Saigal-Page

Kundan Lal Saigal (1904-1947)

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

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Articles

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Voice that still enchants

By A.C. Tuli, Tribune, Chandigarh.

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TERSELY summing up Shakespeare's contribution to English literature, Ben Jonson, a contemporary of the bard, had said, "He is not of an age, but for all times." One wonders what would a music critic say about K.L. Saigal, whose songs, even after years of his death, are still fondly listened to by his countless admirers all over the Indian sub-continent and even abroad where Indians are settled? Would it not be apt to say that Saigal is not of an age, but for all times?

Of course, musical tastes since Saigal's time have undergone a sea change. Our teeny-boppers delight in jigging and swaying to loud and fast-paced pop and disco tunes. But cassettes of Saigal's songs can still be seen displayed in music shops, and those who watch `Sa Re Ga Ma' on Zee TV regularly must have observed that now and then a participant in the programme does try to sing a popular Saigal number. In fact, Saigal's rich voice still holds old-timers glued to their radio sets when a song of his is played by some AIR station.

Now what is so special about Saigal that his songs keep haunting us? Lata Mangeshkar has paid a rich tribute to this great singer by singing some of his well-known songs for her two "Shradhanjali" albums. Playback singer Sudesh Bhosle has recently brought out a cassette of Saigal songs in his own voice. According to the well- known music critic Raghava R. Menon, the music of Saigal was as simple and unpretentious as was his persona.

But that does not mean that Saigal's music lacks the sophistication of a deeply-studied art. In fact, Saigal was so dedicated to his singing that he rarely missed his daily `riyaaz'. In her autobiography, Kanan Devi, who was Saigal's co-star in many films, says Saigal would sit with a harmonium in a corner of the studio, rehearsing newly composed tunes for hours when he was not needed on the sets.

Saigal is generally considered to be a singer who was not very comfortable in the higher octaves. But this is a misconception. Saigal could use his tenor voice with telling effect in a number of songs even though his forte was soft, soothing tunes rendered in his inimitable baritone. Note these two songs: Mein kya janoo kya jadoo hai... and Diya jala, jaj mag, diya jala.... In the former his voice scales Everestian heights while in the latter his voice, rising from subterranean depths, attains the right pitch demanded by the grammar of the song.

Again, note the relaxed ease with which he sings, Panchhi kahe hot udaas... and the bubbling, high-strung joy with which he sings this Ghalib ghazal, Main unhen chhedu aur kuch na kahen... Saigal could vary the pitch and volume of his voice with surprising ease to suit the need of the "raga" in which a particular song was composed.

When Saigal came to Calcutta sometime in 1931, he was an untutored genius. In honing his musical talent to perfection, music directors R.C. Boral, Pankaj Mullick and Timir Baran played a vital role. His first few films were flops. Success, however, came with the release of "Chandidas" in 1934. The song "Suno suno re Krishan kala... from this film became a chartbuster of that year.

But it was "Devdas" (1935) that catapulted Saigal to the status of a top-ranking singer-hero. Two songs from this film, Balam aaye basso more man mein... and Dukh ke ab din beetat nahin...are considered to be the hallmark of his singing career.

Saigal shifted to Bombay in 1941. He worked in a number of films there. The ones that are remembered even today are "Tansen" "Bhagat Surdas", "Banwra", "Parwana", "Tadbeer" and "Shahjehan". Most of his songs from these films became very popular. But his health was failing. His addiction to alcohol had played havoc with his physique. And by the time he came to sing for Naushad in "Shahjehan", he was almost a physical wreck.

His song, Jab dil hi toot gaya... from "Shahjehan" became his swan- song. It is said that when he passed away on January 18, 1947, this song was played repeatedly by several AIR stations as his mortal remains were taken to the cremation ground.

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