahem ... (btw, that's 'maNDlaaye') are you the same
> Surjit Singh who could find no Hindi in Hindi songs? Now
> you're finding no Urdu in Urdu songs :D hmmmmmmm ... ...
> koi ##agendaa## lagtaa hai. :P
I did say I was talking thro' my turban. People missed that.
I do believe that Hindi is Urdu and Urdu is Hindi.
>
> -UVR.
naniwadekar
"Pulkit" <pulkit_s...@yahoo.com> wrote -
>
> Khurshid Anwar was the first composer to put Noor Jehan's classical
> mastery to effective use, else she might have been wasted in
> sterotypical film songs.
>
If by 'classical mastery' you mean mastery over classical music,
it was non-existent in Noor Jehan's music. I feel her output
after 1950 was terrible but I have heard most of her film songs
from the 1940s. She was indeed a wonderful singer in those
days but there is no hint of classical mastery in any of her
superb songs. Nearly every singer who is as prolific as Noor
Jehan sings some songs which draw from classical music and
most do so without evoking the raag(s) with appreciable power.
The raag adds a lot to the songs; the singers add nothing
to the raag; the fans (of Rafi/NJ/name_your_fave_singer/Manna
Dey/ even Talat) rush to proclaim their idol's mastery over
classical music; and unless the singer being named is *my*
favourite singer, the claim almost always owes everything
to fantasy and nothing to reality.
- dn
naniwadekar
"Surjit Singh" <surjit...@yahoo.com> wrote -
>
> Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
>
Downloaded one song and played it after a friend informed me
that he is unable to play it on winamp. I could play it on winamp
but noticed that it was encoded at 20 kbps. I used to choose
this setting myself but some plug-in-s cannot handle it properly.
I think if the setting is divisible by 8 k, then it is quite safe.
Secondly will Surjit/Irfan PLEASE include the film title
in the file-name? It helps a lot in various ways.
- dn
Surjit Singh
> "Surjit Singh" <surjit...@yahoo.com> wrote -
>
>>Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
>>
>
>
>
> Downloaded one song and played it after a friend informed me
> that he is unable to play it on winamp. I could play it on winamp
> but noticed that it was encoded at 20 kbps. I used to choose
> this setting myself but some plug-in-s cannot handle it properly.
> I think if the setting is divisible by 8 k, then it is quite safe.
Can try 24 next time if it helps people.
>
> Secondly will Surjit/Irfan PLEASE include the film title
> in the file-name? It helps a lot in various ways.
Thanks. Will do next time. If have time, may go back and change.
>
> - dn
S.Jayaraman
Confine your answer to my question so far as film / non-film music is
concerned,please.You say it was non existant in NJ's renderings! Are
you 100% sure? Please revise and advise.
Jay
1/11
naniwadekar
>
> Are you 100% sure? Please revise and advise.
> Jay
>
No revision, please. I stand by what I said (unless someone
gave me reason to change my opinion).
- dn
Pulkit
If by 'classical mastery' you mean mastery over classical music,
> it was non-existent in Noor Jehan's music.
Your opinion that Noor Jehan had no mastery over classical music must
have emerged out of a careful scrutiny of her output, similarly my
opinion too is based on about years of listening to her music. As far
as 1940s are concerned, I agree with you that her music does not
reflect a great command over ragas. You can blame this entirely on
Noor Jehan who initially sang munijaats, or the compositions made in
those days that didn't provide a great opportunity for showcase of
talents.Indeed, even a mastero like Roshanara Begum could not bring
her classical best to the forefront in "Desh Ki Purukaif Rangeen"
(Jugnoo, 1947).
I feel her output
> after 1950 was terrible ......
Your post echos the concerns similar to those of Manto, who didn't
like Noor Jehan's songs of early 1950s and said that her voice had
turned childish and artificial. Indeed, I totally agree with you that
the songs of early 50s owe a great deal to composers than to
Malika-e-Taranum's singing. "Ve Mundeya Sialkoteya", "Chandani
Raatein", "Tum Zindagi Ko Gham Ka Fasana", "Kalli Kaali Jaan" could
have been equally big hits had they been sung by any other profilic
singer.Noor Jehan had turned a singing superstar whom the composers
dare not guide but admire. But even in that phase when one listens to
"Chhan Deya Toteya Ve Dillan Deya Khoteya" (Chanway, 1951) one cannot
deny her classical mastery.Without Noor Jehan's alaaps the song is
best forgotten, its her alaaps and absolute control over the notes
that make it special else it would have been a B-grade punjabi song.
But when Manto said this he could not anticipate that this was just
the beginning of Noor Jehan in Pakistan. The turning point for her
came when she sang under the guidance of Khurshid Anwar in Intezar
(1956). The emotional and trajic element in her voice was exploited
like never before combined with a highly intellectual use of her
classical poweress. Due credit must be given to Khurshid Anwar for
this, and also to Noor Jehan because many singers sang for Khurshid
Anwar but I have'nt come across as dramatic transformation as
hers.Just listen to tracks from Intezar and compare them with her
previous output, there was a new diva in the making. The songs from
Koel(1959) further show this new talent to integrate affect with
naturality and intricasies of classical music. Noor Jehan could
exploit elements like Murkies and zamzamas in her voice to create
dramatic effects. In "O Bewafa Mainey Tujhsey Pyar Kyun Kiya", the way
her voice escalates is amazing. Her command over classical music
shines in "Jiya Akeli Dukh Dey", "Dil Ka Diya Jalaya" and "Sagar Roye
Lehrein Shor Machayen." The brilliance of Anwar's music was that he
could combine classical and folk music beautifully making them sound
so natural. Even when Jehan worked with other composers this new
quality in her voice began to be noticed as in "Kya Jaaney Kya Armaan
Lekar" and "Bewafa Hum Na Bhooley Tujeh" (Anarkali, 1958, music-master
Inayat Husein). Similarly in Choomantar(1958) and Ghalib(1961) she
does a good job in all her songs.
Another transformation which seems to have occurred in her emotional
expressiveness was when she turned a playback singer. Now, it was only
through her voice and not her screen presence that success would come
to her. The songs of Ghoonghat(1962) celebrate this new voice. Coming
to the doubts on her classical singing, a film called Mauseeqar(1962)
does a justice to her vocal talents. In "Raseeley Moray Rasiya
Najariya Milaa" more than Rashid Attre's composition and 4 lines of
lyrics, its the singing abilities of Noor Jehan that carry this 6
minute song, after I heard this piece I felt that Noor Jehan had
wasted herself in seterotypical film songs and she could have been a
seasoned classical singer in her own right. In "Tum jugg juggg jiyo
maharaj re, hum teri nagariya mein aaye", Noor Jehan exploits her
full-throated singing style to create reverb effects, and "Ja Re Ja
Main Tosey Naahin Bolun" is another example of a great combination of
technique and melody. In Salim-Iqbal's Darwaza (1962)Noor Jehan excels
in the duet "Piya Nahin Aaye" with Ustad Amanat Ali Khan and similarly
with Farida Khanum in "Sajan Laagi Tori Lagan Man Ma, Laaj Mohaey
Aaye" (Baaji, 1963) and in her solos- "Mann Tarsey Balm Ghar Aaja,
Mann more tihare gun gaaye, chun ke layi phool kiran". Noor Jehan
sounds far better than her Indian songs during this period in films
like- Azra(1962),Chingaari (1964), Haveli (1965), Madar-e-Watan
(1966), Lakhon Mein Aik (1967), Mehal (1968), Pakeezah (1968), Aisa
Bhi Hota Hai (1965), Mirza Jatt(1967), Saalgirah(1969), Hamraz
(1967),Heer Ranjha(1970), Guddo(1971), Salam-e-Mohabbat(1971). Howver
after 1973, due to her full-throated style that was exploited in
extremely high pitched Punjabi songs, the melody in her voice
declined. Still her command over classical music and ability to emote
remained with her which found a place in few selected good songs
(Saajana Re Kyun Bheegey Torey Nain, Pehli Nazar,1977) that she sang
till 1990s.Howver, a large part of her Punjabi output from 1970s to
1990s is trash from the point of view of sophisticated listeners.
Nearly every singer who is as prolific as Noor
> Jehan sings some songs which draw from classical music and
> most do so without evoking the raag(s) with appreciable power.
> The raag adds a lot to the songs; the singers add nothing
> to the raag; the fans (of Rafi/NJ/name_your_fave_singer/Manna
> Dey/ even Talat) rush to proclaim their idol's mastery over
> classical music; and unless the singer being named is *my*
> favourite singer, the claim almost always owes everything
> to fantasy and nothing to reality.
Obviously, this argument could be easily applied to me as well since
I'm a die-hard Noor Jehan fan, but before you do this please try to
hear at least a sizeable portion of Noor Jehan's vast pakistani
output.
S.Jayaraman
core evidence to support my statements.
Have you heard the GULNAR ('53) solo: Sakhi ree nahi aawey sajan...by
NJ.
MD: Akhtar Akhlan visited Mumbai around 1953-54 to pay a visit to
Naushad Ali when the latter was on 'top' in the music biz.Having met
him,he asked Naushad Sahib about his opinion on the aforesaid GULNAR
semi-classical solo by NJ as to whether it was a thumri,geet or
gazal.Can you guess what was the reply he got from Naushad! He advised
Akhtar sahib to better not put this question to any other MD.But he
did not give his version!
Have you heard the duet composed by MD: Salim Iqbal from the film:
DARWAZA ('62),rendered by Amanat Ali Khan/Nurjahan.The male teaching
the female in classical style!
Further,the FINEST example of her classical virtuosity can be clearly
evinced in her 2-part chorus from MOSICAR ('62),composed by Rashid
Atre.In the second part she clearly demonstrates her classical mastery
in rendition of: Rasile more rasiya najariya mila.....This film also
had yet another solo of hers: Jaa tosey nahin boloon...It was similar
to the SAUTELA BHAI ('61) jugalbandi duet of Lata/Meena Kapoor
composed by Anil Biswas.Ofcourse,in comparison;the MODICAR number was
a 'diluted' in composition technique and left much to be desired
though the 'thhekas' were vibrant.
Jay
3/11
S.Jayaraman
Amanat Ali/Nurjahan and tuned by MD: Salim Iqbal are:
Piya naahi aa, aawey sakhi...
Jay
3/11
Surjit Singh
I am wondering if you are bald or have hair. Pl let me know ASAP.
>
> Jay
> 3/11
Surjit Singh
S.Jayaraman wrote:
--
Surjit Singh
S.Jayaraman wrote:
--
Surjit Singh
S.Jayaraman wrote:
--
Surjit Singh
> Hi RMIMers:
>
> Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
>
> I have added 6 new photos of him with many film personalities of the
> sub-continent. Try to guess who they are! Answers will be provided later.
More Hints for Photos:
1. She was known as Madam
2. Dilip Kumar promoted him
3. MD who popularized UP/Hindi belt folk tunes
4. The Mahal lyricist
5. and 6. Enough hints given
Come on JAY, you must know some of them!
Answers next week.
Pulkit
> Surjit Singh wrote:
>
> > Hi RMIMers:
> >
> > Thanks to Irfan, I have added lots of new material on Khurshid Anwar.
> >
> > I have added 6 new photos of him with many film personalities of the
> > sub-continent. Try to guess who they are! Answers will be provided later.
>
> More Hints for Photos:
>
> 1. She was known as Madam
Khurshid Anwar and Noor Jehan laugh whole-heartedly together in
1968-69 despite undergoing some dispute during the making of Heer
Ranjha.
> 2. Dilip Kumar promoted him
> 3. MD who popularized UP/Hindi belt folk tunes
> 4. The Mahal lyricist
This guy is Nakshab and I guess he introduced an MD called Nashaad who
composed for quite a few films in India including Baradari(1955). But
Nashaad touched new heights after moving to Pakistan.
...............
Surjit Singh
>>
>>More Hints for Photos:
>>
>>1. She was known as Madam
>
> She is surly Malika-e-Tarannum Noor Jehan. BTW,it is great to see both
> Khurshid Anwar and Noor Jehan laugh whole-heartedly together in
> 1968-69 despite undergoing some dispute during the making of Heer
> Ranjha.
>
>>2. Dilip Kumar promoted him
>
> He is Mehdi Hasan
>
>>3. MD who popularized UP/Hindi belt folk tunes
>
> Seems to be Naushad
>
>>4. The Mahal lyricist
>
> This guy is Nakshab and I guess he introduced an MD called Nashaad who
> composed for quite a few films in India including Baradari(1955). But
> Nashaad touched new heights after moving to Pakistan.
> ...............
Pulkit is right on all counts. Here are the rest of the answers:
In photo #5, from l to r
KA, Nazir (editor Musavir), Malka Pukhraj, Syed Shabir Husain Shah (her
husband), M. Sadiq (famous producer of Muslim Socials), Nakshab, J. K.
Nanda, Wajahat Mirza
In photo #6, sitting from l to r:
Seth Jagat Narain, J. K. Nanda, KA, Mehboob, V. Shantaram, A. R.
Karadar. Behind them the Sikh gentleman is Mohinder Singh Bedi, Urdu
writer. Directly behind Shantaram in 3rd row is Shakeel Badayuni.
Afzal A. Khan
Surjit Singh wrote:
>
> Pulkit is right on all counts. Here are the rest of the answers:
>
> In photo #5, from l to r
> KA, Nazir (editor Musavir), Malka Pukhraj, Syed Shabir Husain Shah (her
> husband), M. Sadiq (famous producer of Muslim Socials), Nakshab, J. K.
> Nanda, Wajahat Mirza
>
> In photo #6, sitting from l to r:
> Seth Jagat Narain, J. K. Nanda, KA, Mehboob, V. Shantaram, A. R.
> Karadar. Behind them the Sikh gentleman is Mohinder Singh Bedi, Urdu
> writer. Directly behind Shantaram in 3rd row is Shakeel Badayuni.
>
> --
> Surjit Singh
Photo # 6 : This photo is from the late forties or very
early fifties. The sikh gentleman mentioned by you was,
I think, a Civil Service Official (probably IAS), and an
Urdu poet, Kunwar Mohinder Singh Bedi "Sahar". I don't
think he was associated with films. On the other hand.
one Sardar who WAS in fact very closely associated with
films was Rajinder Singh Bedi who had films like "Dastak"
and "Rangoli" to his credit. It is possible that the
Sikh gentleman in the photo is Rajinder Singh Bedi. Could
you please check up ?
Afzal
Note : And I know you don't wear a turban !
Surjit Singh
> Photo # 6 : This photo is from the late forties or very
> early fifties. The sikh gentleman mentioned by you was,
> I think, a Civil Service Official (probably IAS), and an
> Urdu poet, Kunwar Mohinder Singh Bedi "Sahar". I don't
> think he was associated with films. On the other hand.
> one Sardar who WAS in fact very closely associated with
> films was Rajinder Singh Bedi who had films like "Dastak"
> and "Rangoli" to his credit. It is possible that the
> Sikh gentleman in the photo is Rajinder Singh Bedi. Could
> you please check up ?
>
The photo was taken during the muhuurat of Nishana c. 1949. The guy is
Mohinder Singh. I have seen photos of Rajinder Singh. He looks
different. After I go home, will try to dig up a photo of RS and post.
>
> Afzal
>
>
> Note : And I know you don't wear a turban !
Well, my website has lots of photos of me. I became a clean-shaven Sikh
c. 1956, but kept wearing a turban until 1963. The earliest photo is
from the first-year prize distribution ceremony during early 1964. As
mentioned on my website, I won evry single college prize and later,
stood (bracketed) first in the university.
Afzal A. Khan
Surjit Singh wrote:
>
> Afzal A. Khan wrote:
> > Photo # 6 : This photo is from the late forties or very
> > early fifties. The sikh gentleman mentioned by you was,
> > I think, a Civil Service Official (probably IAS), and an
> > Urdu poet, Kunwar Mohinder Singh Bedi "Sahar". I don't
> > think he was associated with films. On the other hand.
> > one Sardar who WAS in fact very closely associated with
> > films was Rajinder Singh Bedi who had films like "Dastak"
> > and "Rangoli" to his credit. It is possible that the
> > Sikh gentleman in the photo is Rajinder Singh Bedi. Could
> > you please check up ?
> >
>
> The photo was taken during the muhuurat of Nishana c. 1949. The guy is
> Mohinder Singh. I have seen photos of Rajinder Singh. He looks
> different. After I go home, will try to dig up a photo of RS and post.
> Surjit Singh
This guy may not be Rajinder Singh Bedi. But I
doubt whether he is the person I named i.e. Kunwar
Mohinder Singh Bedi Sahar. He was an Urdu poet, and
passed away in the late eighties or early nineties.
Since you have named him as "Mohinder Singh Bedi",
I feel you may know more about him, so....
Afzal
Note : The "hat" of "a die-hard movie fan(atic)
fits you to a "t".
Surjit Singh
>
> This guy may not be Rajinder Singh Bedi. But I
> doubt whether he is the person I named i.e. Kunwar
> Mohinder Singh Bedi Sahar. He was an Urdu poet, and
> passed away in the late eighties or early nineties.
> Since you have named him as "Mohinder Singh Bedi",
Well, Irfan said so! And he must have talked to his uncle :)
> I feel you may know more about him, so....
>
>
> Afzal
>
> Note : The "hat" of "a die-hard movie fan(atic)
> fits you to a "t".
--
Rirfan6
The man in turban is Kunwar Mohinder Singh Bedi Sehar, the Civil Servant
and
Poet. He was a friend of KA and JKN.
Regards,
Irfan
Afzal A. Khan
Thanks for the clarification.
Afzal
Surjit Singh
>
> The photo was taken during the muhuurat of Nishana c. 1949. The guy is
> Mohinder Singh. I have seen photos of Rajinder Singh. He looks
> different. After I go home, will try to dig up a photo of RS and post.
>
Sorry. Could not find one. Made note to self to look for one during the
next visit to the library!
Satish Kalra
And he was involved with films, IIRC. I don't have access to the Geet
Kosh(s) right now, but I recall his name as producer/director(?)and
lyricist for a few films in the late 50's/early 60's.
Happy Listenings.
Satish Kalra