There is no denial that the Hindi film industry has played a pivotal role in popularizing Hindustani classical music. The crown for this commendable feat goes deservedly to the wizard of Hindi film music director, Naushad Ali. Glamsham.Com pays humble homage to this legendary music giant on his death anniversary.
Naushad pioneered Hindustani classical music with his musical classic BAIJU BAWRA in the 50’s. But it was no cakewalk because Bollywood music and classical Hindustani music are two diverse arts hence to amalgamate the two was a difficult task.
Naushad in an interview said, ”I remember vividly the film’s producer, Vijay Bhatt was clear in his mind that he wished to make a commercial film. However, I insisted on incorporating pure Indian classical music as the subject demanded so. Initially reluctant, he later gave the green signal after he heard my compositions. Yet the ride was not smooth as time and again the ‘so-called’ well-wisher of Bhatt sahab kept scaring him by predicting a gloomy fate for his film. Fortunately, Bhatt sahab had complete faith in me.”
He continues, ”However when I demanded to hire the services of the two renowned raga maestros Ustad Amir Khan and Pandit DV Paluskar, to sing the climax jugalbandis between Tansen (played by Surendra) and Baiju (Bharat Bhushan) Bhatt sahab was totally against my decision and for days we were not on talking terms but when he heard the final composition he had tears in eyes.”
Bhatt sahab‘s gamble paid off as BAIJU BAWRA proved a big commercial success throughout the nation. All the songs based on various classical ragas were super hit. Remember; ‘O duniya ke rakhwale ‘,‘Man tarpat hari darshan ko aaj’, ‘Mohe bhool gaye sanwariya ‘, etc.
Applauding the film’s music, a leading newspaper of India in its review, had written; ‘The music of the film is absolutely astonishing. It is entirely different from the kind of music Hindi films have ever produced. Different ragas have been used for different situations. And what’s amazing, they have been smartly woven in popular format and yet the purity of the ragas is maintained to their greatest possible extent.’