And the SOY Award for the Best Male Singer goes to?
In KL Saigal’s active years, the Best Male Singer was generally a one-horse race. He has sung great songs in 1941, too, in the film Lagan. Yet he is not a runaway winner. Nay, I would say with Doctor (1941) in which Pankaj Mullick appears as an actor-singer and the music director, he came up with a score of a lifetime. With six immortal solos from this film which I have included in the Overview Post, Pankaj Mullick is by far the front-runner in 1941.
As I ran down the list of 71 Memorable Songs I counted 17 male solos divided among seven singers as follows:
| Serial # | Singer | No. of songs |
| 1. | Pankaj Mullick | 6 |
| 2. | KL Saigal | 5 |
| 3. | Ashok Kumar | 2 |
| 4. | Anil Biswas | 1 |
| 5. | GM Durrani | 1 |
| 6. | Mukesh | 1 |
| 7. | SD Burman | 1 |
| Total male solos | 17 |
Some songs from the above list were not known to me. I guess others may also find some songs unfamiliar. The list may appear narrow, but it is deceptive. Firstly, if you refer to the Overview Post, the ratio of male solos in the total population of ‘known’ songs of 1941 is 17%, whereas 17 male solos out of 71 are 23.94% which is significantly higher. That is due to Pankaj Mullick-KL Saigal factor.
It is interesting that Pankaj Mullick-KL Saigal are followed by Ashok Kumar. Not known to be a singer, but call it Saraswati Devi’s magic, his two songs from Jhoola – Na jaane kidhar aaj meri naav chali re, and Aaj Mausam salona salona re – have acquired everlasting fame.
Let me start with some special songs.
Special songs
1. Ek chatur naar kar kar singar by Ashok Kumar from Jhoola (1941), lyrics Pradeep, music Saraswati Devi
This is not listed as a song in HFGK nor have I included it among Memorable Songs. Yet it is a significant ‘song’ because RD Burman in Padosan (1968) gave it a complete makeover in the voices of Kishore Kumar and Manna Dey. Now you know its original source of inspiration. Ashok Kumar hums this tune as he shivers and takes shower.
2. Aaj mausam salona salona re by Ashok Kumar from Jhoola (1941), lyrics Pradeep, music Saraswati Devi
Both the songs by Ashok Kumar have long been my great favourites. Because of Pankaj Mullick-Saigal onslaught I am not able to include both in the main list of the best ten. Therefore, one has to find place in ‘Special songs’. Its picturisation is unique. Ashok Kumar is singing this song to his friends Mumtaz Ali and the latter’s girlfriend (?) who are reclining in a room in a relaxed mood. They too sing a line in the voices of, I believe, Arun Kumar and Rahmat Bano. But overall impact of the song is as a solo. Wonderful song.
3. Kiye ja sabka bhala kiye ja by Anil Biswas from (1941), lyrics Safdar ‘Aah’ Sitapuri, music Anil Biswas
Anil Biswas was the Bhishm Pitamah of Hindi film music, but I would not put him in the class of great singers, too, from Bengal, such as Pankaj Mullick, SD Burman and Hemant Kumar. But he did sing songs in his early films.
4. Kaise kate ratiyan baalam by KL Saigal from Lagan (1941), lyrics Arzoo Lakhanvi, music RC Boral
I had not heard this song/(half song) before. It is not listed in HFGK. This is an amazingly good song. The video shows Kanan Devi asking the impresario to listen to the record she is carrying. The man is very impressed.
https://www.youtube.com/watch?v=s0h2QvBlS2o
5. Prem ki pyari nishani jaag rahi by SD Burman from Taj Mahal (1941), music Madhulal Damodar Master
Though SD Burman has sung about 15 Hindi film songs in his long career, he has sung over 170 songs in all, including non-film and semi-classical songs in Hindi and Bengali. All his Hindi film songs happen to be masterpieces. Therefore, it is important to listen to his fist Hindi film song, which happened to be under the baton of another music director. SD Burman composed at least 150 of his songs himself. This historic song gives enough indication of Burman Da’s greatness as a singer.
6. Guzar gaya wo zamana kaisa by Pankaj Mullick from Doctor (1941), lyrics Arzoo Lakhnavi, music Pankaj Mullick
This song is in a pensive mood. The film had two lyricists: AH Shor and Arzoo Lakhnavi. The HFGK does not identify the lyricist, but the uploader has identified it as Arzoo Lakhanavi.
It is no surprise that the readers have chosen Pankaj Mullick as the best male singer and one or the other song of Doctor as the best male solo. Let me make a list of best ten male solos of the year which bear my preference.
Best songs
1. Aayi bahaar aaj, aayi bahaar by Pankaj Mullick from Doctor (1941), music Pankaj Mullick
This must be one of the earliest train songs. The idealistic doctor Pankaj Mullick on way to his rural assignment enjoys the view from the train.
2. Mahak rahi phulwari apni by Pankaj Mullick from Doctor (1981), music Pankaj Mullick
This song is my special favourite. Pankaj Mullick’s voice is ethereal. It has a long instrumental prelude characteristic of New Theatres.
3. Chale pawan ki chaal by Pankaj Mullick from Doctor (1941), music Pankaj Mullick
Arunkumar Deshmukh had no hesitation in picking this song as his best. Anup endorses it as one of his two best choices. Anita makes special mention of this songs as one of the earliest examples of sanchari in Hindi film music. She also draws attention to Pankaj Mullick in horse carriage enjoying the countryside on a road running parallel to the countryside. This is a companion song to Aayi bahaar aaj. After getting down at the station, Pankaj Mullick must have taken the horse carriage to go to his destination.
4. Kaahe ko raar machai by KL Saigal from Lagan (1941), lyrics Arzoo Lakhnavi, music RC Boral
This motivational song dissuading from quarrelling is very befitting in these days of toxic election campaigns. The uploader has mentioned DN Madhok as the lyricist which seems to be a mistake.
5. Aaj apni mehnaton ka by Pankaj Mullick from Doctor (1941), music Pankaj Mullick
Every song of Doctor was a gem. This one is a quintessential Pankaj Mullick song.
6. Kab tak nirash ki andhiyari by Pankaj Mullick from Doctor (1941), music Pankaj Mullick
This is a very interesting composition. Up to 1.50 the song is of despondence. Then there is a prose recital saying sunlight has broken out of clouds brightening the world. After this interregnum is followed by the song.
7. Hat gayi lo kaari ghata by KL Saigal from Lagan (1941), lyrics Arzoo Lakhnavi, music RC Boral
Interesting that on the same theme now KL Saigal sings this song from Lagan.
8. Bhayi jagat ujiyari by Pankaj Mullick from Doctor (1948), music Pankaj Mullick
Now the hospital is functional and patients are getting treatment. This gives immense satisfaction to Pankaj Mullick. This cheerful song expresses the feeling.
9. Na jaane kidhar aaj meri naav chali re by Ashok Kumar from Jhoola (1941), lyrics Kavi Pradeep, music Saraswati Devi
This is a delightful song with excellent picturisation. As Ashok Kumar agrees to his companion Mumtaz Ali’s exhortation to accompany him, he hums this song at first. Mumtaz Ali encourages him to sing it which would enliven the journey, and he himself takes out a flute to play. While Ashok Kumar sings, you see Leela Chitnis peeping from the window, it seems her heart has started fluttering, and she would indeed fall in love with him. At the end of the song, you see Mumtaz Ali and his to-be-betrothed dancing with a group. Now Ashok Kumar returns the favour by playing the dholak. I thank the uploader Sharad Patwa for this wonderful clip which encapsulates the film’s story.
10. Dil hi bujha hua ho to fasl-e-bahar kya by Mukesh from Nirdosh (1941), music Ashok Ghosh
I give one remaining slot to Mukesh for his debut song. He started as an actor-singer with Nalini Jaywant as the female lead in Nirdosh (1941). He sang two duets too with her in the film. I am surprised why Dil hi bujha ho to is not talked about more. I find it an excellent song worthy of being included in the main list of the best ten male solos of the year.
In conclusion,
The SOY Award for the Best Male Singer of 1941 goes to Pankaj Mullick for his songs from Doctor (1941).
Acknowledgement and Disclaimer
The song links have been embedded only for the listening pleasure of the readers. This blog has no commercial interests and does not claim or suggest any copyright over these songs which vest with the respective rights owners.
{ 7 comments… read them below or add one }
AKji,
The first wrap-up of 1941 has appeared fast, rather very fast. The songs of Saigal, Pankaj Mullick and even the lone song of S D Burman makes it a awesome list. Well, Pankaj Mullick was definitely the front runner. I will go with your choice, though my bias would have tilted preference in favor of Saigal. I am glad to find Mukesh’s debut song among the best ten.
Both Doctor and Lagan were from New Theatres’ stable and remake of the Bengali versions of Doctor and Parichay released earlier in 1940. Lagan was the fifth highest grosser in 1941, mainly due to songs of Saigal and Kanan Devi. The theme of Lagan was followed in Guru Dutt’s Pyasa and that of Doctor in Anand Ashram.
Thanks
Venkataramanji,
I am speeding up the scheduling of 1941 review to make room for Rafi celebrations, and some others that may come to mind. Between KL Saigal and Pankaj Mullick, Saigal was generally the front-runner. Mullick was graceful enough to accept this position and played a big role in promoting Saigal. But Doctor with so many gems does not leave any doubt. Thanks for the information about their Bengali originals and their downstream adaptations.
Wonderful selection of songs, as usual. I concur with you that Dil hi Bujha Hua ho truly deserves a spot in top 10, as it’s both beautifully sung (Mukesh) and composed (Ashok Ghosh).
The SD Burman song for MD Master was new for me. It’s a good song and acted as a nice bonus for me!
I also completely agree that Pankaj Mullick deserved the best Male Singer for the year 1941, as his work in Doctor is simply outstanding. My personal top 10 would have included 4 of his songs (including the top most position) and two of Saigal songs from Lagan in Hat Gayi Lo & Main Sote Bhaag in the top six, followed by Ashok Kumar’s Jhoola classic in Na Jane Kidhar. Mukesh’s Nirdosh number would have definitely taken up the next spot.
For the last two spots though, I would have made space for Ustad Jhande Khan’s Prem Hi Jaane Prem Ki Maaya and Siddheshwar Mukherjee’s Rut Aaye- both from Chitralekha. Both have sung these classical numbers with great ease and tremendous passion, and thus, in my opinion, deserved a spot in this list.
https://m.youtube.com/watch?v=x4-VDTiMB8U&pp=ygUQY2hpdHJhbGVraGEgMTk0MQ%3D%3D
https://m.youtube.com/watch?v=uvbzgQ7RsDw&pp=ygUQY2hpdHJhbGVraGEgMTk0MQ%3D%3D
But, overall your list is very good and as is expected from you, delivers big time.
P.S: A Special mention to Kantilal for his two solos in KP’s Pardesi. Both are truly nice numbers.
https://m.youtube.com/watch?v=nMTzcGn58MI&pp=ygUMUGFyZGVzaSAxOTQx
https://m.youtube.com/watch?v=YYWQVDG6q7E&pp=ygUMUGFyZGVzaSAxOTQx
Regarding Ashok Kumar’s singing prowess, I would like to make a few points. While it’s true that Dadamoni was no singer in the league of say Saigal, Mullick, Dey or Jagmohan- or even Surendra, Pahadi Sanyal, Asit Baran or Kantilal for that matter; Dadamoni used to sing with passion, earnestness, simplicity and heart-touching innocence, which made his renditions a hit with the masses. Infact some of his songs eclipsed the popularity of even New Theatres’ songs in some years of the Vintage era. Songs like Dheere Dheere Aare Badal (1943), Chal Chal Re Naujawan (1940), Main Banki Chidiya (1936) particularly comes to one’s mind in this regard. All of this success surely could not have happened either by fluke or by complete lack of musical talent on Dadamoni’s part!
Of course, it also helped that barring the 8 singers mentioned here, none of the other three dozen singer-actors that used to sing then, were anywhere close to Ashok Kumar’s singing talents. Thus Dadamoni was able to give superhit songs, not only with Saraswati Devi, but also with Ramchandra Pal, Pannalal Ghosh and Anil Biswas. So, to credit Saraswati Devi entirely for Dadamoni’s success as a singer, is little bit misplaced in my view.
Also, I don’t quite agree with the fact that during Saigal’s peak years (1933-46), his was largely a one- man horse race! Infact, the stats don’t seem to suggest so- both in terms of hits or artistic renditions.
Like in this year under consideration, while Saigal’s songs from Lagan were both very good and popular, Mullick’s songs from Doctor bested his songs in terms of both popularity and artistic merit. Similarly, in 1939, while Saigal’s Dushman’s songs were highly popular, the most popular song of the year was Mullick’s Piya Milan Ko Jaana, by far!
Again, in the years 1933, 35 and 37; KC Dey’s numbers in Puran Bhagat, Dhupchhaon and Vidyapati were no less popular than those of Saigal’s in Puran Bhagat, Devdas and President in the same years respectively. Mullick’s Sundar Nari Pritam Pyari in 1936’s Manzil, again was no less popular than Saigal’s hit songs from Crorepati and Pujarin that year. Even Jagmohan’s O Varsha and Mukesh’s Dil Jalta Hai in 1945, were more popular than Saigal’s 1945 released songs. At the same time, all these renditions were artistically at par- and often even better than what Saigal doled out in that particular year.
As one can see from above, it was only in the years 1934, 38, 42, 43, 44 and 46 i.e. six years out of 14 years, that Saigal could have been said to have become a one- man horse running and winning the musical race, atleast qualitatively in relative terms. But for the majority part i.e. 8 years, he had stiff competition, which often even surpassed him. This is particularly true for Pankaj Mullick and KC Dey.
I guess, the tendency to hero- worship (which is such an ill- trait of ours unfortunately) and nostalgic dementia borne out of selective promotion, often makes us forget facts and turn a blind eye to the achievements of other heroes outside of our choosen one, no matter how well they might have performed during their time. This is probably what explains the obsession for Saigal over his contemporaries, or the tendency to place say Lata Mangeshkar, Mohd Rafi and Satyajit Ray as the best female singer, best male singer and best film director respectively for all the years for the period 1955-69, even though in many of these years, others did better or more accomplished work in comparison. But, I guess, that’s how it works sadly in our country.
I have seen Lagan. It’s an unusual film, which is very well directed and photographed by Nitin Bose (easily among the ten best directors ever in Hindi cinema, whose name has been rather intentionally obliterated from public memory and discourse, imo). Bose himself was a very big name in the 40’s. Of course, the songs of Saigal n Kanan under the baton of Boral, played a big role in the film’s success. But I won’t attribute its success majorly to its soundtrack alone.
Lagan’s success also stemmed up from the fact that it was a good and a bold movie. Imagine a movie where the hero is rather a man of grey and not merely an reincarnation of Rama in human form, as is usually the case with most Indian films. To add to that, think of the guts that Bose and Sircar had to take two of the biggest stars in Saigal and Kanan, who were extremely popular as an on-screen couple, and cast them in complicated roles where they both were – and weren’t cast opposite each other! I won’t say anymore as that might spoil the fun for those who might intend to watch the film.
As for the rest, I completely agree with all that you said here, Venkat Sir.
Truly Pankaj Mullick was a great man. Because, let’s be honest, as a complete artist, he was much better than Saigal. PM could write terrific chartbusters- not just for himself, but also for Saigal. Indeed, atleast 40% of KLS’ most memorable numbers are composed by PM. PM’s background scores too are a thing of great beauty and progress in the evolution of our Indian films.
A similar case can be made for KC Dey, who was not only an accomplished film music composer and a great singer, but also a terrific terrific actor. Even the likes of Balraj Sahni, Baburao Patel, Ashok Kumar rated him very highly as an actor.
That both Mullick and Dey, unhesitatingly promoted Saigal over themselves, speaks volumes about their character and nature. Because who knows, what might have been the case, if the coin was flipped over and the roles reversed?
Raunak Joy,
Like your comments on the overview post, your four long comments on this post are equally erudite and add great value to the year-wise reviews of the music of the Vintage Era.
@3,
Prem hi jaane prem ki maya: The singer is mentioned in the Hindi Film Geet Kosh. Nice to know that it is sung by Ustad Jande Khan himself.
Rut aye rut jaye: Somehow the duet version with Ramdulari sounds better. It may be because of the audio quality. Thanks for introducing us to Kantilal’s two solos from Pardesi.
@4,
You put KL Saigal’s place in perspective. His was never about quantity. For all his fame his total number of songs in all languages and all genres, including non-films, bhajan, ghazal, geet, are about 180. So qualitatively in some years he was the undisputed number ond. And you are very right, in some years during his ascendancy he faced tough competition. 1941 is a clear example – Pankaj Mullick with his songs in Doctor is supreme.
Ashok Kumar’s fame as a singer was a combination of several factors. He could sing, hfilms turned out to be super-hits. Those were the days of actor-singers. And above all Saraswati Devi who had the Midas touch in composing simple tunes who turned out to be extremely popular. In the modern era, we can think of Amitabh Bachchan. Nothing succeeds like success.
I don’t know how to describe Satyajit Ray-adoration. I am also among his fan-club. In Europe at least, and also in Hollywood there was no demarcation between art film-makers and commercial film-makers. But in our case we struggled with terms like commercial, art, middle-of-the road. I had to struggle through films of Kumar Shahni, and I gave up mid-way. Even Satyajit Ray had been critical of such self-indulgent films.
@5,
I have mentioned in my response to your comment on the overview post, that one aspect of the film was also of a mentor and pupil, which was a throwback to Street Singer (1938).
@6,
Entirely agree with you.