Noor Jehan

Noor Jehan in 1946 film Humjoli

Noor Jehan began to sing at the age of six and showed a keen interest in a range of styles, including traditional folk and popular theatre.[17][18][19] Realising her potential for singing, her father sent her to receive early training in classical singing under Ustad Ghulam Mohammad.[20][18][19] She started her training aged 11 at Calcutta and instructed her in the traditions of the Patiala Gharana of Hindustani classical music and the classical forms of thumri, dhrupad, and khyal.[18][19]

At the age of nine, Noor Jehan drew the attention of Punjabi musician Ghulam Ahmed Chishti, who would later introduce her to the stage in Lahore.[18] He composed some ghazals, na`ats and folk songs for her to perform, although she was keener on breaking into acting or playback singing.[18] Once her vocational training finished, Jehan pursued a career in singing alongside her sister in Lahore, and would usually take part in the live song and dance performances prior to screenings of films in cinemas.[14]

Theatre owner Diwan Sardari Lal took the small girl to Calcutta in the early 1930s and the entire family moved to Calcutta in hopes of developing the movie careers of Allah Wasai and her older sisters, Eiden Bai and Haider Bandi.[18] Mukhtar Begum (not to be confused with actress Sabiha Khanum) encouraged the sisters to join film companies and recommended them to various producers.[18] She also recommended them to her husband, Agha Hashar Kashmiri, who owned a maidan theatre (a tented theatre to accommodate large audiences).[18] It was here that Wasai received the stage name, Baby Noor Jehan.[18] Her older sisters were offered jobs with one of the Seth Sukh Karnani companies, Indira Movietone and they went on to be known as the Punjab Mail.[15]

In 1935, K.D. Mehra directed the Punjabi movie Pind di Kuri in which Noor Jehan acted along with her sisters and sang the Punjabi song "Langh aja patan chanaan da o yaar", which became her earliest hit.[18] She then acted in a film called Missar Ka Sitara (1936) by the same company and sang in it for music composer Damodar Sharma. Jehan also played the child role of Heer in the film Heer-Sayyal (1937).[18] One of her popular songs from that period "Shala jawaniyan maney" is from Dalsukh Pancholi's Punjabi film Gul Bakawli (1939).[18] All these Punjabi movies were made in Calcutta.[18] After a few years in Calcutta, Jehan returned to Lahore in 1938. In 1939, renowned music director Ghulam Haider composed songs for Jehan which led to her early popularity, and he thus became her early mentor.[18]

In 1942, she played the main lead opposite Pran in Khandaan (1942).[18] It was her first role as an adult, and the film was a major success.[18] The success of Khandaan saw her shifting to Bombay, with the director Syed Shaukat Hussain Rizvi.[18] She shared melodies with Shanta Apte in Duhai (1943).[18] It was in this film that Jehan lent her voice for the second time, to another actress named Husn Bano.[18] She married Rizvi later the same year.[21] From 1945 to 1947 and her subsequent move to Pakistan, Noor Jehan was one of the biggest film actresses of the Indian Film Industry.[18] Her films: Badi Maa, Zeenat, Gaon Ki Gori (all 1945), Anmol Ghadi (1946), Mirza Sahiban (1947) and Jugnu (1947) were the top-grossing films of the years 1945 to 1947. Mirza Sahiban was her last film released in India in which she was paired opposite Trilok Kapoor, brother of Prithviraj Kapoor.[22]

In 1947, Rizvi and Jehan decided to move to Pakistan, upon the independence of the British Indian Empire, and had resulted in partition of India.[18] They left Bombay and settled in Karachi with their family.[18]

Three years after settling in Pakistan, Jehan starred in her first Pakistani film Chan Wey (1951), opposite Santosh Kumar, which was also her first Pakistani film as a heroine and playback singer. Shaukat Hussain Rizvi and Noor Jehan directed this film together, making Jehan Pakistan's first female director.[18] It became the highest-grossing film in Pakistan in 1951. Jehan's second film in Pakistan was Dupatta (1952) which was produced by Aslam Lodhi, directed by Sibtain Fazli and assisted by A. H. Rana as production manager.[18] Dupatta turned out to be an even bigger success than Chan Wey (1951).[18]

During 1953 and 1954, Jehan and Rizvi had problems and got divorced due to personal differences.[18] She kept custody of the three children from their marriage.[18] In 1959, she married another film actor, Ejaz Durrani, nine years her junior.[21] Durrani pressured her to give up acting,[21] and her last film as an actress/singer was Ghalib (1961).[18] This contributed to the strengthening of her iconic stature.[18] She gained another audience for herself.[18] Her rendition of Faiz Ahmed Faiz's "Mujhse Pehli Si Mohabbat Mere Mehboob Na Maang" is a unique example of tarranum, reciting poetry as a song with music of Rasheed Attre in the Pakistani film Qaidi (1962).[18] Jehan last acted in Baaji in 1963, though not in a leading role.[18]

Jehan bade farewell to film acting in 1963 after a career of 33 years (1930–1963).[18] The pressure of being a mother of six children and the demands of being a wife to another fellow film actor, forced her to give up her career.[18] Jehan made 14 films in Pakistan, ten in Urdu and four in Punjabi as a film actress.[18]

After quitting acting she took up playback singing.[18] She made her debut exclusively as a playback singer in 1960 with the film Salma.[18] Her first initial playback singing for a Pakistani film was for the 1951 film Chann Wey, for which she was the film director herself.[18] She received many awards, including the Pride of Performance in 1965 by the Pakistani Government.[18] She sang a large number of duets with Ahmed Rushdi, Mehdi Hassan, Masood Rana, Nusrat Fateh Ali Khan and Mujeeb Aalam.[18]

Jehan with singer Lata Mangeshkar[23]

She had an understanding and friendship with many singers of Asia, for example with Alam Lohar and many more.[18] Jehan made great efforts to attend the "Mehfils" (live concerts) of Ustad Salamat Ali Khan, Ustad Fateh Ali Khan, Ustad Nusrat Fateh Ali Khan and Roshan Ara Begum.[18] Lata Mangeshkar commented on Jehan's vocal range, that Jehan could sing as low and as high as she wanted, and that the quality of her voice always remained the same.[18] Singing was, for Jehan, not effortless but an emotionally and physically draining exercise.[24] In the 1990s, Jehan also sang for then débutante actresses Neeli and Reema.[18] For this very reason, Sabiha Khanum affectionately called her Sadabahar (evergreen). Her popularity was further boosted with her patriotic songs during the 1965 war between Pakistan and India.[18]

In 1971 Madam Noor Jehan visited Tokyo for the World Song Festival as a representative from Pakistan.[18]

Jehan visited India in 1982 to celebrate the Golden Jubilee of the Indian talkie movies, where she met Indian Prime Minister Indira Gandhi in New Delhi and was received by Dilip Kumar and Lata Mangeshkar in Bombay.[18] She met all her erstwhile heroes and costars, including Surendra, Pran, Suraiya, composer Naushad and others.[18] The website Women on Record stated: "Noor Jehan injected a degree of passion into her singing unmatched by anyone else. But she left for Pakistan".[24]

In 1991, Vanessa Redgrave invited her to perform at a fundraising event to benefit the children of the Middle East held at Royal Albert Hall London.[25] Lionel Richie, Bob Geldof, Madonna, Boy George, and Duran Duran were some of the performers at the star-studded event which was attended, amongst many others, by thespian John Gielgud, Nobel Prize-winning playwright Harold Pinter, and Oscar-winning actress Dame Peggy Ashcroft.[25] She has also sung "Saiyan Saadey Naal", a song of well-known Pakistani folk singer, songwriter and composer Akram Rahi for the film Dam Mast Kalander/Aalmi Gunday.[26]