| K.L. Saigal | |
| Background: | solo_singer |
| Birth Name: | Kundanlal Saigal |
| Birth Date: | 1904 4, df=yes |
| Birth Place: | Jammu, Jammu and Kashmir, British India |
| Death Place: | Jalandhar, Punjab, British India |
| Genre: | Playback singing |
| Occupation: | Playback singer, Actor |
| Years Active: | 1932–1947 |
Kundan Lal Saigal, often abbreviated as K. L. Saigal (11 April 1904 – 18 January 1947), was an Indian singer and actor who worked in Hindi cinema, which was centred in Calcutta (Kolkata) during Saigal's time, but is currently based in Bombay (Mumbai).[1] [2] Saigal's unique voice quality which was a mixture of baritone and soft tenor was the benchmark for most of the singers who followed him. In fact it remains the gold standard even today shining through very early and practically primitive recording technology. He did not sing songs on which other actors would lip-sync for the camera. It was only towards the very last stages of his career, in 1945 to 1947, that he sang to make studio recordings, and these were for himself as the actor on the screen. Thus, while other singers in Hindi Cinema are playback singers, he was not a playback singer.
Saigal was born on 11 April 1904 in Jammu to a Dogra family.[3] [4] His father Amarchand Saigal was a tehsildar at the court of the Maharaja Pratap Singh of Jammu and Kashmir, while his mother, Kesarbai Saigal, was a deeply religious Hindu lady who was very fond of music. She used to take her young son to religious functions where bhajan, kirtan, and shabad were sung in traditional styles based on classical Indian music.[5] Saigal was the fourth-born child of five, following two elder brothers and an elder sister, and preceding a younger brother. He was the first cousin of famous character actors Chaman Puri, Madan Puri, and Amrish Puri.[6]
As a child, Saigal occasionally played the sitar in the Ramlila of Jammu. His formal schooling was brief and uneventful; he dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company in Simla (now Shimla)[7] which allowed him to tour several parts of India. His travels brought him to Lahore, where he became friends with Mehrchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Mehrchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those days Saigal was a budding singer and Mehrchand encouraged him to pursue his talent. Saigal often remarked that he was what he was because of Mehrchand's encouragement and early support. He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.[8]
In the early 1930s, classical musician and music director Harishchandra Bali brought K.L. Saigal to Calcutta and introduced him to R. C. Boral. R.C. Boral took an instant liking to his talents. Saigal was hired by B. N. Sircar's Calcutta-based film studio New Theatres on a contract of Rs. 200 per month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal.
Meanwhile, Indian Gramophone Company had released Saigal's record containing a couple of Punjabi songs, composed by Harishchandra Bali. In this way, Bali became Saigal's first music director. The first film in which Saigal had a role was the film Mohabbat Ke Ansu, followed by Subah Ka Sitara and Zinda Lash, all released in 1932. However, these films did not do very well. Saigal used the name Saigal Kashmiri for his first three films and used his own name Kundan Lal Saigal (K. L. Saigal) from Yahudi Ki Ladki (1933).[9] In 1933, four bhajans sung by Saigal for the film Puran Bhagat created a sensation throughout India.[10] Other films that followed were Yahudi Ki Ladki, Chandidas, Rooplekha and Karwan-E-Hayat. As a youngster, Lata Mangeshkar is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas (1934). In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay's novel of the same name and directed by P.C. Barua.[11] His songs in the film Devdas (1935), "Balam Aaye Baso Moray Man Mein" and "Dukh Ke Ab Din Beetat Naahi", became popular throughout the country.[12]
Saigal picked up Bengali very well and acted in seven Bengali films, produced by New Theatres. Rabindranath Tagore first heard Saigal before giving consent for the first time to a non-Bengali singing his songs. Saigal endeared himself to the whole of Bengal through his 30 Bengali songs.
Saigal's association with New Theatres continued to bear fruit in the successful films Didi (Bengali), President (Hindi) in 1937, Desher Mati (Bengali), Dharti Mata (Hindi) in 1938, Saathi (Bengali), Street Singer (Hindi) in 1938, Dushman (1939), Jiban Maran (1939) and Zindagi in 1940, with Saigal in the lead. There are a number of songs of this era which form the rich heritage of film music in India. Also, in Street Singer, Saigal rendered the song "Babul Mora Naihar Chhooto Jaye" live in front of the camera, even though playback was becoming the preferred method of singing songs in films.[13]
In December 1941, Saigal moved to Bombay to work with Ranjit Movietone. Here he acted and sang in a number of successful films. Bhakta Surdas (1942) and Tansen (1943) were hits during this period. The latter film is still remembered for Saigal's performance of the song "Diya Jalao" in Raga Deepak; in the same movie, he also sang "Sapta Suran," "Tin .. Gaa-o Saba Guni Jan" and "Room Jhoom Room Jhoom Chaal tihari". In 1944, he returned to New Theatres to complete My Sister. This film contained the songs "Do Naina Matware" and "Ae Katib-e-Taqdeer Mujhe Itna Bata De".
By this time, alcohol had become a predominant factor in Saigal's life. His dependence on alcohol had begun affecting his work and his health. It was said that he could only record a song after being fortified with liquor. He survived ten years of drinking; however, his alcoholism was too advanced for even a single attempt at abstinence, and Saigal died in his ancestral city of Jullundur (now Jalandhar) on 18 January 1947, at the age of 42.[14] However, before his death, he was able to churn out three more hits under the baton of Naushad Ali for the film Shahjehan (1946). These are "Mere Sapnon Ki Rani", "Ae Dil-e-Beqaraar Jhoom" and "Jab Dil Hi Toot Gaya". Parwana (1947) was his last film, released after his death, in which he sang under the baton of Khawaja Khurshid Anwar. The four songs which Saigal sang in Parwana are: "Toot gaye sab sapne mere", "Mohabbat mein kabhi aisi bhi haalat", "Jeene ka dhang sikhaae ja", and "Kahin ulajh na jaana". Saigal was survived by his wife Asha Rani (whom he married in 1935); three children, a son and two daughters: Madan Mohan, Nina (born 1937) and Bina (born 1941); and an adopted child, his late elder brother's daughter, Durgesh Nandani, whom he adopted when he was still single.
In a career of fifteen years, Saigal acted in 36 feature films – 28 in Hindi, seven in Bengali, and one in Tamil. In addition, he acted in a short comedy Hindi film, Dulari Bibi (three reels), released in 1933. In 1955, B.N. Sircar released a documentary film based on the life of K.L. Saigal, Amar Saigal. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal's films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. Of the film songs, there are 110 in Hindi, 30 in Bengali and two in Tamil. There are 37 non-film songs in Hindi, and two each in Bengali, Pashto,[15] Punjabi and Persian. His non-film songs comprise bhajans, ghazals and hori. He has rendered the creations of poets such as Ghalib, Zauq, and Seemab.
Saigal's distinctive singing was revered and idolised by the first generation of post-independence Hindi Film playback singers, including Kishore Kumar, Mohammad Rafi, Lata Mangeshkar and Mukesh have even gone on record in an interview that they consider Kundan Lal Saigal to be their musical Guru. [16]
See main article: List of songs recorded by K. L. Saigal.
| 1932 | Mohabbat Ke Ansu | Debut Movie. | |
| Zinda Lash | |||
| Subah Ka Sitara | |||
| 1933 | Yahudi Ki Ladki | Prince Marcus | First hit of K.L Saigal |
| Rajrani Meera | |||
| Puran Bhagat a.k.a. The Devotee | Puran | ||
| Dulari Bibi | |||
| 1934 | Daku Mansoor | ||
| Mohabbat Ki Kasauti | Arup | In Hindi version. | |
| Chandidas | Chandidas | ||
| 1935 | Karwan-E-Hayat | Pervez | |
| Devdas (Bengali) | Guest at Chandramukhi's House | Bengali | |
| Devdas (Hindi) | Devdas | First superhit of K.L Saigal | |
| 1936 | Pujarin | Jibananda | |
| Karodpati a.k.a. Millionaire | |||
| 1937 | Didi (Bengali) | Prakash | as Kundan Lal Saigal, Bengali |
| President a.k.a. Badi Bahen | Prakash | Hindi version of Didi | |
| 1938 | Street Singer | Bhalwa | |
| Sathi | Bhulwa | Bengali version of Street Singer | |
| Jiban Maran | Mohan | Bengali version of Dushman | |
| Dharti Mata | Ashok | ||
| Deshar Mati | Ashok | Bengali | |
| 1939 | Dushman | Mohan | |
| 1940 | Zindagi | Ratan | |
| 1941 | Parichay | Composer | Bengali version of Lagan |
| Lagan | Composer | ||
| 1942 | Bhakta Surdas | as K.L.Saigal | Debut in Bombay |
| 1943 | Tansen | Tansen | as Saigal |
| 1944 | My Sister | Ramesh | |
| Bhanwara | |||
| 1945 | Tadbir | Kanhaiyalal | |
| Kurukshetra | |||
| 1946 | Shahjehan | Sohail | |
| Omar Khaiyyam | |||
| 1947 | Parwana | Inder | |