Suraiya: The Last Singing Star

January 31, 2012

A tribute on her death anniversary January 31

SuraiyaAside from Lata Mangeshkar Suraiya is among my top favourite female singers. She debuted as a child artiste in 1942 (film Sharda). Within three years she rose to become one of the top singing stars acting opposite the greatest legend KL Saigal in 3 films. Within the next three years her beauty, singing and romantic pairing with Dev Anand both on-screen and off-screen became a national craze.

Her voice had none of the roughness and sharpness characteristic of the style of 40s. Her singing was rounded, smooth and extremely melodious. She belonged to the 40s, she belonged to 50s and 60s, and you hear her today, she does not sound dated. There is something timeless about her singing. Therefore, I was surprised to read many accounts that she was herself quite dismissive about her singing abilities – that it was her good looks that made her a star and it was great composers who created melodious and simple tunes which even an unaccomplished singer like her could sing. In early fifties she was also contemplating that Lata Mangeshkar could give playback for her, which the music directors wisely rejected. Whether she was a trained singer or not, for me she is one of the most melodious and delightful singers.

The end of her relationship with Dev Anand because of family pressure and Lata Mangeshkar emerging as the dominant voice made her gradually withdraw from films; from mid-60s she became a complete recluse and out of public sight. Dev Anand even at the age of 80 remembered the unfulfilled love affair with deep sadness. But he moved on with life, raised a family and remained active til the very end. Suraiya suffered her pain within herself and died a lonely death on January 31, 2004. My last post was on KL Saigal whose death anniversary falls on January 18. Suraiya was his last heroine, and the last and one of the greatest singing stars of Hindi films. I pay my tribute to her with my favourite songs of her second phase -50s and 60s. I would write about her vintage period sometime later.

1. Manmor hua matwala from Afsar (1950), lyrics Narendra Sharma, music SD Burman

Based on Gogol’s Inspector General, this Dev Anand-Suraiya starrer had two great Suraiya songs composed by SDB. It is difficult choice between two outstanding songs Nain diwane and Manmor. Manmor hua matwala has a haunting feel about it with elongated Manmor sounding like an echo and beautiful flute piece.

2. Ae shama tu bata from Dastan (1950), lyrics Shakeel Badayuni music Naushad

AR Kardar – Naushad combination is unusual for Raj Kapoor. This film has great music with 9 songs by Suraiya (solos and duets). With such a treasure it is difficult to choose one, but Ae shama tu bata is incredibly beautiful and has excellent picturisation. The story seems to be a replay of Andaz (1949), with now Suraiya on the piano, with ambiguity between the two lovers Suresh and Raj Kapoor. I find that aside from his Charlie Chaplin act, Raj Kapoor is master of such scenes of ambiguous relationships.

3. Koi dil mein samaya chupke chupke from Kamal Ke Phool (1950), lyrics Rajendra Krishna, music Shyam Sundar

This is a virtually unknown film, the other cast being names like Amarnath, Raj Mehra etc. But Shyam Sundar was a highly respected composer of his time. And with Suraiya he creates a masterpiece, though not so well known.

4. Majboor hun main nashad hun main from Shaan (1950), lyrics Rajendra Krishna, music Hansraj Bahal

Does this song reflect the anguish in her personal life? A beautiful, but less heard song.

5. Raste pe hum khade hain dil beqarar lekar from Rajput (1951), lyrics Kaif Irfani, music Hansraj Bahal

Suraiya again in her sweet voice expressing pathos, composed by one of the great composers of early 50’s.

6. Raton ki neend chheen li ankhon ke intezaar ne from Shokhiyan (1951), lyrics Kidar Sharma, music Jamal Sen

An unhard melody by a virtually unknown composer, but this song can easily rank among Siraiya’s sweetest song.

7. Meri zindagi mein tum kyun aye from Goonj (1952), lyrics DN Madhok, music Shardul Qwatra

Many songs of the period have become poignant because of the sadness in her personal life.  As this extremely beautiful song carrying Punjabi folk style shows, Shardul Qwatra, one of the forgotten composers, deserves greater recognition.  I hope to write a post on him on my blog at an opportune time.

8. Mora nazuk badan from Deewana (1952), lyrics Shakeel Badayuni, music Naushad

Suraiya in a tantalising bath towel.

9. Nigahein kyun milayi thi agar yun hi chhod jana tha from Laal Kunwar (1952), lyrics Sahir Ludhiyanvi, music SD Burman

We keep on getting poignant songs as if she was expressing her inner feelings.

10. Parwanon se preet seekh le from Bilwamangal (1954), lyrics DN Madhok, music Bulo C Rani

One of all time favourites of Suraiya.

11. Rahiye ab aisi jagah chalkar jahan koi na ho from Mirza Ghalib (1954), lyrics Ghalib, music Ghulam Mohammad

Mirza Ghalib was a landmark film of her career for her sensitive acting and beautiful singing. The film won National Award for the best film. After KL Saigal, her rendering of Ghalib was recognised as a masterpiece. When she gave good songs in a movie, it did not come in one or two’s, the songs poured. Mirza Ghalib was one such movie. Among her many outstanding songs the poignant Rahiye ab aisi jagah chalkar jahan koi na ho also refleceted her own personal life in which she had withdrawn from the outside world.

12. Mera dildar na milaya from Shama Parwana (1954), lyrics Majrooh Sultanpuri, music, Husnlal Bhagatram

This is a twin song, its twin version sung by Mohammad Rafi. Suraiya is so sweet that this is one of the exceptions to my rule that male versions are better in twin songs. Shama Parwana has Shammi Kapoor in the lead role in one of his earlier films as a staid hero in moustache, before his transformation into the rebel hero we know.

13. Taron ki nagri se chanda ne from Waris (1954), lyrics Qamar Jalalabadi, music Anil Biswas

The most famous song from this film is Rahi matwale which has many versions. But this less heard lullaby should rank among the sweetest.

14. Mast ankhon mein shararat kabhi aisi to na thi from Shama (1961), lyrics Kaifi Azmi, music Ghulam Mohammad

While doing this post I felt like breaking my rule of taking not more than one song from a film,several times. Shama presents the same dilemma. How do you choose between this and Apse pyar hua jata hai or Dhadakte dil ki tamannaon mera pyar ho tum? . There is just no rule to choose one from so many equally beautiful songs.  Do we care that she was untrained in music?

15. Ye kaisi ajab dastan ho gayi hai from Rustam Sohrab (1963), lyrics Qamar Jalalabadi, music Sajjad Hussain

Rustam Sohrab was her last film composed by the maverick and temperamental genius Sajjad Hussain.  He was known for not being able to maintain good relations with anyone in the industry. This also affected his output, but not his quality. And what stunning music he creates with Suraiya in her swan song.  One feels sad just to imagine how much talent was left in her when she decided to withdraw from scene.

{ 39 comments… read them below or add one }

1 dustedoff January 31, 2012 at 12:14 pm

Very informative post, AK. Thank you. I like Suraiya a lot – her voice had a lovely sweetness without being shrill. I must confess I’d not heard most of the songs on your list (except the ones from Mirza Ghalib, Shama Parwana and Rustom Sohrab), so am listening to the songs as I surf the Net…

And here’s my favourite Suraiya song, Aah ko chaahiye, from Mirza Ghalib. She’s superb here, I think.

http://www.youtube.com/watch?v=0Im2JDRUTWQ

2 Ashok Vaishnav January 31, 2012 at 2:00 pm

How true the lyrics of her Rustom Sohrab eopchal Sajjad Hussain song has turned out – Yeh Kaisi Ajab Datan Ho Gayee.. Chhupate chhupate bayan Ho gayee.
I do not see any of her songs with Anil Biswas here. I wonder, why?
Suraiya’s singing and songs canbe studied and listened from several perspectives – like her duets, her style with a particular music directors,comparison of her songs during the concurrent Noor Jahan or Lata eras etc.

3 Arun kumar Deshmukh January 31, 2012 at 2:11 pm

AK ji,
A real musical treat indeed.
Thanks.
-AD

4 AK January 31, 2012 at 11:00 pm

@dustedoff
I am sure you would love all the songs. I also heard 3-4 songs for the first time while researching for my post. Just shows how much treasure we have yet to be discovered. Ah ko chahiye is a gem, as is virtually every song of Mirza Ghalib. My special favourite is Nukta cheen hai gham-e-dil. I decided to take only one song from a film. I think I should not have this restriction when I do her pre-50 songs.

@Ashok Vaishnav
You are spot on about Ye kaisi ajab dastan ho gayi hai. Serial 13 from Waris is an Anil Biswas song. When I do her pre-50 songs, I guess we would have more of Anil Biswas. One of my topmost Suraiya favourites is Door papiha bola from Gajre (1948), an Anil Biswas composition. I had titled one of my earliest posts Door Papiha Bola on this song. Though I should mention the composers who gave the most number of outstanding songs for Suraiya were Husnlal Bhagatram , Ghulam Mohammad and Naushad.

@Arunkumar Deshmukh
Thanks for your compliments.

5 Ashok Vaishnav February 1, 2012 at 10:35 am

@AK,
I am sorry I missed This Anil Biswas number.

Ghulam Mohammad, himself could not unfortunately get the quantum of popular recognition that he desreved, but he has ceratinly added an ever lasting qualitative domension to film music, particularly by his adroit usage of singers like Suraiya, Suman Kalyanpur etc.

6 dustedoff February 1, 2012 at 11:26 am

@AK: Yes, Nuktacheen hai gham-e-dil is another brilliant song. My only contention with that – and it’s not Suraiya’s fault- is the pause at the wrong place (“Nuktacheen hai gham-e-dil” is sung, then the pause comes, and then “usko sunaaye na bane”, which distorts the meaning of the song – ever since my sister explained that to me, it rankles!!) But I still love the song.

7 Ashok Vaishnav February 1, 2012 at 12:51 pm

@ DustedOff
An intersting information.
For the sake of my undersatnding, if there would have been no pose after gham-e-dil, the sentence would have meant that there is no point in Nuktacheen [discussions?] of the sorrow of the heart communicating to ‘usko’ , whereas as a result of the pose would it now mean that what a pity that one can not communicate the gham-e-dil to usko!

8 AK February 1, 2012 at 2:48 pm

@dustedoff:
I don’t see the point. All versions of Nukta cheen hai gham-e-dil have pause at the same point. I would be grateful if you could elaborate what ought to be the right place for the pause and how does the meaning change.

On misplaced pause, you would find Layi hayat aye kaza le chali chale by KL Saigal interesting. Here the pause at the wrong place is very pronounced. The correct pause should be:

लाई हयात आये
कज़ा ले चली चले

Instead Saigal sings as follows:

लाई हयात आये कज़ा
ले चली चले

I believe this could be because of the tune or metering. Or was it some creative interpretation?

Layi hayat aye kaza le chali chale by KL Saigal, lyrics Zauq

9 Arunkumar Deshmukh February 1, 2012 at 5:33 pm

AK ji and Dusted off ji,
Both the singers,Suraiya and KLS sang this gazal for a film,in a film.The constraints of fitting words and pauses perhaps had to be compromised due to metering,tuning and other factors.
The right pause should be after the word hai and then the words ‘gham e dil usko sunayen’ etc should come,only then the correct meaning would come out.
This sort of filmi constraint is not there when this gazal is sung by other singers in a mushayara or you can listen to the gazal sung by Jaddanbai,which is available on you tube.
This is my humble observation,though I am not an expert.
-Arunkumar Deshmukh

10 AK February 1, 2012 at 7:14 pm

@Arunkumar Deshmukhji
First of all thanks a lot for introducing us to Jaddanbai’s Nukta cheen hai gham-e-dil. It is a real gem. I believe she is the same as the mother of Nargis? Her version has the same tune as KL Saigal’s (i.e. Pankaj Mullick’s tune from Yahudi Ki Ladki). I do not know which came first, but I heard again and again. The pause still seems to me after gham-e-dil, and not after hai.

Nukta cheen hai gham-e-dil by Jaddan Bai

11 Arunkumar Deshmukh February 1, 2012 at 8:12 pm

AK ji,
Yes,she IS the mother of Nargis.
The pause is after hai, but a short one making the other pause seem bigger.
-AD

12 harvey February 1, 2012 at 8:39 pm

Suraiya, a great Artist!
Love her voice! A pity that she didn’t sing for other actresses. I think the only song, which she gave playback for other actress was for Nimmi in Shama in the song dhadakte dil ki tamanao mera pyar ho tum. The song is picturised on both Suraiya and Nimmi

Dhadakate dil ki tamannaon mera pyar ho tum by Suraiya from Shama

Thanks also to dustedoff, ashokji and Arunkumarji for the discussion on Nukta cheen hai gham-e-dil!

13 harvey February 2, 2012 at 3:22 am

But I think in the starting phase of her career she must have given playback. It is said she was in her early teens when she recorded her first song and that she couldn’t even reach the mike. Thus, I think she must have sung for somebody else. Maybe somebody knows which song she sang first.

14 AK February 2, 2012 at 9:50 am

@harvey:
You are right. When she sang her first song Panchhi ja in the film Sharda (1942), music Naushad, she had to be put on a stool. She sang for the actress Mehtab. I have not been able to locate its video. But here is its audio. It was very keen observation on your part to have pointed out her playback for Nimmi.

Panchhi ja by Suraiya from Sharda

15 dustedoff February 2, 2012 at 11:06 am

A lot of discussion has been happening while I’ve been away, but I see that Arunji has already answered the question – the pause should come after “hai”. “Nuktacheen hai” means “He (or she) is indifferent” – which is the prelude to why “gham-e-dil usko sunaaye na bane”. So, having the pause after “gham-e-dil” changes the whole meaning – it seems to suggest that the ‘gham-e-dil’ is indifferent.

But let’s forget that and enjoy the singing and the music for what it is. Perfect. :-)

16 Richard S. February 3, 2012 at 1:24 pm

All beautiful songs. I love Suraiya too!

Regarding the early songs in which she did playback, I particularly like the ones in Sanjog (1943), in which she sang for Mehtab, the actress who would later become Sohrab Modi’s wife…

I also wanted to mention one Suraiya song that I’ve listened to many times, “Bigdi Banane Wale” from Bari Bahen:

And by the way, here is an interesting blogging coincidence: The comment and discussion about Jaddan Bai appeared here on Feb. 1, and I had written a post about her, which included that same ghazal, a few days earlier, on January 27:

http://roughinhere.wordpress.com/2012/01/27/more-about-mantos-book-and-jaddan-bai/

17 AK February 3, 2012 at 3:15 pm

@Richard S
Mehtab’s video is a real treat. Badi Bahan (as also Pyar Ki Jeet)’s all the songs, composed by Husnlal Bhagatram, are of eternal beauty. I was planning to cover pre-50 songs later, when I would have included these songs.

The discussion on Jaddanbai about the same time is an amazing coincidence. I remeber at least two more occasions when we independently covered similar themes, people or songs. I can see the reason very clearly. We have fascination for similar things – 1940′s, Naushad, Vintage female singers etc. After your comments, I visited your site. As usual you are too good. Plan to go back at leisure.

18 dustedoff February 4, 2012 at 5:22 pm

@ AK: I had to share this with you… today, I was giving an interview about my latest book on Chennai Live 104.8 FM – there’s a programme where they interview authors. At the end, they sprang a surprise: “Please sing something – any language, anything – that has some sort of connection to your book!”

Guess what I sang? Nuktacheen hai gham-e-dil. It was the first song that came to mind, and which had a connection to Mughal Delhi. :-)

19 AK February 5, 2012 at 1:59 pm

@dustedoff:
This is great! I did not know you were also a singer. Since they asked you to sing, I am sure if your singing is half as good as your writing, it would be fantastic. Curious to know which version you chose – Suraiya or Saigal’s, they representing the two well known and distinct styles. When do we see it on YouTube?
PS.. Did you pause at the right place! : )

20 dustedoff February 5, 2012 at 6:10 pm

Oh, I don’t sing that well! This was just a feature of the programme – they always interview writers, and apparently at the end of the programme, they always ask the writer to sing something that is somehow connected to their writing. So I guess they don’t really bother about whether or not the person in question can carry a tune or not. ;-)

I sang only the first line of the Suraiya rendition. Didn’t change the pause, either, because that’s how the music IS.

21 Arun kumar Deshmukh February 5, 2012 at 8:00 pm

Dusted off ji,
very interesting.Would love to hear your singing.
And yes, forget the pause,as you already said,let us enjoy the music as it is.
-AD

22 Subodh Agrawal February 11, 2012 at 7:53 pm

I have been off this wonderful blog for sometime, and AK – you are to blame! You motivated me to do that article on classical songs, and since then I have been on a classical music trip. I have hardly heard any film music in the last two months.

Couldn’t think of a better post to find on my return. Suraiya is without doubt one of the greatest singers we had. Her voice had a ‘khanak’ that went straight to the heart. I am not familiar with most of the songs posted by you and look forward to playing them at leisure. Right now I am travelling and my mobile internet connection is not good enough to play the songs.

This morning I was thinking of an idea for a post: the ten best ‘inspired’ songs. The difference between inspired and copycat is something extra that the composer and singer bring to the copy. One certain entry in that list would be Suraiya’s ‘Nain diwane, ik nahin mane,’ which is inspired by ‘Shedin dujone, dulechhinu bone’ from Rabindra Sangeet. SD Burman has used the tune of the original without any change, he has simply increased the tempo. Suraiya has used the magic of her voice to lend the song a teasing, lilting quality which is quite different from the original.

While on the subject of inspiration and Rabindra Sangeet, I recall a TV interview of Anil Biswas on this question. The interviewer asked him to respond to the allegation that he copied from Rabindra Sangeet and Folk music. He said yes, he had the right to use them as they were part of his heritage. ‘Baap ki kamaai kha raha hoon, kisi ko kya aitraaz ho sakta hai!’

23 AK February 12, 2012 at 10:04 pm

@Subodh Agrawal
Welcome back. We are looking forward to your guest articles now. You are so right about Nain diwane and Shedin dujone. ‘Inspired songs’ surely sounds promising for a post.

24 Ashwini April 18, 2012 at 7:35 am

Nice informative post. Suraiyya is really an evergreen actress-singer.

25 Kantimohan Sharma October 8, 2012 at 7:45 am

To the best of my knowledge, nuqtacheen means ‘critical’. There is no point of telling hale-dil to a person who is critical and not sympathetic to the person who bares his heart. The critic would invariably find fault with the teller and would fail to appreciate the pain of the heart or ghame-dil. To understand the pain of the heart one needs lot of empathy and not critical faculty. Or else, the rendering is pointless and will not meet the desired result, baat ban hi naheen sakti.

26 jignesh kotadia February 14, 2013 at 4:02 pm

this is my tribute to Suraiya’s everlasting, unbroken love for Dev on the occasiön of VALENTINE’S DAY. Suraiya had not just sung this song but lived it.

‘tum meet mere tum pran mere’ (jeet_49_suraiya_anilda)
http://www.youtube.com/watch?v=7fQ-m94bCOc

27 jignesh kotadia February 14, 2013 at 4:04 pm

Happy Valentine Day to SoY family:

28 AK February 15, 2013 at 2:31 pm

Jignesh,
Thanks a lot for your nice genture. Many SoY members might have felt they are well beyond Valentine Day had it not been for some recent commercials which can be paraphrased “Valentine Day ko kya pata hai tumhari umra kya hai?”

29 n.venkataraman February 15, 2013 at 8:28 pm

Thank Jignesh. We too enjoy your comments and company.

30 mumbaikar8 February 15, 2013 at 8:49 pm

@ Jignesh,

What a wonderful thought.
Aaj Suraiya ki ruh bhi khoosh ho gayi hogi, apke khayal se.

And I too believe Valentine day manane ki koi umar nahin hoti
uske liye to sirf dil me pyaar chahiye.

31 jignesh kotadia February 15, 2013 at 11:48 pm

thanks Akji, Venkatramanji, Mumbaikarji. I m also not fond of this day, and also not against it. But i m furious to those certain ‘card’ making companies who brought this ‘day’ in india and strongly promoted it as only lover’s day and targeted the youngsters to gain higher sales.
This day is for all kind of heartly relations..like i have 4 u ppl.

32 ksbhatia March 28, 2014 at 11:30 pm

AK’ji , Besides great solos Suraiya also sang some beautiful duets and my favorites are ……..” Zalim zamaana mujh ko yeh din dikha raha hai ” with Shyam……..”Kyun uneh dil diya haai yeh kya kiya ” with Surender……and….. “Tara ri tara ri Tara ri ” with Rafi . Be it solo or duets I think Naushad gave some superlative hits . Equally good were Gulam Mohd and Husanlal Bhagatram .

33 AK March 29, 2014 at 8:39 am

KS Bhatia,
Beautiful songs all. One small detail. Kyun unhe dil diya – the female voice with Surendra is Shamshad Begum.

34 ksbhatia March 29, 2014 at 3:48 pm

Thanks AK , my mistake .The two duets are so beautiful some times one fails to diiferentiate the singers when one is fully lost in its magical melody.

35 Hans July 5, 2014 at 1:56 am

AK,

You say she wanted Lata to give playback and then say she withdrew from films because Lata emerged as the dominant voice. Are these two statements not contradictory. Otherwise also this implies that she was a playback singer, which was not the case. She was not competing with any of the playback singers either pre-Lata or post-Lata. It was Shamshad who was dominant earlier, then Geeta joined her and Later Lata started dominating. Suraiyya was first and foremost an actress who excelled in singing to such an extent that people started rating her better than the regular playback singers.

36 Hans July 5, 2014 at 2:08 am

Dastaan was not based on or similar to Andaz. It had quite a different storyline than Andaz. Suraiyya was pitted against three lovers, Raj Kapoor, Suresh and Al Nasir. Veena is the stone-hearted elder sister of Al Nasir and Raj and Suraiyya was orphaned and brought up by their father. Al Nasir is elder than Raj and loves her silently. Suresh is a friend. In this film Shakeela played the childhood role of the elder sister.

37 Hans July 5, 2014 at 2:35 am

Another point on which I wanted to say something was about the Ghalib ghazal ‘nuktacheen hai ghame dil’.

Ghalib was a very complex shayar and to interpret his ghazals is no easy task. He quite correctly told the world ‘ghalib ka hai andaze bayan aur’. In my view Dusted off and others are wide off the mark when they say that there should be a pause after ‘hai’. First of all one thing should be remembered that those who composed for Ghalib ghazals had a deep knowledge of urdu because they intensely studied that language, that era being urdu era. We cannot compete with or replace their knowledge.

My father was along with Saigal and Suraiyya an ardent fan of Ghalib. He could talk about Ghalib endlessly. He was an urdu scholar also. He was very fond of urdu language and always encouraged me to learn it and later on frequently chided me that I was not taking interest in it. Whenever Ghalib was discussed, I used to ask meanings of his Ghazals. ‘Nuktacheen hai’ is such a famous ghazal of his, and I discussed it also with him. Initially I also thought like Dusted off. But my father told me that Ghalib here is talking about the ‘ghame dil’ being ‘nuktacheen’ and not about the lover. The sad heart is critical of his lack of proper efforts to convince the lover. Here all the conversation of Ghalib is with his ‘ghame dil’ or sadness of heart. When I tried to think on these lines, I understood. I am sure, you people would also come to the same conclusion on rethinking.

The problem lies in the modern translators who dont understand the intricacies of the ghazal, let alone ghazal of Ghalib. Sometimes a person like me with such a deficient knowledge of urdu laughs at their translation. So I would request Ghalib lovers to get hold of some very old ‘deewan’ of Ghalib or consult some real urdu scholar.

38 AK July 7, 2014 at 5:37 pm

Hans,
Thanks a lot for your comments.

#35: Is there really a contradiction in Suraiya’s reluctance and Lata Mangeshkar being the dominant playback singer? Her personal situation had a lot to do with how she viewed her career 50s onwards. She started as a playback for Mehtaab; Noorjehan, who started as an actor-singer, had an active playback career in Pakistan, when her acting roles dwindled. There is no reason why Suraiya could also not have a playback career.

#36: Yes, I was off the mark in speculating the theme of Dastaan based on the video of the song, as I discovered later after watching the film.

#37: Nukta-cheen hai gham-e-dil – The way you describe your father’s explanation makes perfect sense. Both Suraiya and Saigal pause after gham-e-dil, so this is the logical meaning. If you presume Ghalib intended pause after ‘hai’, and the MDs/singers have for the purpose of tune gave the pause after gham-e-dil, you get into all sorts of contortions for finding the ‘correct’ meaning. Thanks for initiating this interesting discussion.

39 Hans July 7, 2014 at 9:06 pm

AK,

I have never said there is contradiction between Suraiyya’s reluctance and Lata’s dominance. Please read my post again.

I have no disagreement with your statement that her personal situation was the reason for her career taking the turn that it took. But, you are giving Lata’s dominance as playback singer as one of the reasons for her withdrawing from films, which is not true in my view and I am conveying only my view and not claiming that my view is the correct one. I have already said that Suraiyya was not affected by who was the dominant singer because she did not deem herself a playback singer.

Suraiyya gave playback only for Naushad. Initially she gave playback as a child artist when she was not given acting roles. Later on when she was established as actress, she never did playback. Using of her song in Shama for Nimmi was perhaps done without her consent.

What Noorjehan did is hardly relevant, because she was a different person placed in a different situation. Suraiyya passed her whole life on her teenage passion and suppressed her love for the sake of her nani, while Noorjehan divorced her husband after having 3 children, had various affairs and then had 2nd marriage which also was dissolved after 3 more children. Your assumption that Suraiyya might have given playback like Noorjehan, is just based on speculation.

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