Kundan Lal Saigal (1904-1947)

The great Indian singing film star of the 1930s and 1940s

(This Site is based almost entirely on  resources made freely available on the Internet)

All contributions & suggestions to upgrade the site for the benefit of KL Saigal Fans are welcome

================================================================================

Home | Profile | Lyrics | Audio  | Video  | Photos  | Filmography  | Articles | Singers Club  | Feedback |  Links  

=============

Articles 

=============

(November 6, 2007)

www.orkut.com : Home > Communities > K.L. Saigal 

A lively Story-telling 'Thread' on the 

Orkut Message Board :

"The Life of Kundanlal Saigal"

As told by Harshad, Suhas, Winter & others 

to their friends in the Orkut KL Saigal Community

(spread over some 90-odd messages)

========================================

Jul 12 HARSHAD : 

I intend to tell you about the great life of Kundanlal Saigal. It will be short, ‘To The Point’ and in simple language. You may correct me if you find anything wrong. I shall Try to post almost every day. Thanks. 

Jul 12 HARSHAD : 

Kundanlal Saigal was born in Jammu on 11th April, 1904. 

Jul 12 HARSHAD : 

His father Amarchand Saigal was a Mamlatdar in the state of Jammu & Kashmir and mother Kesar was a housewife. 

Jul 12 HARSHAD : 

Being too much tender hearted, Kundan proved himself nearly to be a ‘problem child’. He would give anything to the beggars and needy people. One day he saw a poor boy on the street shivering with cold. Kundan gave him his clothes and returned home half nude.

Jul 12 'Winter' : 

Ok.I'm listening.I'm sure everybody else is too. 

Jul 13 HARSHAD : 

On such occasions, his mother Kesar would protect him from the anger of his 
short-tempered father. She would always find this big black eyed child to have sunk in deep thoughts. She knew that although he was not good in studies, he was having an ear for music. 

Jul 14 HARSHAD : 

Amarchand was quite conservative on music. He believed that singing songs is beggars’ job and earning money is more important than listening to music. 
But his wife Kesar was having a liking for music and she used to sing Punjabi ‘Heer’ Styled folk songs in her broad and low voice. Kundan liked her songs very much and he would accompany her with his kiddy voice. 

Jul 14 Nandu Narasimhan : 

Harshad, I am listening too! 

Jul 14 Suhas : 

Many many thanks to HARSHAD for starting this wonderful thread. Really the information he's giving about Saigal's life is very rare and unknown to most of us. Everyday I'm eager to see any of his posts here. 

Jul 14 Sujoy : 

It is told that Saigal saab was so polite and unassuming that when he was in Calcutta he used to give his car for others to use and himself availed the trams for commuting. 

Jul 16 HARSHAD : 

Kesar knew her son’s passion for music. But she was more worried about his studies and subsequently his future. So she took him to one Sufi Saint in Jammu called ‘Salman Yosuf’. The Saint after having just a look at the big black eyed child immediately assured her about his grand future. “You need not to worry about his studies” said the Saint, “He will be a great singer provided he does riyaz in a particular way.” Then Yosuf sat the child in front of him and gave him the tips. 

Jul 17 HARSHAD : 

Its not clear whether Kundan was learning music those days. However, soon he started performing on stage on the eve of ‘Vijayadashmi’. He would play Seeta’s role and one Sunil Raina would play Ravan’s role. When Ravan would kidnap this Seeta, Kundan would cry so loudly and roughly that Sunil Raina would tend to run away without taking Seeta with him ! 

However, Kundan would sing good songs and spectators would like him. 
This continued till he attained 10th year of age. 

Jul 18 HARSHAD : 

In 1919 Kundan’s father retired and shifted from Nawa Shahar, Jammu to Jalandhar.in Punjab. The place where the family settled is known as ‘Saigal Mohalla’ today. 

Jul 18 Suhas : 

Kesar Kaur was a deeply religious lady. She used to take young Kundan to various religious functions where Bhajans, Kirtans and Shabads were sung in traditional styles. Saigal often visited the dera of a Muslim dervish and Sufi Pir 'Salman Yousuf' of the Yesvi sect in Jammu. Music was a daily routine at this dera and Saigal is said to have practised his singing there along with other musicians and devotees.

Saigal's cousin 'Chaman Puri', brother of Madan Puri had stated that, he was a great devotee of Lord Krishna and often sang Bhajans to his mother. As a school boy he used to participate in 'Raam-Lila' wherein he would play Sita's role. 

Jul 18 Suhas : 

At Nawa Shahar, Saigal would sneak near the house of a professional singing girl in his neighbourhood (their quarter in the city was called Urdu Bazar) and later emulate her singing. This is the reason why some fans find a flavour of Kotha style in Saigal's rendering of Ghazals. 

Jul 18 Suhas ; 

His father Amarchand was a Tehsildar (Mamaldar) in the court of Maharaja Pratap Singh at Jammu. At the age of 12, Saigal gave a rendition of a Meera Bhajan in Pratap Singh's court. The Maharaja was impressed and predicted that Saigal had a bright singing future.

Amarchand was violently against his singing and was disappointed with his poor results at school. Saigal always showed total devotion, respect and affection for him. He often accompanied his father to the interior parts of the state where he would drink deep into the folk music. 

Jul 18 Suhas : 

At the age of 13, Saigal realised that his voice was cracking. So shocked was the intense singer that he remained silent for many months. The worried family took him to a Saint who advised him to practise and cultivate his voice. Saigal did the same to the best of his efforts who later became the greatest singing legend. 

Jul 19 HARSHAD : 

In Jalandhar Kundan’s father started construction business and became quite successful. He was now happy with everything including his children except Kundan whose progress in school was still poor. 

Jul 19 HARSHAD : 

Moreover, Kundan used to spent his precious time in meditating different type of songs and musical notes. Neither he had any ambition nor any goal of life. 
His father, therefore, warned Kundan several times but he was really helpless. 
The big black eyed boy had no alternative but to quietly accept the punishment given for not respecting his father’s words. As a part of punishment he was required to wash utensils and cook food. Resultantly, Kundan proved himself to be a highly skilled cook in his later life. 

Jul 19 HARSHAD : 

At the age of 12, Kundan had an attack of depression. His voice had lost it’s smoothness and had cracked considerably. He had to put tremendous efforts to let a note come out of his mouth. Many listners told him that he was passing through a transition period and his voice was taking a manly shape. 

Jul 19 HARSHAD : 

But a really worried Kundan was not satisfied. He did not have an option now but to once again stand at the doorsteps of Salman Yosuf with his mother’s hand in his hand and tears in his eyes. 

Jul 19 HARSHAD : 

The Saint thereupon asked a few questions and realized that Kundan had failed to do the ‘zikar’ riyaz in the way and with a frequency that had been told. Kundan accepted his mistake and assured that thenceforth he will be doing it exactly in the required manner and that too every day. Then the Saint sat him in front of him and very kindly gave him certain tips and guidance for the Zikar riyaz. 

Jul 19 HARSHAD : 

Later on, while talking to his close friend and the then Mumbai Radio Director Ziyauddin Bukhari about this episode, Saigal said, “I was reborn at the age of 12 in a hut of a Saint in Jammu !” 

Jul 20 HARSHAD : 

Kundan kept his word given to the Sufi Saint and did rigorous riyaz consecutively for next four years. He made tremendous improvement but still he was not happy. He wanted to bring versatility in his singing style and learn more. 

Jul 20 HARSHAD : 

It is said that 5 times Learning, 10 times Practicing and 100 times Listening makes a singer perfect. Kundan believed it. So he decided to leave Jalandhar. He had some goal of life atlast ! 

Jul 20 Nandu Narasimhan : 

Still listening, Harshad! And many thanks for your effort. 

Jul 20 HARSHAD :

He left his house in 1920. He was just 16 years old then. During the next 13 years he wandered through out the country and kept on attending musical recitals and conferences as a careful listener. 

Jul 20 HARSHAD : 

For his livelihood, he did not have an alternative but to work as a ‘Time Keeper’ in Punjab Railway and thereafter as a ‘Sales Representative’ for Remington Typewriter Company. Needless to say, both the organizations made it a point of honour after a few years. 

Jul 21 HARSHAD : 

In Moradabad, there lived a unani hakeem called Imtiaz Ahmed who was also known to be a good Sarangi player in that area. 

As mentioned in his memories, one afternoon (somewhere in 1930 or before) he had gone to the Railway Station to drop a letter where he found a young tall man sitting on the postal bags on the platform. 

The man had closed his eyes and was singing something in a very low voice. 

Jul 23 HARSHAD : 

Imtiaz suddenly remembered that he had seen this young man just day before in a mehfil by the veteran vocalist Ustad Abdul Karim Khan. The young man was sitting among the common crowd on the ground just fastening at a stage corner and was devotedly listening to the singer. 

Jul 23 HARSHAD : 

Abdul Karim Khan sung ‘Shudh Kalyan’ and then thumri in Zinzodti ‘Piya bin nahi avat chain’. Imtiaz was accompanying the Ustad on Sarangi and could clearly see all the pity in the singer’s thumri duly reflected on this young man’s face. 

Jul 25 HARSHAD : 

This remembrance made Imtiaz curious and he stood quietly near the young man behind a pillar. The young man was singing none other than ‘Piya bin avat nahi chain’ and to the surprise of Imtiaz, it was perfectly matching the Ustad’s presentation.

Jul 26 HARSHAD : 

It was a totally free and different style of singing and the song was being sung for nobody because nobody was there on the platform. But the singer was singing quite authoritatively. 

Jul 26 HARSHAD : 

When the young man noticed that somebody was standing nearby, he stopped singing and got up to move. But Imtiaz stopped him and asked his name. ‘Kundanlal Saigal’ said the young man. ‘From whom do you learn ?’ ‘Nobody.’ Saigal said, ‘I just listen and try to imitate.’ ‘Its awesome ! But you sing confidently.’ Imtiaz said. 

Then he requested Saigal to come to his residence with him. By this time, Saigal had remembered to have seen Imtiaz on the stage behind Abdul Karim Khan. 
So without any hesitation, he agreed. 

Jul 26 HARSHAD : 

Imtiaz asked his wife to bring tea and sat with this new friend in a room. He made his Sarangi ready and began with a few notes of ‘Tilang’. When he saw Saigal’s lips moving impatiently, he asked him to go ahead with it. The tall, thin young man then started singing a gazal by Ghalib in ‘Kaushi Kanada’. 

Jul 26 HARSHAD : 

It proved to be a strange experience for Imtiaz. He found it extremely difficult to accompany the singer because by the time he followed and reached a particular swar, he would find the singer to have already taken a taan and reached at the shadja. 

Imtiaz also realized that even after so many years of rigorous riaz, he himself was not able to produce the ‘meend’ that was coming out of the singer’s throat through out the song. Saigal sung a few gazals and bhajans and suddenly got up and said, ‘I must go now.’ And leaving behind a stunned Imtiaz, he disappeared in the dark. 

Jul 27 HARSHAD : 

During those days of endless wandering, Saigal heard Ustad Fayyaz Khan Sahab and was highly electrified. Subsequently, he approached to him for learning. As a test in front of the Ustad, when he presented a Chhota Khyal in ‘Darbari’, the Ustad said in a chocked voice, ‘What else can I teach you more than this ! You have already possessed everything required for performing a good recital.’ And the Ustad thereupon accepted Saigal not as a disciple, but as a friend. Their friendship continued until the death of the later. 

Jul 27 HARSHAD : 

Gazals like ‘Yeh Tasarruf Allah Allah..’ and ‘Phir Tera Did-e-tar yaad aaya..’ sung by Saigal have great impact of Faiyaz Khan style. (Similarly, Gazals like ‘Mai Unhe Chhedun..’and ‘Irfaane Gum huva muze…’ have impact of Abdul Karim Khan style.) 

Jul 27 HARSHAD : 

After a long struggled life atlast, Saigal met a person who proved to be his well wisher and more correctly, his Godfather. His name was Harishchandra Bali. 

Jul 28 Sujoy : 

Thanks Mr Harshad Pls carry on 

Jul 28 HARSHAD : 

Bali was a musician and the disciple of Pandit Bhaskarbuva Bakhale. We all Saigal fans must be grateful to this man. Because Saigal was his ‘Find’.

Jul 28 HARSHAD : 

After a few years, many including Raichand Boral and B.N.Sircar claimed the credit for giving first opportunity to Saigal. However, undoubtedly, Harishchandra Bali deserves the credit on two fronts. Firstly, he gave Saigal the first opportunity in a Punjabi film and incidentally became Saigal’s first Music Director. Secondly, he continuously kept on insisting Raychand Boral upon meeting this potential singer. 

Jul 31 HARSHAD : 

Bali was originally from Jalandhar and was highly impressed by Saigal’s bhajans and gazals. Whenever he would come to Kolkata, he used to stay at the genius Bengali Musician Raychand Boral’s bungalow. 

Jul 31 HARSHAD During his every visit, he would request Boral to see a particular Punjabi young man called Kundan Saigal. He would also describe how heavenly and uncommon his singing style was. But Boral would not take it much seriously. Firstly, because there was no scarcity of good singers in Bengal itself. 
Secondly, a Punjabi could not have sung a Bengali song effectively. He, therefore, did not respond Harishchandra Bali positively. 

Jul 31 'Jo Bhi Pyar se' :

GR8 Going Harshad sahaab !!!!!!!! 

u r posting nicely abt Saigal's lyf.  thanx get it contd. 

Aug 1 HARSHAD :

Boral had been working as Producer in the Indian Broadcasting Corporation since 1928. He used to work there till 5 p.m. and would go by taxi directly to New Theatre studio where he was working as a musician. There he would work till late in the night and would return home walking by the banks of the river Hugali. 

Aug 1 HARSHAD : 

One evening, while waiting at his usual ‘Paan ka Thela’ near Metro cinema on his way to the studio, he heard a different sharp and broad manly voice nearby. A thin, tall young man was talking to somebody while crossing the road. Boral’s ears noted this and then he moved towards the studio. 

Aug 1 HARSHAD :

Late in the night when he returned home, he just passed through the guest room to have a word with Harishchandra Bali who had already been staying there since a day or two. He saw Bali sitting on his cot reading something and besides somebody sleeping on the ground with a bed-sheet over his head. ‘Who’ ? Boral asked with a gesture. ‘Wait till tomorrow !’ Bali indicated. 

Aug 2 HARSHAD :

And as assured, Bali stood the person in front of Boral in the next morning. ‘He is the person about whom I have been telling you. Kundanlal Saigal. He can sing.’

The first impression was not at all encouraging. The young man was extremely thin as compare to his height and moreover was partially bald. 

Aug 2 HARSHAD :

‘Have a Seat.’ Boral said. But the nervous Saigal did not. ‘Can you sing Raag Todi or Ramkali ?’ ‘Sorry. I don’t understand Raagas. Just show me the tune, and I sing.’ Saigal said. Boral immediately realized that this was the same person whom he had heard and seen crossing the road near Metro cinema. first 

Aug 3 HARSHAD :

‘I see. Then sing anything you like.’ Boral said. And then Saigal started singing something in Raag Asawari. 

Aug 3 HARSHAD :

Forty Five years after this episode, Boral could not remember whether Saigal sung Asawari or not, but he certainly remembered the experience that he had that day. ‘I had never heard before such a melody coming out of a human throat !’ Boral said. ‘It was a super human presentation. Was he a ‘Gandharva’ appeared on the earth ? I thought ! No expressions on face. No much movement of lips. Perfect control over breath. Perfect pauses. Clear pronunciation. I was spellbound.’ 

Aug 4 HARSHAD :

Now the question as to whether to give a chance to Saigal in the film line did not exist at all. To the contrary, Boral became quite anxious. 

A Highly impressed Boral then talked to B.N.Sircar, the New Theatre promoter, and insisted him to listen to Saigal. 

Aug 4 HARSHAD :

In fact, Sircar did not see any point in going for a Punjabi singer for a Bengali movie. But since Boral was supposed to be a highly respected big shot in the Bengali Film Music, he just said, ‘Need not to bring him to me. You only decide.’

Aug 4 HARSHAD :

Boral, however, wanted Sircar to listen to Saigal. There is a possibility, therefore, that he only organized Saigal’s song during the engagement function of one Mr.Shaikh who was a film distributor. 

As written by B.N.Sircar in his autobiography, he saw and heard Saigal for the first time during this engagement function and he immediately took the decision of giving him a chance. 

Aug 7 HARSHAD :

Boral, thereafter, took Saigal with him to the New Theatre Studio for a trial recording. Saigal was given a harmonium and was asked to sing a bhajan. 
Once he started singing, all the staff and visitors in the studio started gathering there with a magnetic effect. 

Aug 7 HARSHAD :

In the third room adjoining to the recording room was sitting the well known blind actor cum singer K.C.Dey. When Saigal’s divine melody reached his ears through the walls, he hurriedly came to the recording room with the help of his assistant and wholeheartedly hugged the singer to express his wordless feelings. 

In this way, that day everybody in the New Theatre Studio came to know that a start was born ! 

Aug 8 Suhas :

In the New Theatre's studio, Saigal sang the song "Jhoolana Jhulao Ri" raag- 'Dev Gandhar' in front of B.N.Sircar. K.C.Dey was highly impressed by Saigal's voice and showered compliments on the legend to be. 

The same song Saigal had recorded for Hindustan Records Company! 

While working as a salesman in Calcutta (with Remington Typewriter Co, Rs.80 a month), Saigal's singing was largely confined to a friend-circle. One such private concert had among its audience a sales representative of Hindustan Records Company, who recognized Saigal's talent and pursuaded him to make a 'lifetime contract' with this company. It brought out Saigal's recording 'Jhoolana Jhulao Ri' which blazed a new trail in Indian music and became an instant hit. Nearly half a million copies of this recording were sold at that time! 

Aug 8 Sujoy :

Harshad we are eagerly waiting for new updates 

Aug 13 'Winter' :

Harshad,it is a most absorbing account.I have just read all that I missed.I may disappear again for awhile but I'm sure to begin reading from where I left off. The Mr Bokhari you mentioned earlier was my father's boss in All India Radio & later in Karachi. My father also recorded several songs of well known singers of the time at the HMV & another recording company. Among the famous singers were Saigal Sahib (who became a close friend of my father's) Master Madan, Jaddan Bai (mother of the lovely Nargis) Malika Pukhraj & many others. Shamshad Begum sang many songs of his, the most famous being the na'at 'Aya hai bulawa mujhe Darbar-e-Nabi se' & 'Ik baar phir kaho zara'. She paid a befitting tribute to him on the radio when he passed away. 

I wasn't born then but my mother remembered how Saigal Sahib used to visit them in Delhi & loved the 'achaar gosht' that she cooked. Once his car broke down in front of my father's place & Saigal Sahib was pushing it alone till my father rushed to help him. There were so many other incidents that my mother used to recall but which have been sadly lost to us after her passing away several years ago. Interestingly, she was a close friend of Amitabh Bhachan's mother Tajwar (lovingly called Teji) & they called their group "Dandy Group'. 

Saigal Sahib & my father had a common interest in their love for music & thus became close friends.My father learnt classical music to the point of perfection from the great ustads of that day in Delhi & became an accomplished musicoligist. He also acted & sang in a film which I traced out in the Indian Films Database. I wish I could trace out his songs. His style & voice were very similar to that of K.L.Saigal. That was the only film he acted in as he did it without seeking permission from my grandfather. He didn't use our family name ... naturally, just his first two names. He was as modest as Saigal Sahib & never spoke much about himself. No wonder they were great friends. This is just a little bit of my contribution to your wonderful account. Please, carry on. 

Aug 15 Sujoy :

Harshad are you there ? Long time we have not heard from you. 

Aug 16 HARSHAD :

Sorry friends ! I was out out of town for a week. I shall resume within a day or two. 

Winter, that was a great thing we came to know about your father. Pl. Keep on remembering and posting incidences if any of Saigal and your father. Thanks. 

Aug 17 Winter :

I shall have to rely on my eldest sister for more information, but certainly, I shall try my best. Actually, Shamshad Begum would have a lot to say about him but when my brother-in-law expressed a wish to meet her, the late Mr Om Prakash, another good friend of my father, dissuaded him from doing so as she tended to become very upset when spoken to about the good old days. Unfortunately, Naushad Sahib has also passed away. He was also known to my father. I have pics of Naushad Sahib with my sister & brother-in-law in UK. 

Aug 17 HARSHAD :

Are you listening friends ? I was about to tell you as to what happened after Saigal’s selection by B.N. Sircar and his colleagues. With your permission, I continue. 

Aug 17 HARSHAD :

Once he became a member of the New Theatre team, Saigal started taking training of Bengali language. Besides, he was given a small role in a film named ‘Mohobbat Ke Asoon’. His co-actress was the well known Gazal singer Begum Akhtar. Saigal did not want to disclose his name; so he was given the credit under name ‘Saigal Kashmiri’. Similarly, Begum Akhtar acted under the name ‘Miss Akhtari’. 

Aug 17 HARSHAD :

It was, however, a great paradox that both the ‘would be legendary singers’ were not given a single song in the film. The main reason was that it was a transition stage during the swing from ‘Silent’ to ‘Talking’ movies. 

Aug 17 HARSHAD :

Saigal also acted in the subsequent two Urdu films produced by New Theatre titled ‘Subah Ka Sitara’ and ‘Zinda Lash’. (1931-32) In ‘Zinda Lash’ he played a comic role. Needless to say, he did not sing a single song in both the films. 

Aug 21 HARSHAD :

Meanwhile, Indian Gramophone Company had released Saigal’s record containing a couple of Punjabi songs composed by Harishchandra Bali. In this way, Bali became Saigal’s first Music Director. However, some experts are of the view that it was Ramchandra Pal and not Bali who sung Saigal for the first time. 

Aug 21 HARSHAD :

In 1932, New Theatre’s next film ‘Pooran Bhakt’ proved to be a mile stone for many. Devaki Bose as Director, Nitin Bose as Cameraman, Raichand Boral as Musician and Saigal as Singer – Actor made their respective debut in a talking Hindi movie. Saigal and K.C.Dey played main roles and both sung songs those would be big hit of the year. 

Aug 21 HARSHAD :

K.C.Dey sung these songs :

‘Sukh Dukh Sab Hai Ek Saman’
‘Javo Javo Aai Mere Sadhoo, Raho Guru Ke Sang’

Saigal had four songs and almost all were hit : 

‘Bhaju Mai To Bhanvse’
‘Radheya Rani Deya Dalo Na’
‘Avsar Beeta Jat Prani’
‘Din Neeke Beete Jate Hai’ 

Aug 21 HARSHAD :

‘Pooran Bhakt’ ran Full House for more than 14 weeks in the ‘Welington’ theatre (opposite Metro) in Mumbai. 

Among the lakhs of film viewers through out the country, there was a 23 years old Double Graduate Brahmin and also a Teenager from a Orthodox Muslim family in Punjab who need special mention. They were so impressed with Saigal and the film that they at once took the decision of making their careers in the film line itself. 

The former was to write lyrics of Saigal’s ‘Devdas’ just within two years under the name ‘Kidar Sharma’ and the later was to compose songs of the Saigal’s last film ‘Shahjahan’ under the name ‘Naushad’. 

Aug 21 NITISH SINHA : 

great HARSHAD bhai.I am waiting for the rest.

I think name of the person who wrote the lyric in the film POORAN BHAKT (or POORAN BHAGAT, as written by hindustan records) is missing. please mention it Harshad bhai if you find it anywhere. 

Aug 23 'Winter' :

It was Kidar Sharma who cast a very young Raj Kapoor & an even younger Madhubala in his film 'Neel Kanwal'. 

Aug 23 HARSHAD :

No Winter. Kidar Sharma's first film was 'Devdas'. As per my impression, Puran Bhakt lyrics are traditional bhajans. I havn't seen name of the the lyricist in any books yet ! 

Aug 23 HARSHAD :

In the year 1933 three more films were released by the New Theatre. The first one was ‘RajRani Meera’ in which Prithviraj Kapoor and Durga Khote played the leading roles. Saigal had a supporting role in this film, but surprisingly did not have a single song. 

Also in the third film ‘Dulari Bibi’ Saigal acted but did not sing any song. 

Aug 23 HARSHAD :

The second film ‘Yahudi Ki Ladaki’ was based on a Urdu Drama by Agha Hashar. This time New Theatre gave an opportunity to the young promising musician Punkaj Mullik. It was also his first Hindi film. 

Aug 23 HARSHAD :

Saigal had total six songs out of which four are as under :

‘Nuktachi-e- Ghame Dil’ 
‘Yeh Tasarruff Allah Allah’
‘Lakh sahe hum pee ke batian’
‘Lagat Chhed Karejwa’

The first two were the famous ghazals by Mirza Ghalib. In this way Ghalib was sung by Saigal for the first time. Later on Naushad had commented, ‘At last the incomparable poetry got incomparable voice’. 

Aug 24 HARSHAD :

In 1934 New Theatre made two films viz ‘Chandidas’ and ‘Dakoo Mansoor’. 
Both the films were directed by Nitin Bose as Devaki Bose had already left New Theatre by that time. 

Aug 24 HARSHAD :

Saigal had leading role in the former and supporting role in the later. It seems, therefore, that the Producer’s policy was quite flexible those days. 

In ‘Dakoo Mansoor’ Prithviraj Kapoor played the leading role; still the film could not be released due to the strong objection by some social organizations against the so-called glorification of the dacoit. It is said that there were two songs for Saigal in this film, however, they are not known. 

Aug 24 HARSHAD :

On the other hand ‘Chandias’ proved to be a big hit ! Umashashi played the heroine and Pahari Sanyal was in the supporting role. Saigal was, however, the main point of attraction. 

His hit songs (composed by Raichand Boral ) were : 

‘Premnagar Mein Basaungi Ghar Main’ (With Umashashi)
‘Tarapat Beete Din Rain’
‘Prem Ki Ho Jay, Jeevan Hai Ab Sukhmay’
‘Holi He Brij Raaj Dulare’ 

Aug 24 HARSHAD :

A point to note is that in this song ‘Premnagar Mein…’ the word ‘Prem’ repeats for not less than 14 times. One more point is about Lata Mangeshkar. Her uncle Kamalnath writes, ‘When 7-8 years old Lata saw ‘Chandidas’ for the first time with her father, she was so ‘infatuated’ with Saigal that she kept on saying, 
‘I want to marry him !’ 

Aug 28 Suhas :

Yahoodi Ki Ladki (1933), Saigal's first commercial hit was a costume epic based on Agha Hashar Kashmiri's famous play "Misarkumari". The film had 19 songs including Saigal's ever popular Ghalib ghazal, also the first ghazal he sang 'Nuktachin -e- gham-e-dil'.

Interestingly, it was Saigal's choice of ghazals which found place in the famous movie 'Mirza Ghalib' produced by Sohrab Modi in 1954. Chandidas (1934) set a new trend, establishing the dominance of songs and music in Indian cinema which continues to be a major audience attraction even today. 

Sep 7 HARSHAD :

It seems, after ‘Chandidas’ Saigal was given perhaps a subordinate role in the New Theatre’s next film ‘Roopalekha’ (1934). No details could be available about this film. 

Sep 7 HARSHAD :

The next New Theatre film was, however, not only to prove itself as a milestone, but also to establish Saigal as the first and perpetual superstar of the Indian film world. It was none other than ‘Devdas’ which was based on the novel by veteran novelist Sharat Chandra Chatterji. 

Sep 7 HARSHAD : 

The film was directed by the then prince of the Gauripur state in Assam who was also a handsome actor and genius director and whose name was Pramthesh Barua. 

Barua had recently played the role of Devdas in it’s Bengali version and this Bengali film was running ‘full house’ through out the state. Saigal had sung two songs in this film Viz 

‘Kahare Je Jodate Chai’ and 
‘Golap Hobe Uthuk Phoote’. 

Sep 7 HARSHAD :

Initially, musician Boral was worried about Saigal’s Bengali pronunciation because Bengalies are known to be extremely orthodox on this issue. Hence, he sung Saigal in front of Sharat Chandra for his opinion. 

The result was that highly impressed Sharat Chandra strongly insisted upon including these songs in the film. ‘Pronunciation doesn’t matter’ he said, ‘These songs are being sung at the ‘Kothi’ where different people from different regions come. It will be relevant, therefore, in case pronunciations are not correct !’ 

These songs became so popular that they were being heard and sung in each and every Bengali house. 

Sep 8 Sujoy :

Saigal saab's Bengali was very sweet.If you follow his Rabindrasangeet (songs from Tagore) you will really enjoy the Punjabi twang in his rendition...It made the songs even sweeter. The same twang I used to find when my Punjabi friend used to speak in Bengali 

Sep 11 HARSHAD :

On such background Barua decided to give leading role to Saigal and opted himself to play the supporting role. Jamuna and Rajkumari were to play Paro and Chandramukhi respectively. 

Many young and genius artists were given an opportunity for the first time. Kidar Sharma was appointed to write lyrics and as well as screenplay. Timir Baran Bhattacharyaji (who was the disciple of Ustad Allauddin Khan and the senior Gurubandhu of Ravi Shankar and Ali Akbar Khan) was selected as a musician. On camera, the assistant of Nitin Bose called Bimal Roy was appointed. 

Sep 11 HARSHAD :

This team of amateur and enthusiastic artists made a history. Critics certified that it was not a film, but was a live poem that was presented on the screen by Barua and Saigal was a completely fit Devdas. 

Young generation started imitating this tragic hero and a few incidences of suicides were recorded. Those who were little optimistic, were inspired to imitate Saigal and among those were 10-12 years old Talat Mahmood, Mukesh, Mohamed Rafi and Hemant Kumar (and later on Kishore Kumar and Manna Dey).

As mentioned by Lata Mangeshkar’s uncle Kamalnath, Lata forced her father to buy the gramophone record of Saigal’s Devdas songs. She would then continuously listen and imitate them throughout the day. 

Sep 11 HARSHAD :

K.C.Dey and Rajkumari had good solo songs but they proved to be ineffective against Saigal songs. All the below-mentioned three Saigal songs were enormously hit : 

‘Balam Aye Baso More Man Me’
‘Dukh Ke Ab Din Bitata Nahi’
‘Piya Bin Nahi Avat Chain’

The last song was originally a thumri being sung by Ustad Abdul Karim Khan sahab. When he came to know that somebody has sung this thumri in a movie with magnificent performance, he could not stop himself going to the theatre and watching the movie. 

During his 63 years of life till that day this was the first (and only) movie he watched. Needless to say, he was highly moved with the pity expressed and great skill performed by the singer and he literarily wept in the theatre. 

He then contacted Saigal and met him personally. With tearful eyes he heard Saigal singing the thumri and made him to sing again and again. 

Thus Devdas helped Saigal to become a hero not just of masses but of highly respected artists and experts too. first 

Sep 12 Suhas :

I have read somewhere that, according to Kidar Sharma, it was Saigal who set the tunes of those famous numbers from Devdas, Balam aaye baso more man mein and Dukh ke ab din bitat nahin. He is also believed to have composed most of his non-film music. 

At the time the songs of Devdas were being filmed, Saigal had a sore throat. The sequences were postponed but the affliction persisted. Finally, Saigal rendered the numbers in a soft, crooning tone. 

Sep 12 Suhas :

Saigal used to participate in classical music concerts, before his film career began, but unfortunately, those have never been either documented or recorded, and hence are lost to history. 

In 1935, when Saigal was uncrowned king of the screen, had come from Calcutta to sing at Allahabad Music Conference. At the end of his performance, Saigal received a standing ovation which lasted several minutes. It was impossible for any other artist to perform that evening after Saigal's tremendous success. 

Saigal would often hold mehfils at home. If anyone complimented his singing, he would laugh it away, "Kairah koi sher mar laya, ik geet ee gaya na chhad yaar...". 

Sep 12 HARSHAD :

Yes Suhas ! In the Allahabad conference Saigal had to appeal the listeners not to insult the 'Buzurgs' who were present there. 'I highly respect them and I am nothing as compare to them !' he said. Thereafter Listeners allowed others to perform. 

Sep 12 NITISH SINHA :

SAIYYAn(later PIYA) BIN NAHI AAWAT CHAIN was indeed one of the first (if not the first!) recorded song ever in India. The GREAT MAUJUDDIN KHAN of Benaras and later Calcutta, recorded this thumri somewhere between 1902-1906 for TWIN COMPANY. 

MAUJUDDIN KHAN is known as one of the best thumri singer ever and a lot of myth is related to himself. Another thumri maestro, FAIYYAJ KHAN SAHAB once left his singing by hearing the unparellal singing of him and started again only after repeated friend’s request! 

KHAN SAHAB ABDUL KARIM KHAN was much influenced by Maujuddin khan’s singing. Later he recorded the same thumri which in turn influences our SEHGAL SAHAB! 

Oct 31 (6 days ago) NITISH SINHA : 

Harshad Bhai 

please continue...I am missing yourself. 

---------------------